Robbie Greig – Footnotes [Album Review]

Sometimes it’s nice to simply experience art with no strings attached, making it a chill and calm experience without the need for atonal tomfoolery or complexity. Some people enjoy the simple bliss of songwriting mixed with familiar instrumentation, sparking neurons in their brains that already exist to perpetuate an idea that has already been blooming in their musical senses. The release that today’s review centers on will definitely involve this aesthetic and musical style.

Robbie Grieg, described as a gifted singer-songwriter, hails from Melbourne, Australia and is no stranger to the art of songwriting. He has received a slew of awards within the industry, cementing his work. His style of music typically incorporates riff-driven grooves, strong melodies, a knack for proficient lyrics as well as choruses that catch your attention, leaving you humming it at any given time if you’ve caught the music bug. Even within the classification of genre, he doesn’t stop at one or two, incorporating multiple genres at a given time. His songs could be a blend of jazz, rock, blues as well as troubadour-folk elements. Within the wonderful tapestry of genres that he mixes with his songs, he also makes it a point to pay homage to the standard of songwriters in the 70s.

Robbie also doesn’t shy away from writing about a vast number of topics. His lyricism boasts a large range, encompassing topics like love stories, wry humour, social commentary and even personal reflection. His work can be summarised as the perfect blend of head, hand, heart and funnybone.

His newest release, ‘Footnotes’, is his eleventh studio album. His track record and consistency is pretty impressive. Released through Skulduggery Records, we shall explore the wonderful world of his artistry and analyse the release.

The album begins with the first song, titled ‘Another Day in Iso’. The song begins with a light groove, accentuated with a crisp drum beat and a slightly happy-go-lucky cadence. The compositional structure of the song is pretty predictable and cogent, and it can definitely appeal to people who prefer a simpler yet holistic take with their songs. It’s one of those music styles that definitely would not elicit a strong, divided reaction. It has pretty much general appeal. I think the instruments are very well-mastered in the track, which shows effort in mastering. My biggest problem with the track is the vocals and the background vocals. The main vocal track gets a little flat and out-of-tune at some instances, but it can be easily tweaked. The backing vocals do not have any inherent flaws, but they’re not necessarily mixed well with the rest of the track. I do enjoy the solo in the midst of the song, showing the musicality of the acoustic instruments in the track. The bass is also dynamic, wrapping the groove up of the song.

The lyrics:

Magpie sitting in a lemon tree, singing to a hazy sky

Oh, another day goes by

And it’s an ill wind blowing all across the land, people gotta stay inside

Yeah yeah, another day goes by

Mmm, another day goes by

Change in the weather, no time to prepare

And now the rain has come down

We run for cover and weather the storm

And try not to get drenched to the bone

Yeah, to be together with the ones you love

Wouldn’t it be nice to let the day go by

There’d be young ones running all around the house

We’d be singing like that old magpie

Yeah yeah, we’d let the day go by

Mmm, we’d let the day go by

This isolation can mess with your mind

You watch the wheels turning round

You might feel heavy-hearted, a little estranged

You wanna lose yourself in the crowd

Guess I’ll see you on the other side, when things’ve settled down

What can I do to make you realize my love for you is ironbound

Yeah, am I dreaming still?

When I close my eyes, another day goes by

I’ve been drifting in, I’ve been drifting out, drifting through the Covid times

Yeah yeah, another day goes by

Mmm, another day goes by

Another day goes, another day goes by

Mmm, another day goes

Another day goes by

I can definitely read through the 70s influence through the lyrical techniques of this song. It is descriptive, but also quite ‘relatable’ to most people- with a slight knack for describing details and painting the picture of the scene in which the story of the song goes by. There is also an interesting play of events going on, comparing the times of coronavirus (and its associated lockdowns) as a hazy fever dream. The lyrics together with the song do add on a layer of dreaminess that would not be as potent if it were separated.

The second track, ‘Only in Dreams‘, reminds me of songs from the 60s with its slight bossa-nova beat influence and time signature. The musical style of the track does not necessarily deviate from the first track, indicating a solidified nature with the artist’s music style. While the time signature is quite interesting, I think the lush horns in the track deserve more airtime. They give the song a need sophisticated edge, juxtaposed with the casualness of the groove and the beat. The accents of the acoustic guitar help to make the song feel more dynamic instead of static, turning it into a ‘live’ music piece instead of being stagnant.

The lyrics:

I awoke to the sound of thunder, rain drumming on the roof

There was a dream I was trying to remember

And I was hoping it was waterproof

I was floating in the wild blue yonder, when I came upon the Promised Land

Where joyful music filled the air and lovers walked hand in hand

Chorus:            Only in dreams do I fly

                  On the wings of love, light as a soul can be

                  Only in dreams do I try

To break these chains that entangle me

They say nothing’s lost just hidden, and you only have to dig and delve

They say every secret passion is just dying to reveal itself

Then I heard about a back-door heaven, all you needed was a set of keys

So I went to the candy seller, and he said ‘Why not try a few of these?’

Chorus

There’s nothing like the thrill of romance to make a lover’s spirit soar

Good music’s intoxicating, yes, and the healing power of the Lord

But they all come with complications, and you’re sorry when the thrill is gone

So I prefer to lay my head down and let dreams carry me along

The written motif of stars aligning and romantic feelings get even more intense within the lyrical body of this track, making the feeling of love and infatuation more potent. The lyrics of this song read off as if they were sentences from a love letter to one person to another. It’s actually more well-written than the previous track, with the use of metaphors instead of direct descriptions. It excites yet soothes the listener at the same time- not to mention, the ‘thrill’ of the chorus itself.

The third track, ‘San Remo to Kilcunda  –  for Farmer Paul‘, begins with a stark contrast to previous tracks. It has a very Spanish macabre feel to it, not just in the pace of the tempo, but the intervallic structure of the notes used both in the vocal track as well as the instrumentation. The vocalist shines better in this particular track, almost reminding me of the vocals on ‘Holiday’ by the Bee Gees- solitary, miserable, but profound, bright, and clean at the same time. At this point, it seems like each track has an interesting instrumental quirk that sets it apart from the other tracks. In this particular instance, it’s the use of strings. I like how tender and melancholic the strings sound. They are utterly graceful without detracting from the groove of the total track. From a compositional perspective, this song is very well-composed.

The lyrics:

San Remo to Kilcunda  –  for Farmer Paul

I’m wishing that days like these could go on forever

The wind in the sheoak trees, the beautiful weather

And the roar of the open sea

Familiar company

Walking San Remo to Kilcunda

On days like these the wattles are blooming

The poa grass plays the breeze like a dancer performing

As we follow the coastal trail

Over hill and dale

Walking San Remo to Kilcunda

On days like these you come to discover

That thanks to the Landcare team the bush can recover

And it’s people like Farmer Paul

Who answer the call

Walking San Remo to Kilcunda

On days like these we might stop for a number

It eases the aching knees and the pain in the lumbar

And when we’ve seen out our time

This bush will be in its prime

Walking San Remo to Kilcunda

The fourth track, ‘If They Only Knew’, might be my favourite track in the entire album. Not only is my personal bias to associate this track with the Bee Gees even stronger due to the cadence of the vocalist’s tone, but the notes chosen with the acoustic guitar is extremely soothing. The musical structure and writing are extremely genius: it maintains an air of familiarity while injecting chords that seem like they sound like ‘questions’ to contrast and eliminate any notion of boredom.

The background vocalists also complement the main vocalist in this track, making it where the whole track gels together. The bridge of this track is also extremely 70s, and gets a ‘musical revivalist’ pass from me by accurately replicating the feel of that era without making it sound cheesy.

The lyrics:

If they only knew the trials I’ve undergone

To be waiting for my interview

With the men in uniform

If they only knew the things these eyes have seen

Would they regard me as a child of war

And not the enemy?

I wish they’d known my family

The ones who had to remain

If they only knew my name . . .

If they understood life in captivity

To get a job or go to school

Was just a fantasy

We did what we had to do

We waged a covert campaign

If they only knew my name . . .

The secret police, they bound our wrists

And took us to a holding cell

What happened then with those sick men

Is nothing that I want to tell

If they only knew the fear I hold inside

Would they go easy on this troubled soul

Who’s just running for her life?

Or will they see just a covered face?

Will it be more of the same?

If they only knew my name . . .

In terms of lyrical songwriting, I think this is one of the most proficient sets of lyrics in the album. The theme of the lyrics might be autobiographical, but for the most part, they are raw and jarring. These are factors that do stick out when it comes to whether your lyrics can connect with people and be potent or not. The lyrical content almost reminds me of the lyrical content of the song ‘7 Seconds’ by Youssou N’dour and Neneh Cherry, due to how it unfolded. It is riddled with metaphors and truths masqueraded, possibly because reality is harsher than it seems to the songwriter. Extremely profound.

The fifth track, ‘One Fatal Flaw’, continues the same motif as the previous track: only turning it slightly more jarring, for a more serious tone with this particular track. The general elements stay: the clean tone of the vocalist, the crisp percussion, and the warm hug of the acoustic instrumentation. The song is quite predictable, unfortunately, BUT it saves itself with musical variation at the mark of three minutes and eleven seconds. The piano enters with a stranger interval structure, opening a ‘metaphorical door’ for the saxophone to end the track. My only critique is the fact that the saxophone sequence was actually too short.

The lyrics:

I think I’ve blown it this time

I let the pot boil over, I crossed the line

I’m sorry that I lost my temper and said what I said

I had no business messing round with your head, no

I should know better by now

If there’s no fool like an old fool, I take a bow

How quickly it turns bitter what used to be sweet

How things can change in a single heartbeat

Another chance goes begging, as she walks out the door

All because of one fatal, fatal flaw

Love is my reason to live

And you know I’ve tried to give you all that I can give

I want you beside me if only you’d stay

If my jealous anger didn’t get in the way

Another chance goes begging, as she walks out the door

All because of one fatal, fatal flaw

I had the world at my feet

I was born to privilege, everything looked sweet

But in that Garden of Eden a poisonous seed

Keeps sowing heartache for a fool like me

Another chance goes begging, as she walks out the door

All because of one fatal, fatal flaw

I think a lot of people can relate to the lyrical body of this track. Even though I have stated already that the musical tone of the choice of genre makes it seem relatable, this set of lyrics definitely amps up the feeling. Everyone’s had that one moment where one single thing messed a lot of prospects up. Especially when it comes to a situation as dire as love and jealousy wrapped up in one. Emotions can get the best of you, seize you freeze you, and take away what you’ve taken for granted.

The sixth and seventh track, ‘Lay Your Burden Down’ and ‘Partners in Crime’, mark a slight dip towards the end of the album as they mimic each other in an instrumental sense with no room for any kind of quirks for me to pick out. The same four elements that are consistent throughout the album are present in these tracks, with adequate mastering. Perhaps the lyrics would furnish these tracks better, and we shall analyse:

The lyrics:

‘Lay Your Burden Down’

Oh, oh, lay your burden down, Oh, oh, may happiness be found

Oh, oh, lay your burden down, and you won’t have to worry no more

Well, a bird can’t fly with a broken wing, lay your burden down

And the eye can’t see when the light grows dim, lay your burden down

You’ve been carrying that load too long, brother, you have to let it go

Come and see the world in full colour, free your soul . . .

You don’t need no god or a holy book, lay your burden down

There’s a light inside if you take a look, lay your burden down

What’s broken can be healed, sister, down to the core

What’s hidden be revealed, sister, open the door . . .

Oh, oh, lay your burden down

Oh, oh, may happiness be found

Oh, oh, lay your burden down, and you won’t have to worry no more

It’s a rocky old road to a peaceful mind, lay your burden down

And you better watch out for the danger signs, lay your burden down

When it feels sometimes like a losing battle, and everything’s going wrong

If you can get yourself back in the saddle, you can overcome . . .

Chorus

I was running blind through the darker times but I landed in a brighter place

I learnt to see into the heart of me, and I even felt a touch of grace

So here am I come to testify to a method with the power to heal

Come on, put your mind at ease

I went astray and I hid away, now I’m trying to be my own best friend

I was inhumane and I caused some pain, but there’s time enough to make amends

Gonna clear my slate of this heavy weight, that’s all I’m trying to do

Gonna make it right this time around

Gonna make it right this time around

I think the lyrical structure of this track is pretty colourful and cute, as well as comforting. It is quite a difference compared to how predictable and underwhelming the backing track to the track was. Once again, the songwriter shines with the wonderful use of metaphors and consistent reference to nature- giving it an earthy yet emotionally in-tune feeling.

The descriptive elements of his writing genuinely paint a picture in my head of what the scenery is like, regardless of how different my qualia is. That’s one of the marks of a good writer. Another commendable arc of these set of lyrics is the level of self-awareness and self-correction theme throughout the lyrics. That is also quite rare for me to see when it comes to lyricism.

‘Partners in Crime’

You feel familiar, you feel just right

And when I hold you, I wanna hold you tight

I’ve gotta tell you

I’m on your side, I’ll stick to you like honey

On this ride, on this journey

Partners in crime

It makes me happy when I take your hand

Sharing stories only we could ever understand

I’ve gotta tell you

I’m on your side, we go back a long way

We’ve done time, we’ve got history

Partners in crime

You feel familiar, you’re good to be around

Let’s remember, we’re standing on common ground

I’ve gotta tell you

I’m on your side, we wanna stick together

We’re a tribe, we’re a catastrophe

Partners in crime

I love the dreamers who wanna set the world to rights

And the creators who feel the march of time

I’ve gotta tell you

I’m on your side, we’ve been through some dark times

We survived, we’ll see the mission through

Partners in crime

I’m on your side

The lyricist goes back to the same gambit of lyrical writing with reference to romantic endeavours as well as experiences. I think this set of lyrics are actually oddly modern and could appeal to a younger base. Well, romance doesn’t necessarily fizz out with another generation- the same trials and tribulations of love still stand for others to experience. The lyrics remind me of a Bonnie and Clyde type relationship that one could have. A ‘ride or die’ if you will. They’re special and pretty wholesome.

The last track, ‘Out of Hand’, starts off with a more upbeat swing and important cadence to furnish the theme of the song. It has a stable groove, furnished by the words of the vocalist. The acoustic guitar is pretty lush, and the horns give the song a taste of excitation as well as variation. Even though I really love the horns in the song, as they remind me of a significant mainstay in the Afrobeat genre- lush horns as well. However, the horns aren’t the only thing similar to Afrobeat in this case. The song also boasts an interesting body of lyrics that deal with social commentary just like the structure of the average Afrobeat song.

The lyrics:

There’s no going back to the age of innocence

The blissful ignorance of days gone by

You’ll have to admit it’s looking ominous,

Downright dangerous, we’re wasting time

Our heads adrift in social media

Feeding our mindless egomania

How will we ever avert catastrophe

Or grasp the urgency to set things right?

We’ve come to the limits of democracy

Where short-term policy is all that counts

The Earth is in need of careful stewardship

Courageous leadership is paramount

Some are too busy with survival

Some are too greedy with demands

To worry about the rising temperature

The house that’s burning out of hand

I think the lyrical content of this set of lyrics are pretty undeniable. They’re quite relevant to these times as well as the activities and distractions that characterise us these days. Not only is it descriptive, it is quite witty and the most important factor of them all: it certainly is true. It tears apart what’s holding us back these days and puts it right there for us to self-reflect and look at ourselves in the mirror- after all, change only begins with us.

Overall, I think ‘Footnotes’ is an interesting release. Even though the genre is not necessarily my utmost interest, the instrumentation throughout the release was competent and well-mastered enough for me to appreciate it with even some compositional quirks to keep your attention. I do have to say that the star of this album isn’t necessarily the instrumentation but also the lyrical content. It’s hard to find music out there with lyrical content that’s worth taking a gander at and the writing throughout this album is pretty top-notch. Also, the constant groove throughout the album helps to create a consistent feel that definitely makes you feel like you’re not out of place.

Score/Good : ‘Footnotes’ is an easy listening album with a consistent groove and sprinkling of interesting compositional quirks, but shines best as an album perceived through the lens of a songwriter. It is well mastered, and boasts a body of lyrics that are definitely befitting of any situation- be it love, or the state of society these days. 

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

Follow Robbie Greig
Facebook
Website