James Dean Bradfield
The Great Western

After 16 years of career with the Manic Street Preachers, a band that, despite the well-known problems, still seems to be very close-knit, the two creative minds are engaging in their respective solo projects.

The first is that of the singer/guitarist James Dean Bradfield, preceded by the single "That's No Way To Tell A Lie" (the video is funny, parodying Takeshi Kitano's film "Sonatine") which, among 70's style riffs and handclaps, and a keyboard in the chorus reminiscent of Joy Division's "Love Will Tear Us Apart", suggests a rather ambiguous idea about the stylistic imprint of the album.
I certainly did not expect a return to the hard rock of 'Generation Terrorists', but I wouldn't have minded some rough, nasty chords. In hindsight, after listening to the 11, very pleasant, pop songs of "The Great Western", I realize that it was right for the album to sound like this.

I don't like the attitude of those who sell a million copies and then say that, however, they are not satisfied with the sound of that record. Before pleasing the fans, an artist should please themselves; to do this, they must put their own state of mind before anything else. And the expectations of those around them (including the public) can often undermine their intentions. Therefore, it doesn't matter if they once were a rocker, drank like a sponge, played a Gibson shirtless like their idol (Slash, ed note); the important thing is not to delude oneself into being what one is no longer.
James has been aware of this for some years already, and with this album, he has continued that path to maturity, the latest stop of which is "Life Blood", the last work by MSP, as well as an excellent return after the half disappointment of "Know Your Enemy".

Composed and almost entirely played by Bradfield himself, the album distances itself from the usual political commitment of the MSP, maintaining, as the only connection to the band, the lyrics of "Bad Boys And Painkillers", written by Nicky Wire. It's perhaps the most exquisitely pop piece on the album and, together with "Say Hello To The Pope" and "An English Gentleman", dedicated to the late old manager Philip Hall (a tune, however, delightful), the most refined in vocal harmonies. Also noteworthy are "On Saturday Morning We Will Rule The World", a sort of piano power-ballad, the vaguely gospel experiment of "The Wrong Beginning", and "Still A Long Way To Go", a reflection on a relationship that didn't have the time to mature, skillfully structured with an eye to the explosive (in an emotional sense) chorus. Praiseworthy is "To See A Friend In Tears", cover of "Voir Un Ami Pleurer" by Jacques Brel, quite faithful even in the translation/adaptation of the lyrics: an example of how, sometimes, just a voice and a guitar are enough to move you.

Closing beautifully is a small gem, "Which Way To Kyffin", in my opinion, the best track on the album. If excessive catchiness is considered a flaw, then this is the flaw attributable to "The Great Western"; but, if the album is well played and arranged, true to the author's intentions, pleasant to listen to, without being gratuitously mawkish, then I have nothing to object to.

If the fact that we will never see James Dean Bradfield play at the Festivalbar can be another merit...