Album info

Album-Release:
2018

HRA-Release:
16.11.2018

Label: Studio 13

Genre: Rock

Subgenre: Adult Alternative

Album including Album cover

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  • 1Introduction00:13
  • 2Merrie Land04:46
  • 3Gun to the Head04:19
  • 4Nineteen Seventeen03:43
  • 5The Great Fire03:56
  • 6Lady Boston04:19
  • 7Drifters & Trawlers02:34
  • 8The Truce of Twilight04:22
  • 9Ribbons02:52
  • 10The Last Man to Leave02:38
  • 11The Poison Tree03:40
  • Total Runtime37:22

Info for Merrie Land



"Merrie Land" is the second album from The Good, The Bad & The Queen, a band comprising of Damon Albarn, Paul Simonon, Tony Allen and Simon Tong.

Following an eleven-year hiatus since their eponymous debut, the four musical storytellers are back with Merrie Land, which will be self-released on the newly created label Studio 13.

Produced by Tony Visconti and The Good, The Bad & The Queen, Merrie Land contains 10 new songs - written during the current period in which the UK is preparing to leave the European Union - creating a reluctant good-bye letter, a series of observations and reflections on Britishness in 2018.

Merrie Land's focus moves beyond GBQ's London-themed first album to a wider land, with a beautiful and hopeful paean to the Britain of today, an inclusive Britain, currently in an Anglo-Saxostentialist crises at the end of a relationship, wondering what might be salvaged. Could there be a more perfect band - with their creative symbiosis of pasts and present and shared acclaimed music histories - to reflect on the anticipation, disorientation and confusion of current life.

Damon Albarn, lead vocals, keyboards
Paul Simonon, bass, backing vocals
Simon Tong, guitar
Tony Allen, drums

Produced by Tony Visconti



The Good, The Bad & The Queen
began life as the acclaimed 2007 album of the same name, a heartfelt tribute to London described by The Observer in a 5-star review as –“One of the most surprising and magical records for which Damon Albarn has ever been responsible”. The record traced a journey from the English music hall tradition to West Africa and Afrobeat, zigzagging through the West Indies and its reggae and dub, back to England and London’s punk scene, all the while taking in a strand of British beat music from the ’50s right through to Britpop. The result was a record specific to a place and mood but with a background that was geographically wide-ranging.

This album contains no booklet.

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