The Good, The Bad And The Queen – ‘The Good, The Bad And The Queen' (Parlophone) Released 22/01/07

The Good, The Bad And The Queen’s eagerly awaited eponymously titled debut album is at last upon us and proof, if any were needed, that Damon Albarn can seemingly do no wrong. What initially began as a solo project for the former Blur front man, soon developed into a super-group of sorts. Produced by the critically acclaimed Danger Mouse, with legendary Clash punk rocker Paul Simonon on bass, Simon Tong of Verve fame on guitar and afro-beat harbinger Tony Allen providing drums, this is undoubtedly the album of 2007.

Quintessentially English and brimming with songs about London with a continental twist, ‘The Good, The Bad And The Queen’ is a glorious melting pot of musical genres as seen through stripped down yet busy halcyon eyes, which add to its addictive mix of resigned confusion and clarity. The subtler edges of ska and two-tone, morphine induced vocals, Spanish guitar, amiable fairground Wurlitzer and jazz-funk drums combine to form the opening track and hook you immediately. Reminiscent in parts to The Specials ‘Ghost Town’, ‘History Song’ is effectively the bands mission statement; a laying down of the law and a fair indication of what’s to follow.

Albarn’s self-educated and familiar intelligence provides knowing warmth to a sometime grey, pre-apocalyptic vision of a fast approaching future and an immediate present. But this shouldn’t be confused with doom and gloom, fire and brimstone, as any sense of foreboding is equally matched throughout with hope. ‘Behind The Sun’ throws up monochrome images of backstreet, inner city loitering; but its uplifting, tempered and Beatle-esque chorus, complete with well-crafted strings, which are deeply ingrained throughout this long player, instantly transforms a bleak cityscape into colour. The same is true of ‘Northern Whale’; its pulsating synth’s contrasting with Albarn’s uncomplicated and measured piano playing abilities. The modernity of twenty first century life is a theme explored in nonchalant detail. Cautious and sorrowful, with hypnotic organ, ghoul like distorted guitar and a stronger vocal conviction, ‘The Bunting Song’ speaks of city versus country and ‘A Soldiers Tale’ of technology versus nature and mankind’s place in the modern world, subtly underlining the point with incidental background noise and catchy simplistic whistling.

‘Kingdom Of Doom’ ‘s distant despondency (“Drink all day coz the country is at war, Soon your be falling of the palace walls, I cant be any more than I say, In the flood we all get washed away”) is soon replaced by an optimistic buoyancy (thanks to a slight change in piano and lyrical direction “A love song for the collaboration, You and me will never be undone”) and serves as an inspiration to turn up the collar of your battered crombie, thrust both hands deep into its pockets and walk into the rain through a grainy Super-8 film, only to emerge on the other side with a stronger sense of purpose in the following track ‘Herculean’. Air-esque and godly, any shadows from the previous track have long gone and left a clear-lit path to be followed by all those who trust in the bands proven judgement.