1. Worry Number One
2. Gimme Something
3. Get Up
4. Tonight
5. Stop Following
6. Pieces
7. The Only One
8. Wherever
9. You Carry On
10. Twisted City
11. People
Chris Singleton's debut album Twisted City is based around a central
conceit, a journey across London, Britain's twisted capital city, with
each song representing a station where something significant happened
to the Irish singer-songwriter. Heavily influenced by the Beatles and
Paul McCartney's solo outings, it is a melodic journey designed to take the
strain out of the stops.
Kicking off at Canon Street with Worry Number One, Singleton recalls a
night out with friends watching the City suits hitting on the blondes
at the bar. A soft keyboard introduction quickly segues into a rockier
backbeat and chirpy reassuring vocal. For some reason it had this
reviewer thinking of Get Back, though it completely lacks the edginess
of that much harsh classic.
From Canon Street to London Bridge in Gimme
Something is a smooth transition with Singleton supplying more of the
same. The song has an optimistic feel, though it is purportedly about
Singleton's quest for success in the "difficult" music industry. The
vocals bring to mind Paul Weller, with driving melody and machine gun
drums.
The sense of optimism is apparent throughout the album - whatever the
lyric. Get Up, Stop Following, Whatever and Twisted City are
essentially poppy feel-good three minute wonders that owe a lot to
Singleton's influences, especially Macca.
And that is essentially the main problem with the album. There isn't
enough of him shining through, which is a pity. Singleton is an
accomplished songwriter, and. the arrangements and musicianship is
undoubtedly of a high standard (it was mastered at Abbey Road by Geoff
Pesche, who worked with Gorillaz, Coldplay and Athlete).
Yet you long
for him to show a sharper edge and let go of his inspirations. There is
more to him than a Macca manque. We are given tantalising glimpses of
it in songs like Twisted City, The Only One and Stop Following, but it
is as if he can't quite let himself be nasty when he rocks, and let's
face it, rock needs nasty boys.
He is far better when he admits to his softer side, especially in the
truly lovely You Carry On, about Heathrow terminal 1 apparently. The
airport has never seemed so alluring, and he captures that longing of
the returning traveller: stateless, lost and longing for something they
can't quite place.
As first albums go, this is a decent platform on which to build a
career. There is nothing to offend, lots to feel good about, and it
should appeal to a mainstream audience. But there is also little to
make you stop the waitress in the wine bar and ask: "Who is this?" But
if Singleton can let go, this album hints that there is a truly
interesting talent to be found in here.
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