Photo:
'Original Pirate Material' is one of the albums of our generation. It's been ten years now that Birmingham-born Mike Skinner released the debut with his mates as The Streets . It was a genre-breaking record; merging garage, hip-hop and rap, white rap to be precise, creating a completely new sound. The album was critically acclaimed, the 'difficult' second album didn't come across as a struggle for The Streets. The garage beats were swept aside and the rapping/talking became polished and a pop master-piece was born, the music stayed credible and different to other trends. Where most struggle to capture the unique and excitement delivered in the debut, Mike Skinner took it in his stride, 'Original Pirate Material' documented the life of early twenties in the new Millennium, 'A Grand Don't Come For Free' was a lot more introspective, focussing on Skinner's personal life and the early days of fame. The high-point in the album, probably of The Streets full discography is 'Dry Your Eyes', a song that spoke of feelings in its simplest form in a direct and tender way.
Having already said he'd retire The Streets after the release of fifth album, 'Computers and Blues', there's a distinct feeling of a 'fuck it' approach, and that comes across on the album. There are risks that hadn’t been taken since the debut as the record visits various places. It has been a year and a half since the release of the disappointing 'Everything Is Borrowed', which struggled to gain any real appreciation, sounding safe and uninspiring. 'Computers and Blues' definitely highlights this, on early listens it feels like it has just been thrown together, lacking a theme and facing an identity crisis, but in retrospect, it is merely Skinner looking back on his career, his life and how he will be remembered.
'Outside Inside' welcomes Skinner's clever lyrical musings back but the track fails to really go anywhere, making it become more of a lengthy introduction than a letter of resignation. The diversity of this record is so vast that it even goes places the group never previously visited. 'Going Through Hell' could be a lad anthem but the heavy guitars and chorus give nods to the current crop of American hip-hop. 'Roof Of Your Car' has hit single written all over it: pop synths, soft vocals and catchy pop hooks show that he hasn't lost the art of writing great pop.
There are various references to modern day culture, Facebook is the main focus in 'OMG' and 'Puzzled By People' discusses how we are dependent on technology, and even on the complexity of emotions. 'Without A Blink' is another uplifting pop tune but it still sounds fresh and unique. Although Mike Skinner has influenced so many, there hasn't been anybody who has successfully replaced him, it was only the drop in his own standards where he nearly lost it. 'Computers and Blues' is a return to form that makes him relevant again. Although his songs are often visual musings some of his best work comes in the dark thoughts and dealing with depression and lonelyness. 'Blip On A String' shows his struggles and the acoustic sounds of 'We Can Never Be Friends' is sensitive and deep.
The Streets kept away from guest vocalists a lot in the early days but they have been used wisely on this record, most notably on the catchy 'Soldiers'. 'Trying To Kill M.E.' is a reflection the ups-and-downs that the London-based ‘rapper’ hasdealt with in his private life. Closing number, 'Lock The Locks' is a goodbye letter to The Streets and the pop-star stardom, mistakes and successes that he has taken over his career.
It is the perfect time for The Streets to bow out as the legacy created from their early work has now become mainstream, whether that is the UK rap and grime scenes, various sub-genres of dance or the poetic story telling songs. It’s a shame that this well be the last new material we have.
