TRACK REVIEW: Mi'das- If I Were You







If I Were You




If I Were You is available at:

The album, All Inside Your Head, is available at:

RELEASE DATE (iTunes): March 28th, 2016

GENRES: Soul; Pop


London, U.K.


Justice- 9.6

Sunshine- 9.5

If I Were You- 9.6

Twilight- 9.5

Too Little Too Late- 9.5

Feels Like Only Yesterday- 9.6

Now We’ll Never Know- 9.5

Grace (Feat. Nate Williams) - 9.5

Get On Up- 9.6

This Year (Make a Change) - 9.6

Everybody’s Changing (Live at The Troubadour Bootleg) - 9.5


Justice; If I Were You; Feels Like Only Yesterday; This Year (Make a Change)


If I Were You


THE starlings are in the gardens and there is a general feeling of...

spring in the air.  I am glad winter is subsiding and the seasons are changing:  It brings the best out of human beings.  There are smiles on faces and a positive vibe floating around.  To reflect the mood, I have been seeking music that gets me dancing and happy.  I love reviewing artists who can reflect and take the listener somewhere personal:  A musician can do that and elicit plenty of verve, energy and dance.  Luckily, I know just the artists (who can answer my prayers):  It is good to be at the feet of Mi’das.  I shall come to him soon- and look into his new album- but am reminded of Soul music in general- and what is on offer- and our (Britain’s) best male solo artists- finishing with a bit about how to grab attentions and remain in the mind.  Just recently, I ran a feature about Stevie Wonder:  Focusing on his legendary album, Innervisions.  As part of my ‘Classics Series- a bi-weekly feature that looks at the best albums of the past- I immersed myself in Stevie Wonder’s greatest album (some would argue that honour goes to Songs in the Key of Life).  The reason I focused on that album was my love for Soul/Motown music:  We rarely hear artists that evoke Wonder’s spirit and genius.  Thinking about Innervisions- the hard-hitting subjects assessed and one-man band authority of the star- and you can tell how personal the album is to Wonder.  I guess there are some like-minded- those that have an air of Wonder- artists in the modern scene.  There is still a reliance and dependence on Pop music and fitting into a particular hole.  I fear artists are becoming too hesitant and ‘safe’:  Not wanting to push themselves or get out of their wheelhouse.  It is all very well talking about personal relations and wanting to seem everyman:  This does not mean you have to sacrifice sound, surprise and originality.  For every great Soul artist; there are waves of disappointing Pop/Folk/Indie artists who leave you fatigued and uninterested.  Soul and Pop are genres that have so much potential and cross-over flexibility:  Every music lover appreciates a good jam; some cutting song that can get the feet moving.  Among joyous notes you can easily incorporate tales of heartache and loneliness- without scaring the listener and compromising integrity.  Last year, Soul started to encroach into the mainstream more effectively.  In 2016, it (Soul) is a genre that has to fight for its place:  Not enough mainstream acts are incorporating Soul into their music.  If you look at albums by Leon Bridges (Coming Home) and Erykah Badu (You Caint (sic.) Use My Phone):  These were two of the most successful artists of the last twelve months.  Leon Bridges has been particularly successful and notable:  He is gaining huge acclaim and celebration.  Evoking shades of Sam Cooke and Marvin Gaye:  His ‘70s Soul sound is given modern production and a current-day kick.  With some big-hitters swinging for Soul and missing- Adele’s 25 was a massive disappointment; Sam Smith is on his way down- we need more artists that can keep Soul burning and bright.  Mi’das is a musician everyone needs to watch out for closely.  Matching the likes of Leon Bridges- for sheer quality and potential- his new album, All Inside Your Head, has been amazing listeners.  It is released on iTunes in a week- it is available via his official site and SoundCloud- and will see the London-based artist gain a lot of new fans.

Before I continue- looking at other themes- let me introduce Mi’das to you:

"Mi'das a.k.a Mike Davies creates soulful pop music infused with his trademark vocal and guitar playing. From busking the streets to performances with artists such as Leona Lewis, Jessie J, Rita Ora, Labrinth and Jamie Cullum, you could say the last 10 years have been quite a journey for this Brighton born soulful strummer. In 2015, Mi'das played a total of 60 shows to 20,000 people and memorable performances at venues such as the O2 arena, Royal Albert Hall, Hyde Park, and Kensinton Palace (In front of Prince William, Bon Jovi...) He also released a series of three EPs 'The Story so far' which was an eclectic mix of the soul and pop music he loves so much.

Quoting Bill Withers, Joni Mitchell, Elton John and Gregory Porter as strong influences the sound is rooted in timeless songwriting but is discernibly of our time. Speaking of his debut album, Mi'das states 'This album may be the most retro sounding album I'll ever make as a homage to those artists I've learnt from’.

His debut album 'All Inside Your Head' is a collection of songs which represents the last 10 years of his life. As for the meaning behind the name, Mi’das adds 'I called it All Inside Your Head as I've come to notice that most things in this life good or bad come down to something you can change yourself in your own mind without blaming anyone or looking for other reasons'. Mi'das will be going on a headlining tour across the UK in May".

I have ‘gone on’ about male solo artists quite a bit, recently:  I shall not bore people too much right now.  I am just aghast at the rather spotty quality coming out:  There are so few artists you can hang your hat on.  With every promising artist; time seems to distill their magic:  They might ignite at first only to whimper upon future releases.  I mentioned the likes of Sam Smith:  A musician who (I doubt) is going to last for a long time.  His debut album- In the Lonely Hour- showed enough promise:  I feel he will struggle to repeat success on a sophomore album (if one does come).  You have a few male solo artists that are making huge statements- I must mention Jamie xx and Kendrick Lamar again- but few others that really shout their intentions.  Mi’das is a singer that hits you right away:  You just know he is someone who will remain and develop.  Whether it is the sound-blend he evokes- that Soul-cum-Pop crossover- or the pure passion presented:  I know there will plenty more albums from the young star.  Having performed for a number of years now, Mi’das is hitting his stride and really blossoming.  All Inside Your Head is a bold and brilliant statement- I will go into more detail soon- that has no weak tracks at all.  The album bursts with colour and life:  There are myriad emotions and stories here; that sensational voice backed by trademark guitars and funky beats.  Mi’das’ album is one side to his impressive arsenal.  His official website- is beautifully designed and easy to navigate.  All the photos information and links you could need are here.  Backed by Project Light Agency:  Mi’das seems fully-formed and in very safe hands.  I am doubtful how many current mainstream stars will remain:  There seems to be some uncertainty among critics and listeners.  What I do know, is this:  Mi’das will be hitting the big-time very shortly.  All Inside Your Head is all the proof you can need:  An album that no listener can ignore; a record you want to revisit and put you in a good mood- the music effortlessly elicits smiles and sing-along.

Mi’das is an artist who has transitioned from a busking hopeful to a musician on the brink of stardom.  He is not somebody who has appeared on talent shows and expects people to give him a recording contract:  He has worked tirelessly and been honing his craft for years.  Since the days of dreaming and (playing to street passer-bys); Mi’das has shown huge progression and consistency.  Prior to All Inside Your Head; songs like Be Strong and Call It Love- like the album; they are available on SoundCloud- emerged.  Each number displays that distinct Mi’das sounds.  Looking at redemption and the need to remain strong: Be Strong has a gorgeous Blues guitar lick that gives it a seductive charm.  Mi’das mixes guitar sounds- strumming acoustic and exhilarating electric- to propel his gorgeous voice.  A song that implores to a sweetheart:  He wants her back and lays his heart on the line.  Backing vocals add a Gospel element to the song:  In a way, the song is a hymnal deceleration of intention and love.  It is here you get a glimpse of that chocolate falsetto:  You honestly picture Stevie Wonder when hearing Mi’das in the zone.  Call It Love is a different beast, that is no-less impressive.  A more sedate and introspective number:  It gives a chance for Mi’das to let his acoustic guitar take centre stage.  Looking at new-found love- a new girl who he may have feelings for- there is confusion and uncertainty.  Friends tell (our man) he is in love with this girl:  Our man is less certain; he is just friends, you see.  Presenting a stunning vocal- that has bits of Jeff Buckley in the mix- it is another rock-solid and immense track.  Neither track appears on All Inside Your Head:  It just shows how strong Mi’das’ current material is.  The truth of the matter is this:  Both tracks would sound seamless on the album.  There was no need for improvement or change:  These early cuts are among his very best work.  Given the fact (All Inside Your Head) is an eleven-track album:  Perhaps there was no room for Call It Love and Be Strong.  Maybe, thematically, at least, the songs are not appropriate for the album.  Most artists are a little slight on their early songs:  No such fate here, sir.  All Inside Your Head is business as usual.

I wanted to highlight If I Were You because it seems to bring all the album’s themes/strengths into a single song.  The album’s title itself (All Inside Your Head) made me curious and wonder.  Maybe- speaking to friends and lovers- their troubles and woes are all self-made and not there.  Perhaps it is something more personal and introspective.  I know Mi’das has his own story about the album.  It is about recognizing bad and good things that swirl about the mind.  You do not have to blame anyone or ascribe reasons (for the bad):  It is in your head and you can tackle it alone.  If I Were You begins with plenty of electricity and mesmeric swing.  The percussion rolls and kicks with intention and sass.  The keys and strings evoke a confidence and swagger that will win you over and get the smile on the face.  I know I keep mentioning Stevie Wonder- and Innervisions a lot- and it is not meant to distill Mi’das’ touch.  It is meant with all the flattery and compliment I can muster.  I do not compare artists to Stevie Wonder for the sake of it.  When If I Were You began, it was as though Innervisions’ best moments were being updated for the modern audience.  That sturdy and immediate introduction are something of real beauty.  You wonder what direction the song will take and what themes will be addressed.  When our hero comes to the centre; we hear about “Mr. Perfect” and how (Mi’das) would never disobey him.  There is a certain tongue-in-cheek delivery that suggests the sentiments are not completely honest.  Although “You’re worth it”- the loyalty and obedience- are done from Mi’das’ own back.  I was fascinated from the moment these words were delivered.  Just who is the man being documented?  There is that mix between admiration and dissatisfaction.  Maybe a friend and compatriot are being investigated:  Maybe a politician or public figure?  Whoever compelled the song; you start to imagine and create your own story.  Although you can hear Stevie Wonder’s influence; Mi’das is his own man and unique artist.  If I Were You has been chipped and sculpted over many months.  You can tell how much craft and attention has been paid.  Every note and line sound well-rehearsed and perfected- it does have a looseness; never sounds too polished.  Few musicians take the time to nail songs and put that much passion in- fearing critics and listeners will forget them if they do not rush music- and avoids disposability.  Mi’das brims with passion and commitment at every juncture:  A musician’s musician that wants songs to be as strong as they can be.  “You tell me that black is white”- and “everything between is wrong”- it is claimed.  Wrong answers and poor mathematics are being taught- “2+2+2 is nine”- and the mystery deepens.  I grow more curious as to the song’s origins and influence.  Just who is this person being addressed?

Complexities and life-swap are addressed in the chorus.  If roles were reversed- and the subject was transposed- would (our hero) be right or wrong?  Would things be done in the same way?  There are underlying anger and annoyance within If I Were You.  Keeping things upbeat and funky:  The keys swirl and jive whilst the beats are tight and sharp.  It is near-impossible ignoring the chorus and its insistence perseverance.  The composition grabs you and ensures you get those feet moving!  Mi’das keeps asking questions and probing for answers.  “Would I be right all along?’ is one of the most pertinent questions introduced.  Maybe some false advice has been given (by the subject):  Following poor idols and misguided advice has brought this song to light.  Of course, our hero knows the answer to these imponderables and queries.  He knows who has motivated his momentum:  It is wonderful guessing and picking the song apart.  The lyrics throughout mix simplicity and intelligent:  They are easy to quote but you admire the thought that has gone into them.  If you (the song’s subject) saw things from the other side:  Would they say the same things and be who they are?  I can sense that conflict and dissatisfaction manifest itself in a direct and urgent vocal.  Not content to let the lyrics alone shine:  That stunning voice possesses such power and caramel-smooth delight.  The juddering, hips-dancing composition makes everything sound completely exciting and alluring.  A wonderful blend of ‘70s synthesisers and modern studio values:  The intergenerational comingling works wonderfully throughout.  Feelings are being guarded and sublimated:  There is a distinct air of bubbling tension that threatens to explode into something fierce.  Just as Mi’das’ voice is near-explosion, the composition steals some focus.  Cool-as-ice electric guitar swoon in and steals some spotlight.  Bonding with electronics and beats:  The combined elements lift the song up and give it another kick to the stratosphere.  By the closing notes- with our hero having said all he can- you luxuriate in the divine composition and a magnificent song.  Even when things end, you are left wondering about it:  Just what drove Mi’das to write the song?  Personally, I do not want to know the answer.  Every listener will have their own views and believe their own take.  Mysterious, upbeat and hugely addictive; one thing is for certain:  If I Were You is All Inside Your Head’s finest track.

British Soul has representatives that are doing their best to succeed.  Leon Bridges has shown the best of U.S. Soul- a native of Texas- but we have few homegrown acts that rival him.  He (Bridges) has a fascination for vintage Soul and Motown acts- from Marvin Gaye to Sam Cooke- and mixes their legacy inside modern-sounding tracks.  One of the criticisms levied at Bridges at this:  The music sounds a bit too old-fashioned and sound-alike.  Given the attention Bridges is experiencing- and the fact he has detractors- you have to wonder just how far Mi’das can go.  It is rare to find a white artist that recalls the majesty of Stevie Wonder:  It is hugely impressive when someone gets it just right.  Of course, Mi’das is his own man:  The stories, compositions and vocals are very much a unique standpoint.  In every song, you get a little hint of the likes of Stevie Wonder, Prince and Michael Jackson:  A holy trinity of Soul/Pop legends.  It is no exaggeration when I say this:  Mi’das is one of the finest artists we have in the U.K., regardless of genre.  Struggling to find many great male solo artists:  It is rewarding finding someone who lives up to expectations and eases the mind.  I get fed-up with the ‘mainstream-approved’ artists who are really not up to scratch.  From B.B.C.’s ‘Ones to Watch’ lists- occasionally there are a couple of acts who are worth time- I am getting a little tired.  London’s Mi’das is gaining acclaim and fans but he deserves more good fortune.  It may be early days still, but you just know he will go on to massive things.  That silky and spine-tingling voice should not just be reserved to SoundCloud and small venues:  I can see Mi’das packing arenas and touring internationally.  All Inside Your Head is a confident and consistent album that will leave you a little speechless.  Feels Like Only Yesterday- the latest single from the L.P. - has been lauded and applauded by the music media.  Mi’das does not want to feel throw-away- so many modern musicians are- and touches on something deeper and more long-lasting.  The single looks at the innocence of youth- looking back on a care-free time- inside a song that has resonated with listeners around the globe.  Excited to delve deeply into All Inside Your Head:  There are many more treasures to be discovered.

Justice opens the album with enticing keys and a smooth seductiveness.  Reminding me of Innervisions-era Stevie Wonder:  You get treated to luxurious and heart-hitting vocals.  Looking at problems and wells running dry- there’s “no end in sight”- our man looks at wider issues and injustices.  Taking is all people seem to do- the world is being messed around- and there is a fight against that.  The day will come- when justice “will be done”- and things are put right.  The lead vocal has an intensity and drive that makes you stand to attention- listen to every word closely.  Backing himself on vocals:  The layered chorus leaves you tingling and makes the mind wander somewhere magical.  The composition is fairly sparse- piano and percussion for the most part- which allows the lead vocal to shine and campaign.  Mi’das shows the range of his voice- from growled lows to Heaven-sent highs- and addresses deep issues and important concerns.  Rather than open with a song about love and heartache- like everyone does- you get a conscientious track that looks at society and asks questions.  Towards the latter stages you get some sweet and eyes-closed wordlessness- our hero lost in his own beauty- that perfectly concludes Justice.  An opener that sets the tone splendidly:  It is one of the album’s finest moments.

   Sunshine opens with finger-picked acoustic and finger-snapped percussion.  A sunny and tranquil opening- taking your mind to a beach somewhere far-off- our hero looks at “dark clouds” remaining.  Perhaps there is negativity and unhappiness (inside Mi’das); it seems his girl is bringing the sunshine.  One of the album’s pure love songs:  Once more, I get flickers of Stevie Wonder.  Innervisions packed in a few earnest and stunning love songs- the tenderest Wonder created- and provided thematic balance and contrast.  Rather than present another high-energy jam- that sounds like Justice- Mi’das brings it down and lets his heart speak.  The girl in question is medicinal and soul-lifting.  Her smile “before I go to sleep” is just what is needed:  Eradicate the rain and bring something more positive in.  Weather metaphor is not a new influence in music- many artists have employed it before- yet our hero finds new meaning and potential.  The lyrics have simplicity and straightforwardness to them that means every listener will be able to relate.  The vocal remains pretty firm and level- never rising and falling too sharply- which gives the song accessibility and control.  A beautiful and personal revelation:  You hope Mi’das found happiness in the end.  A good old-fashioned love song with no cynicism or needless overcrowding (in terms of sound and production).  It is bare-boned and soulful:  Another impressive song from a tremendous singer.

  Twilight begins (again) with tender strings and reflectiveness.  River-flow strings are met with echoed electronics that take you between sun and moonlight.  Life has “taken its toll”- our man has been “here and there”- and this song is looking back on a life lived.  One of the most thought-provoking songs on the record; we look at growth and achieving goals.  Maybe our hero has not done everything he should have done:  He has to reconcile his life “somehow”.  Many of us wonder if we are living life right:  Mi’das tackles this quandary head-on.  One of the more introspective tracks across All Inside Your Head:  Little shades of Ed Sheeran and modern Pop royalty can be found in this track.  The days are tumbling and our hero is trying to take everything in.  Unsure what has motivated the track- a logical chance to assess achievements and goals- it is impressively mature and inspiring.  Many listeners will relate to the lyrics and force themselves to think more deeply.  It is a song that is as far from shallow and throw-away as you get:  There are wisdom and home truths here; deep and life-affirming questions tangling.  A track that stands up to multiple spins- you come back time again- it shows just how many sides Mi’das has.

Too Little Too Late arrives with intriguing strings and a sense of stately pride.  The more you try, it is said, the easier it does not get.  Our hero has been trying and plugging:  He has nothing to hide and is out of ideas.  Whether looking at finding a special relationship- or making big moves in love- it might be too late to succeed.  In the “next life” he will not hesitate, it seems.  You feel empathy for a soul that is yearning for something meaningful and happy.  Backed by punchy beats and a detailed composition- backing vocals and beautiful piano; electric guitar stabs- it is a full-bodied and complete track.  Every musical and lyrical strength is exploited and represented it.  Mi’das is at his most deep and thoughtful here.  Letting his voice fly and entrance:  Here is one of the most stunning songs on the albums.  Like a good Mi’das chorus, you get heavenly choral vocals.  Bringing other singers into the fold- it sounds like a Gospel choir on this one- you get tingles a-plenty.  Our hero’s voice is at its most agile and authoritative on this number.  In terms of guiding points and sounds; there are a few different influences at work.  That blending ‘60s and ‘70s Soul can be heard here- Otis Redding, Marvin Gaye and their contemporaries- with ‘80s Soul/Pop- Stevie Wonder especially.  That is not to say Too Little Too Late is a song stuck in the past.  The production, vocal and composition are very much the sound of 2016.  It is a modern, crisp and current sound that brings in classic flavours to add to the mix.

Feels Like Only Yesterday begins with a tape being played.  You get a rampant drum beat- sounding like a bygone band- that transforms into something rushing and instant.  When our hero approaches the microphone; he looks at simplicity and tender days.  When a youngster; stresses and responsibility were miles away:  Just living in the moment and being a child.  Those days seem pretty recent- there is a yearning to the voice- and perhaps a need to return to that state.  One of the most effusive and celebratory tracks across the album:  It is a jam that every listener can tap their feet to.  A simple and hugely effective chorus ensures the song sticks in the mind for a long time.  Following a few ‘calm’ or slower numbers:  This is Mi’das back in full-on Soul mode.  Bringing energy and rush back into the album, you have a song that shimmers, jives and moves at every moment.  Funky and cool-edges electric guitars come in past the half-way mark.  Putting me in mind of Steely Dan- and their finest moments- Jazz-Rock mixes inside Soul.  An instant hit that can win the steeliest of hearts:  It is another album highlight that shows just what Mi’das can achieve.  His lyrics never focus on one theme or love:  You get so many sides and aspects to this remarkable songwriter.  Maybe life is more complicated and challenging.  Our hero wants to return to those times and forget strife:  Embrace something that seems so recent and fresh.

Those looking for a bit of stomp and march will be pleased by Now We’ll Never Know.  The opening beats are foot-stomped and intense.  You get a real sense of an army marching in time.  Electronics and percussion step and pace forward.  When Mi’das comes through, you are already intoxicated by the stunning mix of synthesiser (forgive me if it isn’t) and beats:  They blend superbly and sound incredible.  The song looks at life being complicated and the need to change.  “Could we change?”  is a question repeated and probed.  Whatever has happened- between our hero and his girl- they won’t have the chance to alter things.  Maybe there are too many obstacles and struggles:  There is that burning desire to transform things.  While Mi’das’ voice is at its very peak- high and low notes tangle with beauty and naturalness- it is that composition that stays in the brain.  It is fascinating to find what inspired Now We’ll Never Know.  It is clear there is something love-based and painful being assessed.  Maybe our man has had his heart broken or going through a separation.  Aside from that addictive composition- that gets stronger and more impressive by the second- the vocals shine again.  You get more backing vocals- similar Gospel vibe to previous tracks- and one of the most committed vocals on the album.  Mi’das is at his most focused and meanimgful here- this song clearly has a lot of personal relevance.

  Grace beings Nate Williams into the album and shows another sonic shift.  The opening sees trippy vocals- wordless and processed- introduce Mi’das.  The song’s heroine- whether a former love or current concern- uses white lies to “cover the black” and believes the “world is flat”.  Those choppy backing vocals- Williams adding something strange and wonderful- our hero is at his smooth and serene best.  In spite of all the problems and troubles:  The girl’s face is in the mind (of Mid’as) and hard to forget.  This grace might lack sense- there might be no logic to these feelings- and there are some mixed emotions on display.  You wonder whether the relationship is solid and ongoing:  Perhaps Mi’das is reflecting on a time past.  One of the album’s shortest tracks (it is short of the three-minute mark) it is also one of the sparsest.  The backing consists of Williams and piano by-and-large.  No other compositional elements are needed.  A naked and bare track:  The focus in on the lyrics and voice.  All shades of blues and green are seen- the heroine’s sadness and envy perhaps- with that abiding loyalty and love.  Grace is a mystical and complicated thing.  Its enigmas and oddities are perfectly translated by a musician in the form of a lifetime.  At this point, there have not been two tracks that sound alike.  Every song shows new influence and inspiration.  Too many artists stick with one theme and sound- structurally rigid and showing little malleability- whist Mi’das keeps everything fresh and changeable.  In spite of the varied and impressive songwriting; you always get that core:  The stunning voice and wonderful authority.

With a title like Get On Up; you might expect something James Brown-esque.  It might not be that far from the truth.  The opening claps rush and compel you to move the feet:  Mid’as’ opening vocals (“Well, well, well”) have huge intention and promise.  Buoyed by that clapping percussion; our hero concentrates on a certain someone.  Maybe a former lover or friend- a composite of several people, perhaps- the aforementioned says how hard life is.  Nothing is free in life- you got to “go out there and claim it”- and there is truth in those words.  Perhaps the song’s subject has been moaning and exaggerating things.  Mi’das knows you will struggle to make things from life:  It is a fight everyone has to go through at some point.  Album songs have looked at everything from love to reflections of youth:  You get another window into a busy and variegated creative mind.  Get On Up implores fight and embracing what life throws.  Listeners can relate (once more) to a song that delves deep and addresses something very relevant and sage.  There is no spite and accusation in Mi’das’ voice.  The girl in question (presuming it is a female subject) is capable of so much more.  They are squandering opportunities and being a bit lazy.  Rather than making our hero glad:  They are making him quite mad.  This life has one shot- one that is being wasted by the heroine- and the song casts its net wide.  Many people will take few risks and see days go by.  Whether it is a girlfriend or close friend- maybe a guy who is not fulfilling potential- you are helpless to ignore the driving composition and soulful vocal.  Mi’das shows what an instrument he has at hand.  Straying away from direct Stevie Wonder comparisons; he comes into his own.  A modern-day Soul man with an amazing voice:  It gets a mighty workout throughout the song.  The composition still has elements of ‘70s Soul:  The synthesiser, keyboards and beats remind you of the greats of old.

This Year (Make a Change) is the penultimate cut and shows our man with a plan.  Previous years have (perhaps) been wasted to an extent.  I got little touches of Rufus Wainwright- might be odd to say- in this song and something less Soul-based; more Pop-natured.  The grand piano lines highlight the sensitivity and depth of the song.  Mi’das is trying to forget the bad memories and embrace a new way of thinking.  You get back “just what you will give” and there is that need for self-improvement and embrace the new.  The fear will be expunged and a new man will be born.  It is one of the album’s most inspiring and strong songs.  Few artists look at self-improvement and making themselves better.  This Year (Make a Change) will inspire other songwriters and make listeners find a change in their life.  That nature of change is repeated and reinterpreted throughout the song.  Enforcing the necessity and urgency of the theme:  Change is the mantra shouted and proffered with ecstatic necessity.

Completing All Inside Your Head is Everybody’s Changing.  Recorded at The Troubadour:  It is a live track that gives the album another side and a wonderful swansong.  Haunting and soft beginnings get you hooked and fascinated.  You can really transport yourself inside the venue- the production is bare and brings you right to the fore- and the vocal is impressive throughout.  More a ‘bonus’ song that anything:  It demonstrates how effective Mi’das is in the live arena.  I would love to see the track in a studio setting to see how different it could be.  As it is, it shows a lot of promise and power.  The central vocal is raw and hugely intense.  The hero looks at people changing and a slight fear with that.  Not changing “you and me”- our man and his lover- there is that need to hang on and keep things as they are.  My favourite live album ever is Jeff Buckley’s Live at Sin-é.  Recorded in a New York coffee house in 1993:  It showed the young star just before he recorded Grace.  I love that album because it was recorded in such a small location.  With just a small number of people, you hear coffee spoons dropped and a real intimacy.  Everybody’s Changing has a similar vibe to it and made me think of a young Buckley.  Bringing All Inside Your Head to a majestic close, it goes to show just how…

GOLDEN Mi’das is.


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