And The Good, the Bad & the Queen was born.
The band is comprised of British musical icons Damon Albarn (Blur, Gorillaz), Paul Simonon (The Clash) and Simon Tong (The Verve). Tony Allen, who worked with Fela Kuti, the pioneer of Afro-beat, provides the drumming.
The Good, the Bad & the Queen is produced by the deft Danger Mouse, who previously worked with Albarn on the production of the Gorillaz's second album, Demon Days. It is Danger Mouse who steals the show.
Danger Mouse's production eclipses all aspects of the band on The Good, the Bad & the Queen, even mixing out Allen for significant stretches of the album and seemingly leaving Albarn wallowing in a wasteland of ennui. The remainder of the band languishes, anchored in a swamp of digitalia.
Much of the pre-release hype for The Good, the Bad & the Queen centered on Albarn's thematic attempt to capture 21st century London, drawing immediate comparisons to Blur's seminal album Parklife, which was celebrated for its successful reflection of mid-90's London. The Good, the Bad & the Queen is devoid of the shimmering pop that characterized Parklife. Apparently, to Albarn, the theme that most captures modern life is boredom.
The Good, the Bad & the Queen is a collection of individually pleasant songs that are less distinctive than the girl with Uggs boots sitting at the table next to you in the cafeteria. The album moves seamlessly from one droning track to another, starting with "History Song," a single acoustic riff repeating under Albarn's resignation.
"Northern Whale" has a neat little digital beat that belies the lyrical moodiness. The simple, poppy rhythm section lends the song a sense of life that isn't recaptured until "Three Changes," which opens with something that might be compared to circus music. The organ and synthesizer are coupled nicely with a crunchy guitar riff before breaking down and flowing out riding waves of wah-wah. The final track titled "The Good, the Bad & the Queen," is another highlight driven by noise and a stoner-rock, distorted guitar.
The most unfortunate aspect of GBQ is that this band of musical moguls has produced a work that has effectively marginalized their individual talents throughout most of the album.
Allen's drumming, when not mixed out in favor for digital beats, is agile and propulsive. His presence is the highlight on tracks like "Herculean," "Three Changes" and "The Good, the Bad & the Queen." Unfortunately, "Three Changes" and "The Good, the Bad & the Queen" come about half an hour after the listener has been lulled into a state of apathy.
During "Eighties Life," Albarn sings "Oh Lord can a stone / be a ballast for an aching soul?" Methinks no. The Good, the Bad & the Queen is a stone and it's pulling Albarn and the rest of his band's aching soul into the English Channel.
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