Paolo Nutini
These Streets

THE REVIEW

PAOLO NUTINI arrives out of nowhere, with force, with the super hit "new shoes" that invades the world, and a face of a spoiled kid, handsome enough, quite sure of himself. Then you discover that the other day he was eleven years old and you perk up, especially when you realize that he is not a boyband type, and that he writes and plays his own songs. So you buy the CD and realize you are not facing just another average talent, but a great talent destined to do great things. The CD itself does not change the history of music, but if the saying "a good day starts in the morning" is anything to go by...

But let's move on to the songs review:

Jenny don't be hasty (rating 7): The first song of the first album must be absolutely amazing by default. And in this case, I'd say we're quite there. Thumbs down for the choice of the initial little guitar, a sound overused time and again, but the track is catchy and immediately grabs you. Anyone else would have postponed the first chorus after the second verse, but here it arrives promptly and immediately clarifies a concept: Paolino finds simple and catchy melodies with the same ease and frequency as Bono blesses the crowd at his concerts. The song is about a kid who cannot abide by age-related restrictions... and I'd say it fits perfectly.

Last Request (rating 8): the perhaps too melancholic start is deceiving. The song, a dragging and well-structured slow track, once it takes off, compels you to nod your head and showcases talent to spare, especially in the compositional phase.

Rewind (rating 6): The arrangement seems designed to highlight the singer's vocal abilities, which he proves by filling out the track well and making it interesting even with just barely hinted and very basic instruments. A verse without infamy nor praise, while the chorus is the strong part once again. Dragging, to say the least... and that's certainly not a small thing!

Million faces (rating 5): is practically just sung, between falsettos, breaths, and powerfully balanced interludes. Here you await the chorus eagerly, and when it arrives, it doesn't disappoint, supported by a classy Hammond. The track, however, altogether is a bit light despite the strings that try to give it substance from halfway onward. Lack of imagination in the finale.

These streets (rating 7): Usual format of the first tracks, in terms of atmosphere, instrumental lightness, and vocal performance. Here the chorus is one of those that really stays in your head, made really incisive by a crescendo of the verse; it's one of those that you sing together at the sports arena even without accompaniment, maybe with a lighter in hand. A real gem.

New Shoes (rating 9): And here's the hit. It was needed to avoid slipping into monotony, and by track number six, the risk was there... this track is such a hit that I'm sure many criticize it as light or too commercial. Yet it has everything it needs, and it both pulls and attracts like few others. The superficial lyrics are as they should be, an excellent choice of sound, a bit rock&roll and a bit folk, almost country in some sounds. Ten and praise for the vocal performance, like a seasoned rock star. The melody is so catchy it makes you envious, and altogether the song slips away, giving the impression that it lasts too little. If we still had cassettes, this track would be the first to demagnetize from excessive use. Thumbs up.

White lies (rating 5): Not every doughnut comes out with a hole. Fairly weak, especially with the purposeful dissonance that acts as a link to the instrumental pieces, but the melody is good even here.

Loving you (rating 5): Less successful than others, it shows the now established vocal and compositional talent. Faded compared to the previous ones. Filler.

Autumn (rating 4\5): Good job Paolo, you sing well, we have figured that out by now. But you also know how to bore. Perhaps this could appeal to the romantics, but not to me. I go back to track 6 to forgive you.

Alloway grove (rating 7): A sprinkle of vitality was needed at this point, and here it is with this fast, very folk, very cheerful, very well-structured song, which can't help but be liked. The chorus in this case is a bit predictable (the "lalla lalla là" has had its time), but given the precedents, it's acceptable. When the instruments (or almost) go silent, the voice takes center stage, and it's magic. Too bad about the ending, it could have been better.

The album, altogether, is very enjoyable, despite the light, almost amateur production. Paolo's voice is the strong point, and it stands out clearly. A true singer-songwriter, with guts, like we haven't seen in a while.

LIVE: I saw Paolo Nutini in concert recently. After following him on TV and via the internet, I had the suspicion that he might take himself a bit too seriously, and I was cautious because I don't like those who modify the vocal lines too much live, which is a specialty here. At times, with my eyes closed, it seemed like I was listening to a seventy-year-old "chewing" his voice due to dentures... but this was the only weak point. Other than that, extremely high level, from all points of view, and he, the absolute protagonist, who wore a tank top I wouldn't even wear to wash the car while closed in the garage, does not pose as a good singer... He is a good singer, indeed! A great professional, a great talent, which I recommend to all those who love singer-songwriters from across the channel.

The finale, with a "Caruso" sung with guitar and voice to celebrate his Italian origins, made the hairs on my arms stand on end. Damn, what a voice!

Rock on!

Vito