Words by:
Dan Bull
Follow @DanBull7609
With a list of featuring artists that could rival the latest NOW [That’s What I Call Music] compilation, Dizzee Rascal’s fifth album (aptly titled The Fifth) emphasises the fact that the one-time face of (what are generally considered), underground genres, has no intention of ending his time in the sun.
Featured vocalists Jessie J, Sean Kingston and Ke$ha are here, as well as the friendliest rap battles ever with Tinie Tempah and Will.I.Am (although, can we even call that rapping?), and production from dance-mentor Calvin Harris and hit machine RedOne. Compare this with the self production of his debut and it’s clear that the Boy In Da Corner has become the Man In Control Of Da Room. And not just any man…
Opener Superman shows no sign of a return to his roots, instead aiming to keep his hits on a mainstream dancefloor. With a chant of “I am Superman” (albeit, not from Dizzee himself) it’s clearly a declaration, from an artist whose tracks have not only taken over dancefloors and airwaves; he’s also become a festival fixture, appearing to be an annual guest of honour at Glastonbury. Lines including “I always keep my willy protected, so I don’t ever worry ’bout being affected” only ever hint at controversy, so when Dizzee says he’s “getting jiggy” it makes you question whether he’s turning into the UK’s answer to Will Smith.
Bonkerz-esque bangerz (and no, no copywriting for you Miley), continue with Jessie J-featuring, Guetta’s Titanium-sounding We Don’t Play Around, and the Sean Kingston duet on Arse Like That. Whilst their titles may sound Eminem-esque, the finished produce of Superman, Arse Like That and Goin’ Crazy? are anything of that quality.
However by the time we get to Love This Town, images of Cristal spilling on the floor are replaced with memories of struggling to lift your feet from a WKD-soaked one. It’s euphoric to the point of nausea, sharing more in common with Bonkers-rave compilations of the 90s rather than the track that marked his change in direction.
Of all the dance anthems, Goin’ Crazy is the most successful. Even with a featured vocalist who Radio 1 now refuse to play, Robbie Williams’ input creates a track that sounds like a Dirtee Disco in a vintage arcade game. Second official single – the Will.I.Am produced Something Really Bad – follows a stencil that seems prominent throughout, whereby the Rascal’s vocals appear to only take up half of the track, if not less. Could it be that he’s run out of things to say, or is it more a case of a focus on the beat than a message to be received?
As successful as these tracks are at providing DJ’s with guaranteed floorfillers, it’s refreshing to be reminded of the Mercury Prize-winning style that first brought Dizzee to our attention. I Don’t Need A Reason’s minimal approach (no guest appearance, no Calvin Harris-approved backing track) puts Dizzee back in Da Corner, while the equally impressive H-Town is flavoured by US rappers Bun B and Trae The Truth, leaving us wanting more than just a taste of what our Londoner could create with more influences from across the Atlantic.
Despite this, it’s more likely that Good or Heart Of A Warrior will be lifted as future singles, complete with crazy promos; the former a more chilled-out ode to holidays, the latter sharing Katy Perry’s Eye Of A Tiger influences from Roar (although it’s unlikely you’ll hear her singing “pull your finger out”. Or is it?). Survivor can only be moments away from announcing a comeback/reunion/best of tour.
Despite an impressive group of collaborators, The Fifth fails to show the potential we might have expected for album #5 back when his debut was introducing a whole new audience to genres they’d only ever heard of. There are moments that make you want to dance, and there are moments that sound like a natural progression to Boy In Da Corner and Showtime, but there are also too many moments when it seems that Dizzee Rascal has become a caricature of his Bonkers self.
Buy The Fifth here:
