It's been a long time since a riff quite this big came crashing over the horizon, and this particular one in
the bizarrely-titled "Charlie Big Potato" is so gigantically metallic and relentlessly pounding that it levels
everything in its wake. Single-handedly reminding us why the "full" volume setting was invented, Skunk Anansie
deal out some quite ball-breakingly tasty good old-fashioned rock here: all leather trousers, screaming vocals and the aforementioned riff from Valhalla. Video on the cd too, an increasingly popular trend I'm 100% in favour
of - even if this particular little vignette resembles one of Henry Eraserhead's nightmares...
"Feel" is the first b-side, a sad-tinged and mellow ballad which gives plenty room for Skin's voice to put on
a gymnastic display. Some of the guitar is a bit Bon Jon Bollocks (an unavoidable disadvantage inherent in
every rock ballad ever), but the same could be said of "Motorcycle Emptiness", so this isn't too serious a
criticism. It certainly doesn't take away from the fact "Feel" is an accomplished and comfy sound into which to
sit back for five minutes. "80's Mellow Drone" is back in "up to 11" mode, although less generically rock than
the a-side, and is diverting enough, but no classic.
It's only rock and roll but I like it.
Rating: 9/10
The Rest
Motherhood's certainly had a profound effect on the Material Girl, inspiring at least a couple of her recent
songs - this one included - and introducing a much more honest and autobiographical aspect to her work.
Commendable, yes, but not necessarily making for outstanding listening. "Nothing Really Matters" burbles along
pleasantly enough for several minutes whilst Maddy sings an ode to daughter Lourdes, but like one of those
Escher endless staircase drawings, goes round in circles without getting anywhere. It also only just manages
to stop straying into cloying sentimentality, the sort of territory inhabited by songs your mother likes.
The b-sides further enhance the unimaginative mood, merely being two remixes of the a-side - not particularly
radical ones at that. The first houses things up, whilst the second tempts the song into ambient landscapes,
in which it gets lost without further trace.
Rating: 6/10
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