Man Like Me : 'Man Like Me'
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The poet for the common man is so readily accepted nowadays as a legitimate musical persona, that there might be a case for packing up this identity and putting it in the warehouse of music past. Certainly The Streets’ third album had Mike Skinner in a more reflective nay resigned mood, and I’m sure I read murmurings of there only being one more work to come from the Brummie bard.
The problem arising from this apparent winding down is that there are numerous acts that are slavering to fill his place. It is perhaps prudent here to note that Just Jack – another champion of Joe Blogs – has recently dropped his second album. Whilst the novelty of a straight talking, feisty singer (fronting a band) still gives the little tickle of interest, the slapstick, self-deprecating, warts-and-all portrait is starting to feel like parody. From first impressions, Man Like Me knocked me back with two punches of this kind. “Booze” is a typical, ‘witty’ tale of lads getting lagered up and rowdy, and provides a platform for the collective to reveal their identity: “First name, Man/middle name, Like/Last name, Me/Say what?” “Single Dad” follows up this body blow with a satirical ditty about contraception and the state of society. These have been done before. Did no one think to tell them?
Oh ye of little faith. Pushing words such as ‘contrived’ from my mind, these songs have an unerring catchiness. The brass on both tracks add a touch of ska to the proceedings, and the steel drum on “Single Dad” subverts the rather bleak image of a single parent, a consequence of lack of foresight, with a carnival feel to the song. By not laying it on thick and sending listeners into a vortex of disapproval, it turns a tough reality into a decent record. “9 Lives” is in the same ilk and trades on many genres such as disco and electronica to make another respectable pop single. “Doughnut”, which precedes it, is another comment about the personal life of this down-on-his-luck hero, but is generally quite a well pulled together song.
The social commentary line is unavoidable in this record and that can become tiresome creating a Nintendo inspired melody, as heard in “Oh My Gosh” and “Party”, is a worn-out paean to 90s culture. Likewise with the jocular reference to ‘Sunny Delight’ on “Fruit” (“whatever you do, stay well clear of Sunny D”). This is sandwiched by mentions of ‘Shake & Bake’, ‘Cadbury’s’, and ‘Sainsbury’s’. I get the picture, you’re plugging your down to earth/average Joe persona!
To reel back the exasperation, people say you should write about what you know, and the fulcrum of the album – “London Town” – is an excellent combination of new wave, R&B, grime and garage; something in the Beatbullyz vein. Even the surly, glottal accent of the frontman sounds appropriate, especially when placed next to the smooth and pumping R&B backing vocals.
Fighting closely for the title of best song on the album, “Carny” genre-blends to great effect, with psychobilly, disco pop, ska, and garage all poking through. The main disco hook is an infectious sound and the brashness of the trumpets near the end of the song make it truly a product of London Town: a smorgasbord of music. Whilst “Party” and “Fruit” fail to capitalise on the solid foundation that “London Town” and “Carny” put in place, “Falafel” – with its dabbling in what sounds like traditional Turkish sounds (perhaps an intentional multi-national flavour?) and new wave/garage on the first half; and its smooth dance second chapter – is a belter to finish on.
Like a wave, Man Like Me have foamy, crisp peaks which travel fast and true, but suddenly crash into a trough of salty disarray. It is a solid attempt, despite the niggling feeling that people might conclude that they’ve heard this done too many times already.
3/5
Words: John Elmes
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