When discussing the work of Mike Skinner (aka The Streets), I like to apply a little bit of auteur theory. Auteur theory, introduced by French New Wave filmmakers in the 1950's, defines the director as "author" of the film, while arguing that you can analyze a film in the context of the auteur's complete body of work. While I generally like to judge each album on its individual merits, it's hard for me not look at a new Streets' record in the context of the stories that have been told before, and the common threads that tell a continuing tale. On his 2002 debut, Original Pirate Material, Skinner carved out his voice as the everyday "street geezer" with with bits of social commentary sneaking out through personal accounts of all night parties and observations of urban decay. Two years later, A Grand Don't Come For Free found him caught up in the highs and lows of everyday life, chronicling a continuing distrust of his inner circle, as well as the rise and fall of his relationship.Hardest Way asks the question of "what do you do" when those thoughts stories bring you fame and fortune? It is more aggressive, more schizophrenic and more hip hop than any Streets record to date. It doesn't have the same focus as the previous two, but that creates a sort of discomfort - part of the argument the album's trying to make. Though celebratory, Skinner seems rather skeptical about all the perks of fame. He defends trashing a hotel room as performance art, expresses disillusion with the music industry ("It's all one big con") and gets hung up on the fact that his drummer moisturizes his hands mid-show. Of course, these aren't your generic tales of bling and the price of fame. Like everything, Skinner approaches these stories with unmatchable wit. "When you're a famous boy/It gets really easy to get girls," he sings on "When You Wasn't Famous." He seems cocky, but becomes all the more human upon realizing that trying to get a girl "whose also famous, too" is rather difficult. In "Memento Mori," he muses, "I never think about money/In fact, I never think about how much money I have," poking fun at lavish lifestyle while also being sympathetic to its appeal.
Of course, could it be a Streets' record without a good cry. This time, instead of a breakup ballad, Skinner speaks to his deceased father ("We Never Went to Church") adding yet another layer of humanity to the story. Skinner's work continues to be unique, always breaking new ground. The problem with obsessing over it is that it becomes increasingly difficult to be totally surprised.
3.5 (out of 5)
::Previous Releases::
Original Pirate Material (2002): 4
A Grand Don't Come For Free (2004): 5
::1 Related Link::
1 Mike Skinner is a cocky little bastard (I mean that in the nicest possible way of course) (Bad Tempered Zombie)
2 comments:
Very thoughtful and thought-provoking review. You are right, of course; it's very difficult to look at this album without taking the Streets' entire body of work into account, as this is a continuation on a theme, to a large degree.
I guess I came at this from a slightly different perspective, as this WAS my first encounter with the Streets, so the earlier albums get compared to this one, rather than the other way around. It affects the surprise factor somewhat.
Thanks for the link, as well!
Like Barbara, I had just came upon the Streets' latest release and then worked backwards, after having "When You Wasn't Famous" in my head for three whole days... a catchy little bastard!
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