I picked this up when it came out, having considered myself a fan of this particular extension of Lydon's clever strategy of refusing to play the showbiz game by playing the showbiz game, thereby subverting the oh so predictable expectation of him refusing to play the showbiz game by not playing the showbiz game. It came out in 2012, and yet this is probably the second or third time I've played the thing, and only now do I understand why that should be.
It's because it's just not much good.
Over the years, I've extended the benefit of my doubt to such a distance that it now reaches out past Lydon himself, off into space, only tailing off somewhere beyond Pluto. All that crap way, way back in the day about being a limited company rather than a band didn't seem such a big deal because I was a teenager at the time and thus easily impressed. Then came PIL the wilfully awful cabaret act, and PIL the stadium rock band, both of which were forgiveable because of genuinely great albums, maybe even the best of Lydon's career - at least in my view. The Sex Pistols reunion seemed a natural if slightly sarcastic progression, and then there was I'm a Celebrity, Get Me Out of Here and the butter advert, and still I remained untroubled by a man who had made his living from acting like a cock once again acting like a cock. It was funny, if anything; but as for Lydon the Trumpanzee, the man who admires Nigel Farage because Nigel Farage told Bob Geldof to get a haircut and it's such a wheeze when someone upsets a Leftie do-gooder - as for the Lydon who subverts our oh so predictable expectations of him not being a clueless reactionary tosspot by being a clueless reactionary tosspot: I can't get behind that.
Now he just sounds like a chimp jumping up and down, doing the trademarked popeyed leer and screeching look at me! Maybe he always sounded that way. It's become impossible to ignore that he never really had that much going on beyond two jokes and a funny story, an endearing ability to piss people off - usually those who deserved it - and the good fortune to end up in bands with Steve Jones, Jah Wobble, Keith Levene or John McGeoch. This time he's been lucky enough to end up in a band with Lu Edmonds, the drummer from the Pop Group, and a bloke who used to play bass for the Spice Girls; and truthfully, they get a decent groove going between them, something which sounds tantalisingly close to those Metal Box years, at least in spirit; but it's ruined as soon as Lydon opens his gob to wail the usual variation on yes, it's me, my name is John, and I'm here to defy your oh so predictable expectations, I rather think you'll find... Had he been mixed at about the level of an interestingly spooky sound effect - which I suppose is his strength, it could be argued - it might have worked, but no - he's here, he's loud, he's in your face as bloody usual, the man who makes fucking Porridge seem like a self-effacing model of restraint and nuance.
This could have been a great album, but it isn't.