Merrie Land The Good, The Bad & The Queen
Album info
Album-Release:
2018
HRA-Release:
16.11.2018
Album including Album cover
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- 1 Introduction 00:13
- 2 Merrie Land 04:46
- 3 Gun to the Head 04:19
- 4 Nineteen Seventeen 03:43
- 5 The Great Fire 03:56
- 6 Lady Boston 04:19
- 7 Drifters & Trawlers 02:34
- 8 The Truce of Twilight 04:22
- 9 Ribbons 02:52
- 10 The Last Man to Leave 02:38
- 11 The Poison Tree 03:40
Info for Merrie Land
"Merrie Land" is the second album from The Good, The Bad & The Queen, a band comprising of Damon Albarn, Paul Simonon, Tony Allen and Simon Tong.
Following an eleven-year hiatus since their eponymous debut, the four musical storytellers are back with Merrie Land, which will be self-released on the newly created label Studio 13.
Produced by Tony Visconti and The Good, The Bad & The Queen, Merrie Land contains 10 new songs - written during the current period in which the UK is preparing to leave the European Union - creating a reluctant good-bye letter, a series of observations and reflections on Britishness in 2018.
Merrie Land's focus moves beyond GBQ's London-themed first album to a wider land, with a beautiful and hopeful paean to the Britain of today, an inclusive Britain, currently in an Anglo-Saxostentialist crises at the end of a relationship, wondering what might be salvaged. Could there be a more perfect band - with their creative symbiosis of pasts and present and shared acclaimed music histories - to reflect on the anticipation, disorientation and confusion of current life.
Damon Albarn, lead vocals, keyboards
Paul Simonon, bass, backing vocals
Simon Tong, guitar
Tony Allen, drums
Produced by Tony Visconti
The Good, The Bad & The Queen
began life as the acclaimed 2007 album of the same name, a heartfelt tribute to London described by The Observer in a 5-star review as –“One of the most surprising and magical records for which Damon Albarn has ever been responsible”. The record traced a journey from the English music hall tradition to West Africa and Afrobeat, zigzagging through the West Indies and its reggae and dub, back to England and London’s punk scene, all the while taking in a strand of British beat music from the ’50s right through to Britpop. The result was a record specific to a place and mood but with a background that was geographically wide-ranging.
This album contains no booklet.