Chumbawamba "The Boy Bands Have Won" (2008)

The Boy Bands Have Won
release date: Mar. 3, 2008
format: digital
[album rate: 3,5 / 5] [3,62]
producer: Chumbawamba
label: No Masters - nationality: England, UK

Track highlights: 2. "Add Me" (live) - 4. "Hull or Hell" - 5. "El fusilado" (live) - 7. "I Wish That They'd Sack Me" - 11. "Lord Bateman's Motorbike" - 14. "(Words Flew) Right Around the World" - 18. "Compliments of Your Waitress" - 24. "Waiting for the Bus"

13th studio album by Chumbawamba following A Singsong and a Scrap (2005) is like most of the band's recent albums played in a style of a cappella, English folk music, i.e. folk with focus on vocal harmonies. The album contains 25 listed tracks of which approx. half are just around one minute long, which in that respect follows the same formula as WYSIWYG from 2000. The full title of the album is actually: The Boy Bands Have Won, and All the Copyists and the Tribute Bands and the TV Talent Show Producers Have Won, If We Allow Our Culture to Be Shaped by Mimicry, Whether from Lack of Ideas or from Exaggerated Respect. You Should Never Try to Freeze Culture. What You Can Do Is Recycle That Culture. Take Your Older Brother's Hand-Me-Down Jacket and Re-Style It, Re-Fashion It to the Point Where It Becomes Your Own. But Don't Just Regurgitate Creative History, or Hold Art and Music and Literature as Fixed, Untouchable and Kept Under Glass. The People Who Try to 'Guard' Any Particular Form of Music Are, Like the Copyists and Manufactured Bands, Doing It the Worst Disservice, Because the Only Thing That You Can Do to Music That Will Damage It Is Not Change It, Not Make It Your Own. Because Then It Dies, Then It's Over, Then It's Done, and the Boy Bands Have Won. - needless say the title is commonly abbreviated.
Thematically, Chumbawamba hasn't changed its lyrics much over two decades. The change one will notice here is a stronger (local) social awareness in the bands' topics to direct its criticism on English politics that involve the ordinary Brit, and in that way this may be seen as a nice return to form.
At first, I found it a peculiar step away from the band's more musically pop- and dance-minded albums of the '90s, which brought the band fame, good reviews and some fine sales. I must admit, though, that this is no such thing as a lesser album. It's just very different. I think, they may have realised that all their good intentions about reaching more people with their messages through popular music was something they couldn't win. If the songs were popular, well, they were that, but the message drowned in a pool of commercialism, and where WYSIWYG was neither fish nor flesh, this presents a welcomed return of Chumbawamba as the world has come to know of it.
This album is smooth and beautiful - a truly fine accomplishment.
Recommended.
[ allmusic.com 4 / 5 stars ]

Chumbawamba "WYSIWYG" (2000)

WYSIWYG
release date: Apr. 4, 2000
format: cd
[album rate: 3 / 5] [3,18]
producer: Chumbawamba, Neil Ferguson
label: EMI Records - nationality: England, UK

Track highlights: 1. "I'm With Stupid" - 2. "Shake Baby Shake" - 3. "Pass It Along" - 11. "I'm Not Sorry, I Was Having Fun" - 14. "She's Got All the Friends"

9th studio album by Chumbawamba follows 2½ years after Tubthumber (1997) and it's their second album for EMI. Both in style and in lyrics, they have moved somewhat towards a mainstream pop / rock universe, although, it's also highly unconventional consisting of 25 tracks [!] with a total running time at 55 minutes, which leaves the average playing time per track just a little above two minutes. With short tracks in between more regular compositions, they still maintain their tongue-in-cheek British humour and enjoyable look on everyday life. Earlier albums had either more electronic edge and / or political harsher stands, but what I really miss here are the great catchy melodies.
In a way this is their The Beautiful South album. It's close to being sophisti-pop which is a long way from their anarcho-punk roots.
WYSIWYG - What You See Is What You Get... meaning: a barking dog?! I mean that has to be taken into consideration. The band has always had at least one foot in the (ultra-) left side of British politics and been an outspoken valve of some sort. The barking dog that tells you something isn't right [right?!]. And then with song titles here dealing with completely non-political issues, it becomes a wee bit odd. Where's the bite then?
[ allmusic.com 4 / 5, Rolling Stone 1,5 / 5 stars ]

Chumbawamba "Tubthumper" (1997)

Tubthumper
release date: Sep. 23, 1997
format: cd
[album rate: 3,5 / 5] [3,68]
producer: Chumbawamba, Neil Ferguson
label: EMI - nationality: England, UK

Track highlights: 1. "Tubthumping" (4 / 5) (live on Letterman) - 2, "Amnesia" (4 / 5) - 3. "Drip Drip Drip" - 5. "The Good Ship Lifestyle" - 7. "Outsider" - 10. "Smalltown" - 12. "Scapegoat"
[ full album playlist ]

8th studio album by Chumbawamba and the first on a major label. The nine-piece band-collective here are: Lou Watts on vocals, keyboards and as "nippy winger", Danbert "The Cat" Nobacon on vocals and as 'goalkeeper', Paul Greco on bass and as 'solid centre-back', Boff on guitar, vocals and as 'midfield dynamo', Jude Abbott on trumpet, vocals and as 'tigerish left-back', Alice Nutter on vocals and as 'team coach', Dunstan Bruce on vocals, percussion and as 'opportunist striker', and Harry Hamer on drums, programming and as 'hardened sweeper'. Neil Ferguson is also credited as band-member, although not depicted on the inlay band photo - he is credited playing keyboards, guitars, sponge & bucket.

The album was not the first I heard with the band as I already knew Anarchy (1994), which didn't make me more interested at the time but when I saw the animation movie "Shrek", I rediscovered the band. Of course I noticed the track "Tubthumping" - everyone did. I rediscovered the '94 album again, and all of a sudden I got it, a bit bewildered as to why I didn't get it in the first place. Anyway, this one is pretty neat. The album was seen as the band's commercial breakthrough, which was a difficult move for an anarchist band, and many of their "old" supporters criticised the band for selling out by signing with EMI. Apparently, the band argued that they live in a commercial world and that all record labels including their former label didn't care about their ideas, political stands, but only found the band interesting because of the potential profit. I really enjoy this one, and it makes me think of the early 80s British project-band Carter USM and its use of electronic to create alt. dance in a combo with stylistic bonds to punk rock and with a social stand, which again goes back to the late 70s more straight punk rock bands like Angelic Upstarts, Crass, and the like.

Chumbawamba has a strong critical view on capitalism, our Western lifestyle and modern consumerism, and in that positions itself like many others on a political far left-wing but unlike many other spokesmen, they do it with intelligent use of humour, brilliant lyrics and great songs. So the fact that they make use of all possible styles in a huge blend makes it very much their own blend. It's for one thing highly original but also good songwriting - and that's what music is about isn't it?!

I find this the band's best album.

Recommended.

[ allmusic.com 4,5 / 5, Rolling Stone 3 / 5 stars ]

Chumbawamba "Swingin' With Raymond" (1995)

Swingin' With Raymond
release date: 1995
format: cd
[album rate: 2,5 / 5] [2,68]
producer: Chumbawamba and Neil Ferguson
label: One Little Indian Records - nationality: England, UK

7th studio album by Chumbawamba and the last in a series to be released on One Little Indian. The album consists of two halves - tracks 1-6 being subtitled "Love" (apparently, with reference to the vinyl album's A-side), and the remaining tracks 7-13 are subtitled "Hate" (B-side of vinyl release). The first half consists of slow and harmonic folk pop compositions, whereas the second half are compositions of more powerful, energetic alt. rock compositions with clear bond to the anarcho-punk sub-culture. All songs are written with a typical good sense of musical skills, a certain amount of social awareness, and also typically for the band: a tip of satire.
I don't find it all bad, it proposes interesting lyrics but it doesn't really contain obvious great tracks and overall it disappoints in being neither this nor that.
[ allmusic.com 3 / 5 stars ]

Chumbawamba "Anarchy" (1994)

Anarchy
release date: 1994
format: cd
[album rate: 3,5 / 5] [3,64]
producer: Chumbawamba, Neil Ferguson
label: One Little Indian - nationality: England, UK

Track highlights: 1. "Give the Anarchist a Cigarette" - 2. "Timebomb" - 6. "Love Me" - 7. "Georgina" - 10. "This Year's Thing" - 11. "Mouthful of Shit" (live) - 12. "Enough Is Enough"
[ full album ]

6th studio album by Chumbawamba following Shhh (1992) is the band's first album not to be released on its own label Agit Prop. The band continues its change of style far from their early stage with protest songs of folk and (anarcho) punk rock to a more dance-minded style, as introduced on the fourth album Slap! (1990).
Here the subjects and themes are homophobia, strikes, fascism, music, and movies. I recall having heard the album back in the mid-90s and rejected it as... uninteresting. A decade later I rediscovered the album and now found it quite the contrary. Time changes everything. One day I may even like death-metal... [Hope not!] Sometimes Chumbawamba sounds like The Stranglers, sometimes like Carter USM, or The Beautiful South, or even their American "brothers" in They Might Be Giants, and then at other times it's more like pure Monty Python. Anyway, I like their blend of electronic, cheesy vocal harmonies as played in folk pop or sophisti-pop, and then sometimes they turn up the satire or the energy, which makes it a huge mix of influences and yet somehow they succeed in keeping everything nicely together.
The album generally received fair to positive reviews and it sold better than any previous albums by the band. The singles Timebomb and Enough Is Enough both charted in top-100 on the singles charts in the UK, and the album peaked at #29 on the national albums list making this a bit of a commercial success.
This is clearly the band's so far, and perhaps best ever studio album, imho.
[ allmusic.com 3 / 5 stars ]

Chumbawamba "Shhh" (1992)

Shhh
release date: 1992
format: cd (2003 reissue)
[album rate: 3 / 5] [3,18]
producer: Chumbawamba
label: Mutt Records - nationality: England, UK

Track highlights: 1. "Shhh" - 4. "Behave" - 5. "Snip Snip Snip" - 6. "Look! No Strings!" - 11. "Stitch That"

5th studio album by Chumbawamba originally self-released on Agit Prop - reissued on Mutt as a 2 cd compilation with the album Slap!, which it follows two years after. Apparently, the album had a troublesome way to its final form. The band had recorded material for an album, they wanted to call "Jesus H. Christ", but due to non-legal samples the album was shelved, reworked and released in this form (which may explain why One Little Indian were unwilling to release it, as they did with the predecessor).
The style is much in the band's new-found shape of indie pop / alt. dance, and much against the band's normal subject-matter, the album is largely directing criticism on the censorship of the music industry, instead of (the usual) political and social motifs involving rights of everyday people.
Sampling plays a major part on an album that doesn't quite meet the expectations sat out on Slap! (1990) - yes, it contains bright and humorous lyrics, but I generally find it a bit unfocused and somewhere on the duller side of what they have previously succeeded with.
[ allmusic.com 4 / 5 stars ]

Chumbawamba "Slap!" (1990)

Slap!
release date: Jul. 1990
format: cd (2003 reissue)
[album rate: 3,5 / 5] [3,58]
producer: Chumbawamba
label: Mutt Records - nationality: England, UK

Track highlights: 2. "Tiananmen Square" - 3. "Cartrouble" - 7. "Slap!" - 8. "That's How Grateful We Are"
[ full album ]

4th studio album by Chumbawamba originally released on the band's own label Agit-Prop (in '98 also reissued by One Little Indian). The Mutt Records label is also founded (in 2000) by Chumbawamba. Stylistically, this album marks a major change of sound and style, as the band has moved from its primary anarcho-punk style with influences from punk rock and folk to now embrace alt. dance, indie pop and dub.
The leap into a completely new style may seem enormous - fans have surely found it a radical change; but Chumbawamba doesn't just abide to commercialism or the accepted rules of capitalism. The songs reveal the band's political viewpoints as always, and they concentrate on contemporary political movements and episodes around the globe such as ultra-leftist Ulrikke Meinhof from (German) Red Army Faction [Rote Armee Fraktion], the Tiananmen Square massacre of 1989 in China, the situation in Northern Ireland, and the continued story-telling of reactions to former ultra-left Soviet under Stalin and life in Nazi German concentration camps during WW2.
Although, utilising the mechanisms of popular music, Chumbawamba stays loyal to its social and political viewpoints, and that mission is fully accomplished on Slap!, which proves to be the band's so far most harmonically sounding album to date. You may choose to just listen to the music, and that's a fine construction of various tunes with hooks and choruses, and you may let yourself linger on the lyrics and listen to stories about real people and crucial historical fragments.
[ allmusic.com 4 / 5 stars ]

Chumbawamba "English Rebel Songs 1381-1914" (1988)

English Rebel Songs 1381-1914
release date: 1988
format: cd (1994 reissue)
[album rate: 2 / 5] [2,18]
producer: Chumbawamba
label: One Little Indian - nationality: England, UK

3rd studio album by Chumbawamba originally released on Agit Prop is really something else. It's the band's traditional folk music ('folklore') and a cappella interpretations of traditional British workers' folk songs. Apparently, the band re-recorded the songs in 2003 and released the album as English Rebel Songs 1381-1984, an album containing the addition of two songs.
Allmusic.com hasn't reviewed the original release but the site has handed the new 2003 version 4 / 5 stars, although, claiming "Fifteen years on, they've learned a lot more about their voices, about music, and about the world." But still, I cannot grant it more than half the amount of stars. It must have been a huge turning point for any fan of this band, who up until this nearly only played anarcho punk rock and here they suddenly play traditional folk music without other instrumentation than their singing voices. The predecessor Never Mind the Ballots (1987) introduced a different approach to music with narrating style, but still it was presented with strong satire and social awareness. This has only the social awareness, and no satire, and no strong criticism.
I think, you have to be (more than) just a bit interested in ancient music to embrace this collection of songs.
Not recommended.

Chumbawamba "Never Mind the Ballots" (1987)

Never Mind the Ballots
release date: 1987
format: digital (1994 reissue)
[album rate: 3 / 5] [2,78]
producer: Chumbawamba
label: One Little Indian - nationality: England, UK

Track highlights: 2. "Come on Baby (Let's Do the Revolution)" - 3. "The Wasteland" - 6. "Mr. Heseltine Meets His Public" - 8. "...Here's the Rest of Your Life"

2nd studio album by Chumbawamba originally self-released on the band's own label Agit Prop and in '92 reissued on cd as a double disc compilation with the band's debut album as The First 2.
Never Mind the Ballots is a comment to modern politicians. The whole album is structured as two opposing politicians proposing their different stands but at the end of the album they are revealed as both basically wanting the same: they want weapon to either conquer others or defend themselves but in essence they want control over others. I like the story, the satire and the way its structured. It's definitely not an album for dancing, nor cosy small talk. It's... an interesting social and political comment, not unlike a theatrical radio-play. As music, however, it's not the most compelling treat, and when you examine the plot and the message, it becomes a wee bit naively exaggerated as always, when people become too one-eyed.

Chumbawamba "Pictures of Starving Children Sell Records" (1986)

Pictures of Starving Children Sell Records [debut]
release date: 1986
format: digital (1994 reissue)
[album rate: 3,5 / 5] [3,54]
producer: Chumbawamba
label: One Little Indian - nationality: England, UK

Tracklist: 1. "a) Prologue; b) How to Get Your Band on Television" (4 / 5) - 2. "British Colonialism and the BBC: Flickering Pictures Hypotise" (3,5 / 5) - 3. "Commercial Break" - 4. "Unilever: How to Succeed in Business" (4 / 5) - 5. "More Whitewashing" (4 / 5) - 6. "An Interlude: Beginning to Take It Back" (3,5 / 5) - 7. "Dutiful Servants and Political Masters: Abolishing Slavery (And Reinventing It)" (3,5 / 5) - 8. "Coca-Colanisation" (3,5 / 5) - 9. "…and in a Nutshell" - 10. "Invasion" (3 / 5)

Studio album debut by Chumbawamba originally released on the band's own label Agit Prop and reissued on cd in '92 as a double disc compilation together with the band's second album Never Mind the Ballots (1987) with the title: The First 2 (also on Agit Prop), and again reissued in '94 by One Little Indian. At this point the line-up counts 7 people all of which are only mentioned by their first name: Harry handling drums, vocals (guitar solo on "Slag Aid"), Alice Nutter on vocals, Boff on guitar, vocals, and clarinet, Mavis Dillon on bass, trumpet, French horn and vocals, Lou on vocals and guitar, Danbert Nobacon on vocals, and Dunst on whirlypipe and turntables.
I didn't hear of the band until around '94, and it seems the album gained little interest at the time of its release. Apparently and quite obviously, it's meant as a critical response to the whole Live Aid idea with artists in disguise of helping a whole continent in utmost poverty are basically only interested in promoting themselves. Listening to it today, it's actually quite ingenuously written, and with catchy melodies to support the harsh criticism. Just by looking at the track titles one may come to think of Dead Kennedys or Crass when they sing about the world in "the sick hands of capitalism". The strong satire has always been the band's trademark. Sometimes they share bonds with Dead Kennedys, Crass, Frank Zappa, but also Monty Python, which doesn't make it any worse.
It's more than enjoyable, and frankly, should be enlisted in all lists comprising the most interesting albums of modern pop music.
[ allmusic.com 4,5 / 5 stars ]

1992 reissue as "First 2"