33. THE STREETS - COMPUTERS & BLUESIs this the last dance? Seems like it. When Mike Skinner arrived on the scene a decade ago it made me sick to my stomach. I hated Original Pirate Material. I just thought it was hooligan-pop, though I couldn't deny it's originality. "The sound of The Streets coming down your aerial." Bleurgh. Whatever dickhead.
Then along came A Grand Don't Come For Free and I perked up. It was a masterpiece of a story-line, a true concept album about losing £1000 down the back of the sofa. I went back and revisited his debut and it all make sense. It was ballsy, risky and out-and-out class.
And now on this, the sixth outing and I'm against popular opinion again. Most critics are indifferent or critical towards this one, but he's full of his usual cheeky banter, the production is pop-tastic and keeps up that whole modern, London twist heard on output like on the SBTRKT album. Skinner doesn't need mass endorsement, he sounds as confident as ever and now he can bow-out, head held high.
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