Posts Tagged ‘1+1’

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2526: track by track

November 26, 2012

As stated in my previous post, my latest album 2526 is a loose diary of the last 2 years of my life, and focuses on love, and a range of facets of that emotion. I’m now going to take you through each track and tell you a little bit more about them all.

1. My Way / Sincerity

As one might surmise, these were originally two separate songs. “My Way” was a response to the burdens of parental love and pressure from those around you who know you best and suffocate you in their desire for you to achieve the best – at the same time as you love them for wanting the best for you, you can’t help but know that ultimately you’ll end up disappointing them. Try as I might, I could write a bridge for this song, and it was unfinished for ages. “Sincerity” came from wanting to write a song called “Sincerity”, and wanting to use the classic, hard-hitting beat from the remix to “It’s All About The Benjamins”; there seemed to be a real contrast between hard and soft.  But I couldn’t write a bridge for this song either, and it went unfinished for ages as well. One day, it dawned on me to just put the two together – the subject matter of the songs went well together, and while the overall tone of the songs is one of defiance and determination, there is also love and vulnerability. And most importantly, no bitterness.

2. Distance

This is one of my two favourite songs on the album. I was heavily into the song “I Miss You” by Beyoncé (from her masterpiece 4), and the night that I received the instrumental from Citizens of the World, I had been looking forward to Toby coming down to Bristol for the weekend (this was before I had moved to London) – we hadn’t seen each other for a while and I really missed him. Except that same night, he had called me to say that he probably wouldn’t be able to make it (in the end, he did). I was feeling melancholy and yet selfish as well, and the lyrics and melody to this song subsequently came in about 15 minutes. The lyrics so vividly capture the emotions I was feeling, and the vocal delivery is something that is supposed to be downbeat and yet sincere and heartfelt. The production is perfect. I am so grateful to have recorded this song.

3. Delete U

This song was written not long after Quiet Storm was done, and the piano intro is supposed to be reminiscent of Prince / The-Dream. I remember breaking up with one of my previous dalliances and just removing all trace of him from my life. It was intriguing that rather than tangible memories, we store a lot of initial information about friends and relationships digitally and so it’s all about “pressing delete” rather than throwing things in the trash. The use of terms such as “Facebook” and “Twitter” automatically date this song (probably to its detriment, although I personally don’t think it rings as unnaturally as the lyrics about getting off the Macbook and Facebook from Brandy and Monica’s otherwise-very-good “It All Belongs To Me”), but when I’ve dated my entire album through its title, it doesn’t really matter!

4. Important

I am well aware that this song sounds really similar to “Broken-Hearted Girl” by Beyoncé, but it’s not a bad song to use as a template and I really wanted the piano and drums to be straightforward – the vocals and lyrics are supposed to occupy centre stage in this song. I wanted to talk in an honest way about how it feels when you don’t know what is going on in a relationship, and whether your priorities and feelings really mesh with those of your partner’s. Are you on the same page? I left the song open-ended – we don’t know if the couple in the song stay together or break up, because although I personally tend towards the latter, the whole point is that life and love is not clear cut and the things we think we should do, we don’t always do.  Love is complicated.

5. Unforgettable

This song is a remix of / my spin on Drake’s “Unforgettable” from his first album Thank Me Later, and I loved the melancholy production. The chorus of my track I guess is a bit more reminiscent of the Nat King Cole classic; I wanted to have a rap song on my album, like “Armani Earrings” on Quiet Storm, but less incendiary and more vulnerable. The sample of Aaliyah just made Drake’s song so perfect. Mike has played such a big part in the last 3 years of my life that I didn’t know how to feel about it when he moved out of Bristol. Even though we worked together, it felt like we were drifting apart and I was sad about it. I wrote this song to encapsulate all of my emotions about the relationship with one of my best friends developing and evolving. Ultimately, I ended up moving a lot further away! I have grown up so much over the last 3 years, and I wanted to pay tribute to someone who had a considerable role to play in the man I am today. Friendship is love too, after all.

6. Phoenix Rising

This song evokes love as empowerment. This was the first track from Citizens of the World that I wrote to, and I had Nicole Scherzinger’s Killer Love album on repeat at the time, hence the namecheck in the first line. The production was ethereal, and I wanted a melody that really soared on the wings of the track. It was a challenging vocal to sing – particularly the end note! – but recording this track was really enjoyable because I got to do different and interesting things with my voice.

7. U Gotta Go

This song was much more fun and more upbeat – when I received the instrumental, it sounded so happy and pop! I immediately thought of “I Wanna Go” by Britney Spears – but I didn’t want to do something completely featherweight, so I flipped the song to make it a breakup anthem with some sassy lyrics about dumping a car in a lake that I cribbed from Tamia’s “Go” (aside: she is such a ridiculously talented singer!). I also wanted to make a poppy track that had some good vocal riffs in it – so I did that.

8. Sabo

This is my other favourite song on the album, because it is very personal and meaningful. Obviously, it’s addressed to Toby and it’s about him and us. I am so deeply, romantically and truly in love with him. He bought me a ring from Thomas Sabo for our 6-month anniversary, and I still wear it every day – I love it (black and silver are my favourite fashion colours, after all!) and I am so proud of it. I wanted to write a piano ballad the old fashioned way – chords and lyrics on top, no digital production – so that’s me playing the piano (the microphone isn’t great for recording the piano, so that’s why it sounds a bit honky-tonk). I was also in love with Beyonce’s “1+1” so I wanted to have some powerful vocals in the bridge, that really pulled out the soul that I wanted to express. The song turned out exactly how I wanted it to (honky-tonk aside), and I always knew it would be the end song / finale to my album.

Once again, I hope you enjoy the album!

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Beyoncé – 4 (album review)

June 11, 2011

So it’s been a really, really long time since I wrote an album review. I was going to do one for Lady Gaga’s Born This Way, but then didn’t. (The album is really good and well put-together, btw.) I was going to do one for Nadia Oh’s Colours (which is a ridiculously fun, exhilarating listen perfect for the summer) and I still might. But this album tops them all. I am a Beyoncé fan, but even I didn’t expect her to come out with this. Perhaps it’s fitting because of the stage in my life where I’m at – but she’s in love, I’m in love, she wants to talk about love on a deeper and more soulful level and I can be more receptive of that now and really get to grips with the music, the vocals and the lyrics.

Sonically, the album is very cohesive (a mature, soulful and slower-paced set) – “Run The World (Girls)” aside. Part of me feels like it is tacked on the end, another part of me feels like the song is an exhilarating climax to a mainly slow-burning set. It’s a killer single which heavily samples Major Lazer’s “Pon Di Floor” and makes you want to dance, but in comparison to the rest of the material, it feels a bit… basic? It certainly feels more modern than everything else on the album, but that means it sounds less timeless… the fact that Beyoncé has already made several songs celebrating “Independent Women”, “Survivors” and “Single Ladies” makes it feel like “Girls” running the world is almost a downgrade? I love the song but it should stand alone, and I would have preferred the album to end with the ballad “I Was Here”, which is straightforward Ryan Tedder production and Diane Warren lyrics – Beyoncé’s performance saves the song with solemn vocals that add weight to the sentiment of leaving your mark on the world once you’re gone. In the hands of a lesser talent, the song would sound trite, but Beyoncé gives it life.

But there are much better tracks – namely, the rest of them. Opener “1+1” is stripped-back soul with a soaring guitar climax, and Beyoncé’s commands of “Make love to me” sound at once desperate and assertive in the best way. What’s striking is that Beyoncé has made an album that sounds like the work of a legend – she evokes Stevie Wonder (the joyous “Love On Top” with its audacious multiple key changes that have you wondering “how high is she going to go?!”), the Isley Brothers (“Rather Die Young”, with its sun-drenched soul that declares Beyoncé’s utter dependance on her lover), Prince (“1+1”), Michael Jackson (“End Of Time” with its commanding vocals over a bombastic bassline and brass section, and an irresistible melody) and Sade. But more about that later…

Beyoncé sounds like Beyoncé on but two songs: “Best Thing I Never Had” evokes her monster hit “Irreplaceable”, with the same theme of being better off without a foolish boyfriend. Symbolyc One employs a beautiful flowing piano melody in place of “Irreplaceable”‘s acoustic guitars, but Beyoncé is clearly a grown woman now. Her vocals sound almost too soulful, too nuanced for the music, and it takes a few listens for all of the pieces of the song to come together. In contrast, “Countdown” is an album highlight, which evokes the swagger of “Upgrade U” and repeats the theme of #winning with her lover by her side. The use of Boyz II Men’s “Uhh Ahh” in order to create the titular countdown is cleverly done, and Beyoncé rides the brassy, bouncy Caribbean-lite beat with effortless flair.

Other album highlights include “I Care”, which may have basic lyrics (the chorus: “I care / I know you don’t care too much / but I still care”) but are once again transformed with Beyonce’s masterful vocal, which plumbs despair and soul to make the song truly transcendent. You can feel her pain, you can feel her desperation, you can feel her frustration, and that is the talent of a true artist. When Beyoncé’s voice intertwines with a soaring guitar solo after the song’s bridge, the listener is shown just how powerful a singer she is – not just technically, but emotively too. “Party” is an early 90s R&B throwback that evokes early TLC in its chunky-yet-chilled production, and En Vogue in its multi-tracked harmonies. The best song of all is “I Miss You”, which is produced by upcoming talent Frank Ocean and evokes Sade’s best. The lyrics are simple yet evocative (and I personally relate to this as my boyfriend and I are currently working through a long-distance relationship – but if you read the blog, you already know about that, and this song is more about missing someone you’ve broken up with – I just prefer to appropriate the lyrics for my own emotions!), and Beyoncé’s vocal is restrained and yet so deep and real. When she sings “No matter who you love / it is so simple, I feel it / it’s everything”, a lump is brought to your throat and you can’t help but be transported to a place of loneliness, of longing and of love.

This is why 4 is Beyoncé’s best album, superceding B’day’s tiger-hungry anthems and I Am… Sasha Fierce’s finest moments. Beyoncé is an artist. She has made an album which she has so clearly poured her heart and soul into – listening to the vocals, there is something here that wasn’t there before. A soulfulness, a longing, a power that comes out through the gritty texture of her voice and the soaring riffs that transcend lyrics and production. There’s a majesty and a bravery in singing such raw songs about love, about death, and about life over productions that are mainly understated and subtle in a way that Beyoncé hasn’t really done before (“Disappear” from I Am… Sasha Fierce might have clued us in, however!). This album is made to be listened to from start to finish, and you’re missing out if you don’t give it a try.