The Score: 'Opus'
Hello, this is the 80s calling. Or is it the 90s? Perhaps it’s the present day? This is the inherent problem with The Score: a question of branding. Their shtick is their versatility, combining Hip-Hop, R&B, soul, rock, jazz – pause for breath – and pop. What comes out is a record that is neither hither nor thither. Snippets of Prince and Boyz II Men poke through and this is underscored by 80s synth sampling, conventional drumbeats and smooth vocal duetting, but, I’m not sure if their adaptable sound ever comes through as totally successful.
The music is more of a kitsch fallback to the 80s rather than a reworking. Bland lyrics and beats often complement typical vocal parts, which have little individuality and range. Initial excitement at the idea of an urban super group was short-lived. Of the opening five tracks it is difficult to say which one stands out. “Flash” is the one that pricked my ears up, but that was more to the essence of Prince lingering around it.
What should be said for The Score is that they were bold enough to try and cover a classic and not totally massacre it, and the result is a decent fist of “Roxanne”. I have always thought that Sting’s vocals were wrong for the reggae inspired melody and a smooth R&B sound fits the song aptly, making it a glow point on the album. Maybe this is the record’s volta? “Sad Song” – an homage to 90s R&B and the attitude of Blackstreet – has many positive attributes. The staccato piano, so often manipulated in hip-hop music is successfully recreated here and sits well in harmony with the beat behind it. The ensemble backing singing adds weight to what would have been slightly effete lead vocals and the choir effect provides a separate talking point altogether. Once again, the lyrics let the song down and it is this and the limited vision in song theme that really disappoints in Opus. “Chew Chew Train” suffers from the same problems, and is one to forget save the funk bass-line and excellent denouement which foregrounds it. Whilst prior form suggested otherwise, “Girls Gone Wild” is probably the best song on the album, with a subtle combination of funk (that bass-line again!), silky vocals and soul over what is ostensibly a pop song. It is an instance when the lyrics fit the music, and in that respect, The Score triumphed. The climax of the record certainly outshines the opening with touches of early Jacko appearing on “I Don’t Want You”, and “Patience” reminiscent of John Legend, but with harmonious group singing on top.
What a pity then, that they end on such a clanger. Whereas “Roxanne” worked, The Score’s version of Journey’s “Don’t Stop Believing” – made cutting edge by dropping the ‘g’ on ‘believing (too cool!) – is an ill-advised attempt at transforming a cheesy rock anthem into an R&B-pop song. It was never a good song in the first place and makes the rest of the album feel self-parodying.
There is an all too familiar cheddar taste to this record. The lyrics, the composition and the baffling final cover all add up to create a tart finish. There are moments of promise, and it is possible that their sound could prove infectious, but Opus largely flounders. Not for the lactose intolerant.
2 out of 5
Words: John Elmes
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