Mark McGhee never rests.
Does this man never sleep? He seems to be constantly spinning plates, managing to keep them all going and letting nothing slip, while keeping up high standards and levels of quality control on everything too …
Live shows with The Girobabies (whose Who Stole Utopia? album remains an absolute revelation), You Call That Radio podcasts, and of course Jackal Trades (and master of them all), whose album At This Point was released a couple of months ago…. Yes, I’m still playing catch up, but that s a good sign – hunner’s of brilliant new music out there…
At This Point is essentially McGhee’s (and a supporting cast of thousands) commentary on the state of the COVID era disunited kingdom. The album features a series of politically charged stream of consciousness reflections and astute observations.
Packed full of streetwise poetic raps, shrewdly observed lyrics, trippy hip hop, addictive beats and inspired guests including Jo D’Arc and the magnificent Minerva Wakes, the album doesn’t leave a stone unturned in its commentary of the weirdest 18 months in most of our lifetimes. Acid tongued acerbic wit is used to great effect as McGhee and co explore the various impacts of COVID.
Powerful
Powerful album opener March to March references so many of the negative impacts of the last 12 months – COVID denier’s, scepticism, broken Britain, Brexit, racism, statue protectors…you name it. Last Man Standing on the Edge of the word demonstrates a certain desperation and exasperation alongside a sensitive late night soundtrack.
A variety of hot topics that were already issues, but the impact of COVID spotlight and resultant government decisions have seen them take centre stage, feature across these tracks, Fun has Been Outlawed highlighting the disregard of independent artists and venues while the sinister beats of Hate My Notifications explores the impact on mental health due to an increased reliance and over dependency of social media and clickbait over the long periods of lockdown and lack of engagement with other humans. Strange Times expands on this as we “accept all cookies” to argue with strangers on the internet.
Across all the songs, the wordsmithery is to be commended. Mark has the knack of presenting the feelings of many, both filled with sarcasm and in scathing caustic matter (Hate My Notifications) and sympathetically as on That Soundtrack Stays.
Dark & Moody
Elsewhere, one of the phrases of the moment, woke, is used cleverly at the outset of the skilfully worded genius of The Loading Screen, certainly one of the album highlights. Talking of highlights, the Minerva Wakes album has been one of the years highlights for me, so I was delighted to hear Forever Underground combine the talents of McGhee and Jo D’Arc on this dark moody track.
The album closes on a stripped down, acoustic guitar and vocal, sentimental note injected with a side of wry humour, listing all the things that we’ve missed over the last 18 months. The album opened with an observation of what went wrong over the last 2 years, it ends with a note of optimism….one day…soon.
Keep those plates spinning Mr McGhee, we appreciate you and all the effort you and your mates put in…
The album includes contributions in the way of beats, vocals, production from (and apologies for anyone missed…): Andy Martin, Becci Wallace, Callum Peterkin, Doctur Normul, Gordy Duncan Jr, Jo D’Arc, Josephine Sillars, Kid Robotik, Konchis, Laigo, Lily Lou, Macapella, Mad Chef, Minerva Wakes, Morphamish, Nity Gritz, Physiks, Treefingers.
Great album, fab review