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A defying mix of genres, each celebrating the band’s Scottish roots in their own unique way, it’s a fourteen-track delight with something for everyone, no matter what you’re looking for.
The title track is a welcome with open arms, kicking us right off and demonstrating the Falkirk band’s all-or-nothing attitude.
Arguably, it’s one of the best album openings that I’ve heard in a good wee while with the jaunty melody and soaring guitars that litter the track giving it the trademark Brògeal folk sound.
Chucking their heart and soul into it, leaving nothing but the kitchen sink, this momentous tune gives off a similar sound to other Scottish legends Biffy Clyro, and ensures that what follows is bound to be equally enjoyable.
Having always been a very guitar-centric band, it’s truly emphasised on the entire album. From the searing sound of ‘Lady Madonna’ to the much gentler acoustics of ‘Scarlet Red’, the versatility of the young band and what they’ve been able to achieve is simply outstanding.
‘Vicar Street Days’ and much later track ‘Draw The Line’ are two tracks that stand out to me for the freshness and fun that they bring to the album.
The former reminisces about the nostalgia of being young, taking its name from the local pub that the lads’ spent a lot of their formative years in. Never being one to shy away from tongue-in-cheek lyricism, favourites including “sometimes friendships die / sometimes they go to Heaven and you don’t know why” and “but as people change, the memories fade, they all become a haze of the Vicar street days”, it makes ‘Tuesday Paper Club’ one to remember. The gentle banjo that’s heard throughout doesn’t steal the spotlight, instead it subtly compliments the track and succeeds at making the album the best it can be.
The drums in both tracks add a certain yet lovely punch but the ones in fast-paced and spirited ‘Draw The Line’ makes sure that the song wouldn’t be out of place at a Scottish get together. Daniel Harkin’s and Aiden’s Callaghan’s vocals work wonders together, a beautiful melting pot showcasing the best of Scotland.
Big hit ‘Friday On My Mind’ says what we’re all thinking - I wish it was the weekend. It’s a dancy tune where you can hear the five-piece try out and experiment with different sounds. One of the reasons why I love them so dearly is because they’re not afraid to take risks in order to better themselves which this song just proves.
“You gimme all your loving healing and the feelings getting stronger” emphasises the fun which Brògeal put throughout on the album.
However, it’s not all a fast-paced frenzy as proven by two of the calmest songs on the tracklist; ‘Scarlet Red’ and ‘Go Home Tae Yer Bed’. Detaching from the chaos of the album, both have a lullaby-esque quality to them, unveiling the more vulnerable layers of Brògeal.
Tackling different aspects from each other, ‘Scarlet Red’ is a sweet symphony dedicated to Harkin’s sweetheart with tender lyrics like “I’d let you pick out all my clothes forever” / “we’re going to tour the world when I’ve got money”. The mellowness of Euan Mundie’s bass supports the song, really allowing it to gain its own wings.
‘Go Home Tae Yer Bed’ is the more melancholic partner with Harkin’s rich and heavy vocals coming through. This song especially shines a beacon of light on how the Scottish music scene is one of the best in the world. It’s a tender celebration of the band and Scotland as a whole with Josie Duncan singing some verses in Gaelic.
You would be forgiven for thinking ‘Lady Madonna’ came straight out the 60s. Giving Paul McCartney a run for his money, it’s one of the most rock-n-roll songs on the entire LP. “You’re the one that I just can’t have” details the yearning and desire that’s part of life. His Scottish lilt alongside the jangly tambourine helps to bring the tune to life, making it as catchy as ever.
‘Dippin’ N Divin’ marks the half-way point. A little, thirty-second ditty that showcases the humour of the boys.
Performed acapella, it’s one you can get your toe tapping to and revel in the genius that is Brògeal.
Following shortly after, ‘One For The Ditch’ and ‘Racing Track’ are songs which should soundtrack having a pint with your mates and letting your hair down. With both of them getting your heart pumping as they start to slowly build before completely letting loose. Influences of The Pogues are crystal clear here not just vocally but with the accordion too.
‘Racing Track’ is one of the lightest songs instrumentally on the album with Luke Mortimer’s signature drums being one of my most favourite parts of this, quite simply, exceptional and cheery tune. The song changes slightly near the middle, reminiscent of The View’s ‘Tragic Magic’, it adds a much needed dynamic layer helping to break up the song and ensures that it doesn’t become boring.
The guitars in ‘Turn and Walk Away’ are almost like Newcastle icon Sam Fender enticing you in and spitting you out as a whole new person. It’s one of the most self-deprecating tracks with references to the infamous Dr Jekyll and Mr Hyde. It’s a message that most of us can relate to in one way or another, feeling like a fraud for simply existing “if you knew who I really was, you’d turn and walk away”.
I think ‘Stuck Inside’ is about being stuck inside your own head, especially after a break-up. “You’re asking me how I’m feeling and I cannae f*cking think” adds weight to my theory and speaks to listeners who have ever gone through the same thing. It’s a lot more poppier than raw and weepy ‘Apples and Leaves’ which preludes it with the funky bass lines and soaring guitars.
‘Lonesome Boatman’ is an ending unlike any other. With no vocals at all, it feels like it should be out of place but it’s not. It has a slightly wild west feeling to it (made stronger by the addition of the penny whistle) and while not my favourite tune, it’s still an exceptional one with its carefree and wild spirit. Taking on a faster pace, it kickstarts the party once more and celebrates all that ‘Tuesday Paper Club’ has turned out to be.
I’ve joined the Tuesday Paper Club, have you?
Madi Briggs
Image: ‘Tuesday Paper Club’ Official Album Cover
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