Review:The Good, The Bad & The Queen, The Good, The Bad & The Queen

“That’s Damon Albarn, ain’t it?”

“Yep, it is.”

“The guy from Gorillaz?”

“That’s him.”

“You sure?  That’s the guy from Gorillaz?”

“Yep.  The guy from Gorillaz.  That’s him.”

“Doesn’t sound much like Gorillaz, does it.”

“Nope.”

“Wasn’t he also in Blur?”

“Yep. Blur too.”

“Doesn’t sound much like Blur, does it.”

“Nope.”

“What’s he on about, then?”

“Fucked if I know.”

The Good, The Bad and The Queen is a quartet composed of Albarn, bassist Paul Simenon from The Clash, drummer Tony Allen who played with Fela Kuti and guitar player Simon Tong from Verve.  The album is produced by Danger Mouse who also produces Gorillaz and Gnarls Barkley.  With that collection of talent you’d think GB&Q would be a monster.  Didn’t happen.  Albarn’s lyrics are vague, depressed and artsy.  He’s unhappy about something having to do with The War and life in the UK although just what it is isn’t very clear.  This obscure malaise is expressed in tuneless singing on tracks that aren’t really songs as they are almost wholly lacking in either hooks or melody.  Danger Mouse embeds Albarn’s angst in layers of sound and electronic effects that as often as not just peter out or falter to a stop.  TB&Q has gotten very positive reviews in the UK music press.  Maybe the cultural references speak more clearly to a listener from the UK.  Maybe music critics are suckers for arsty-fartsy pretension.  Whatever.  It’s dreary.