On The Record by Gilbert O’Sullivan – Album Review
By Ellie Victor
There is something rather wonderful about Gilbert O’Sullivan still making records at nearly 80, particularly when the music industry has spent most of the past half-century finding new ways to forget him. While fashions have come, gone and occasionally returned wearing someone else’s trousers, the Irish-born songwriter has remained gloriously devoted to the business of constructing a decent tune.
On The Record, his twenty-first studio album, arrives as part of his 60 Years in Music celebrations, although the anniversary feels almost incidental. O’Sullivan has never been especially interested in reinvention. His musical universe remains one of immaculate melodies, conversational lyrics, unexpected chord changes and that peculiar ability to slip something quietly devastating into an otherwise cheerful pop song.
Produced by Andy Wright, the thirteen tracks were recorded in just five days with musicians familiar with his methods. It’s old-school efficiency in motion. O’Sullivan arrives with the songs, everybody learns their parts, and they get on with it. No committee meetings, no fashionable collaborators parachuted in to improve his streaming figures.
Opening track ‘It’s Me’ is soulful, lightly funky – suggestive of Steely Dan wandering into one of Gilbert’s more comfortable musical neighbourhoods. The song concerns reassurance and emotional dependability, while its melodic twists offer reminders of why O’Sullivan deserves more respect as a composer than he generally receives.
Gilbert O’Sullivan, 2026
“Engaging”
‘Growing Old Disgracefully’ is the album’s most obvious statement of intent, approaching advancing years with an admirable refusal to surrender to them. There is affectionate humour here, although its gentle defiance hardly constitutes musical rebellion. Gilbert growing old disgracefully was always likely to involve a piano and an exceptionally tidy chord progression rather than smashing up a hotel room.
Yet the song possesses an appealing sincerity. The older voice, inevitably carrying more wear than it did during the ‘Clair’ years, suits the subject. There is little point pretending time has stood still, and O’Sullivan is at his most engaging when he acknowledges its passing.
Elsewhere, titles such as ‘I Suppose’, ‘I Must Be Going’ and ‘Minus Is a Plus with You’ suggest that his fondness for everyday language and verbal play remains intact. He has always approached songwriting from an unusual angle, discovering possibilities in phrases that other writers would dismiss.
‘Don’t Shout’ emerges as one of the album’s promisingly catchy moments, another reminder that his instincts for an accessible pop hook have survived remarkably well.
The inclusion of Andrea Corr on ‘Is That You?’ brings an additional point of interest. The duet is entirely suited to O’Sullivan’s melodic sensibilities, with Corr representing a sympathetic rather than attention-grabbing choice of collaborator.
There are limitations to this approach, however. The polished, reassuring character of the material offers little indication that O’Sullivan intends to disturb his familiar musical surroundings. The warmth can feel a shade too comfortable, particularly when compared with the emotional complexity that made ‘Nothing Rhymed’ and ‘Alone Again (Naturally)’ so memorable.
“Affection for melody”
Those early hits possessed an unsettling quality. Finding that same depth remains the standard against which any new O’Sullivan record must inevitably be measured.
Nevertheless, here is an artist who has resisted becoming his own tribute act. On The Record contains thirteen new compositions rather than another procession through the greatest hits – and that matters.
At its best, it demonstrates an enduring affection for melody, musical craftsmanship and the small absurdities of human behaviour. It is unlikely to convert anyone who has spent decades resisting Gilbert’s particular brand of literate, piano-led pop.
For those who appreciate it, however, there is pleasure in discovering that the old machinery continues to function so elegantly. Some of the sparkle may have softened, and the surprises arrive less frequently, but the songwriting personality remains unmistakable.
After sixty years, Gilbert O’Sullivan still has something to say. More importantly, he still knows how to give it a tune.
3.5 out of 5.0 stars
Ellie has spent over three decades dissecting riffs, rhythms, and rockstar egos, all in pursuit of the perfect review. Her music writing journey began at 12 with a glowing 10/10 diary entry for Echo and the Bunnymen, and she’s been chasing that high ever since. Armed with encyclopaedic knowledge and a soft spot for the sonically daring, Ellie will review anything that’s put in front of her – as long as it’s on vinyl.
