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I was 11 when my mum bought Damien Rice’s debut album O. I loved it then, and I still do. It came at a time when noughties pop was rife: nineties Britpop had fizzled out, leaving Steps and S Club 7 to fight it out for the Christmas number one. Then Rice’s debut, a prolific record full of devastating honesty and raw emotion, emerged.
I’d go as far to say that it is possibly the most influential album from the last ten years, O being the ultimate for every aspiring songwriter. Since its release, it has been used all over countless films, namely Closer, and has inspired a generation of songwriters who write stripped back, honest songs. Released in the UK in July 2002, the style is raw, and was compared to David Gray’s debut because both were recorded at home with basic equipment. Each song feels different, there is none of that mass produced brash sound often found on other albums.
Rice is so startlingly honest that it sometimes feels like you're reading someone’s diary without permission, but this is its genius. Rice’s lyrics are fantastic, you find yourself drawn in by the words as much as his haunting melodies in songs which focus on relationships and Rice’s acute observations of life. Acoustic guitar and strings are ever-present, often used in a particularly orchestral way, for instance in ‘Eskimo’. Vyvienne Long’s cello lines are a constant theme, almost acting as another voice. Lisa Hannigan also features, her sweet voice a perfect contrast to Rice’s.
Stand out tracks for me include: 'Delicate', 'The Blower's Daughter', 'Cannonball' and 'Amie'. I particularly love 'Delicate'; the sparse beginning leaves room for the lyrics to be heard. However, the album is best listened to as a whole. It almost feels like a live acoustic session as the songs drift in to one another. An unusual thing about O is the way Rice’s voice is left untouched by autotune. In ‘Cannonball’ particularly, he is often sharp of the note, but I admire his honesty. There’s nothing worse than a voice so auto tuned up it sounds like something off of Doctor Who.
I know that some people reading this review will be thinking: it’s just another pretentious folk album with some hints of soft rock, which is all right, but doesn’t stand up to other classic records. Well this is where you are wrong. I am by no means a fan of pure folk, and what’s brilliant about this album is it takes inspiration from lots of areas. I promise there isn’t a tin whistle or accordion in sight.
Essentially, I think Rice is responsible for making folk accessible through his incredible song writing. This record should have pride of place in everyone’s iTunes, and I think will always be hailed as a classic noughties album. Just give it a listen, I guarantee you won’t be disappointed.
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