![]() ![]() It’s not all bad though, as it does keep the glitzy production up and the beat does have a certain toe-tappability to it. I’d go as far to say it’s the worst song on the album. “Taking a stand against authority”, this song’s lyrical content really does get on my tits and, while it isn’t horrible, the instrumentation really isn’t up to the point where I can ignore the lyrics. After songs like Jump, it’s a welcome shift in pace.Īnother longun, Drill Sergeant picks the pace up and brings us back to those oh-so-brilliant and relatable lyrics. It’s a song that basks in the summer sun and just can’t be assed. A mellower track overall, this track boasts a chilled atmosphere, emphasised by its use of acoustic guitars and whistled hook. However, there is a heavy reliance on the more electronic side of things, with the synths in the chorus being a welcome addition to jazz things up a notch.Īfter that, we have the 7-minute beast Wonderful Place. Following a very clear formula that the rest of the album seems to favour, this track utilises the same style of energetic arrangement and sensual vocal deliveries we’ve been getting from the band so far. Next up, we have few less notable tracks, the first being Breakout. The feral beat and moaning guitars really make this track one for the sexy time, ah-wink-wink. ![]() In fact, this track is very Timberlakey come to think of it. Kidding aside, the track is beaming with personality and is notable for its latin-flavoured acoustic guitar, very akin to the once-Neptune produced Justin Timberlake (back when he was good). A classic track in 00s hip-hop/R&B crossover circles, one of which I am defo apart of, She Wants To Move finds its lyrical premise, like many songs in the album and genre in general, in sex and women. Next up, we have the first single from the album (yay! video!), She Wants To Move. Indeed, after a few listens to this badboi, you better take yo ass down to the clinic. While this isn’t as full-throttle as some of the previous songs, it definitely fits the overall tone of the song – unprotected sex. As the title probably suggests, this is a track about getting down-n-dirty in the backseat of a car, fair enough. I jest, of course, although, referring to yourself as “daddy” is never great, unless you’re referring to chaboi Big Daddy M. Thankfully, however, we get our asses back to the borderline sex pest lyrics of yesteryear in Backseat Love. Adding to this, that particular line was “busted” by Joel Madden, of Good Charlotte. While, once again, we have a great stop-starty beat and sci-fi-inspired touches in the background, we still get great lyrical gems such as “punk rock tattoos, leather jackets/good grades don’t come with that package” – these guys are in their 30s. Sadly, this trend continues on the otherwise fine Jump. Still, that doesn’t stop it from having one hell of a catchy chorus, mang. ![]() However, what puts this below some of the other songs on the album is the lyrics, that, while trying to relate to the youth (“This is only for the kids!”) end up sounding whiny and generic and little else. As well as another big ol’ riff and another bouncy drum beat, this song also boasts some of the spacey lil’ production features, making the band befitting of their name. Out of all the songs on the album, it’s the opener that perfectly balances the not-give-a-f*ck attitude of rock and the aura of the sex found in ALL 00s R&B songs in both it’s lyrics and instrumental, and it remains one of my favourites on the album.Īfter that, we have the album’s title track, Fly Or Die, and another of the record’s best. Then you have a great hook (She’s badass) and a mellowed out chorus. Hugo kicks off the song with one of the phatest, funkiest, filthiest riffs this side of Suck My Kiss, making fine way for Pharrell’s unashamedly seductive lyrics and delivery, as well providing a bouncy drum beat. The album kicks off on extremely strong footing with Don’t Worry About It.
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