The one real dud is "RipitUp", a cheesy and unnecessary B-side quality song that should have been left off (but will probably be their biggest hit since I just crapped on it).
The lyrics are a little lacking at times (on "RipitUp"--"Well hey girl, get on the dancefloor/And ripitup yeah/That's what it's there for"), but overall, its an album that will cement Razorlight as formidable competition to The Libertines, The Strokes and Franz Ferdinand.
As I listened to Razorlight's debut album, Up All Night, I wondered why it took so long to hear about these guys.
This would probably explain why RipItUp (sample lyric: “hey girl, get on the dancefloor and ripitup yeah, that’s what it’s there for”) is their best song: two minutes of power-pop with no time wasted and no feet left stationary.
Up All Night’s pop-punk highlights haven’t been done this well since The Libertines’ Up The Bracket.
If you choose to judge Borrell as the better-than-Dylan saviour of music he claims to be, Up All Night won’t mean much to you.
UP ALL NIGHT is another strong song with big singalong choruses and straightahead post-punk energy, all sinewy insistent vocals and driving bass and drums while RIPITUP, is the kind of three minute sweaty indie-pop that's guaranteed to have moshpits and indie nightclubs pogo-ing for years to come.
Razorlight's debut has more hooks than a fishing rod factory, and the advantage they have over Oasis (in addition to not sounding anything like them) is that they haven't had their arses kissed enough to disappear completely up them yet.
Yet incredibly, 'Up All Night' is almost as good as he thinks it is. If you're thinking that this is an album full of poppy indie tunes in the same vein as the singles 'RipItup' and 'Stumble And Fall', you'll be surprised by the sheer depth of the album.
This album version or the Cornfield ‘RipitUp’ will be the last song to come from Razorlight’s debut album and it is a fitting bookend to what has been a truly remarkable 12 months.
The song is called ‘RipItUp’ and it is by Razorlight.
Razorlight have had what could undoubtedly be seen as a stellar year and on November 29th will release for the very first time, a new version of ‘RipitUp’.
This album version or the Cornfield ‘RipitUp’ will be the last song to come from Razorlight’s debut album and it is a fitting bookend to what has been a truly remarkable 12 months.
The song is called ‘RipItUp’ and it is by Razorlight.
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Then came the moment many had been waiting for, when Borrell who seemed at home on a stage decorated as though a Pinter play was about to take place, theatrically announced that we were to be treated to a new song, so I braced myself ready to follow this bold new direction.
A Seiko style marathon clock countdown to the appearance of the Johnny Borrell fronted rasping rockers that are Razorlight and a New Years Eve style countdown ensued, as the excitement hit fever pitch.
A piano is wheeled out for a brand new single "Somewhere Else", a change of pace for sure but you can't deny on first listen it's a great song.
When the crowd's patience is just about to reach breaking point, the band swagger onstage and launch into early single 'RipitUp', with its prickly, spiky guitars and the cry of "Hey girl, get on the dance floor".
The song shows another side to Borrell and the band, as does recent single 'Golden Touch', the purest pop song they've yet written.
Borrell seems desperate to get away from the microphone stand and into the crowd, but his guitar cord seems to restrict him, and his early forays around the stage end with a rush back to the mic for the next verse.
The one real dud is “RipitUp”, a cheesy and unnecessary B-side quality song that should have been left off (but will probably be their biggest hit since I just crapped on it).
As I listened to Razorlight& debut album, Up All Night, I wondered why it took so long to hear about these guys.
They have a confident (some say cocky) frontman in Johnny Borrell, who is the self-proclaimed greatest songwriter of the self-proclaimed greatest band in the world.
Other bona fide hits include the title “Up All Night,” “RipitUp,” “To the Sea,” “Rock and Roll Lies,” “Dalston” and “Leave me Alone.” A British friend introduced me to the band, already a smash in the U.K., by way of “Golden Touch” via email.
If you’re the type who likes to find good music before the rest of the crowd, better get to your favorite record shop for Razorlight’s debut CD Up All Night.
Up All Night has grown on me. I might have to keep my eye out for them on tour here in the states.
The song "RipItUp" locks in and Razorlight implore, over and over, "Get on the dance floor...
Dalemo's bass pulses like a heart in a chest and the band bursts one last time, a glorious white light reminder of what's imperative: blistering, roaring, and complete rock n' roll, in a rock n' roll hall, on a Saturday night.
Johnny Borrell is at the center microphone, barking, "C'mon, c'mon, c'mon!" Carl Dalemo faces the kit and thrums out a pulsing bass line that pours gasoline all over the roaring barrel that 22-year-old Andy Burrows has lit.
