Posts Tagged ‘4’

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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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Top 10 albums of 2011.

January 2, 2012

So here is my other annual end-of-year post. I have been able to whittle down my list of favourite albums that were released in 2011 into a nice list of 10, and I have written a twitter-sized (ish!) review under each one. Enjoy and share your thoughts and favourite releases of the year too! 🙂

10. Drake – Take Care

Drake releases another heartfelt hip-hop album, smoother & more cohesive than his debut. Highlights: Take Care, Marvins Room, Shot For Me

9. Rihanna – Talk That Talk (read the full-length review here)

The midpoint between Loud & Rated R. Stellar first half, average 2nd half. Highlights: You Da One, We Found Love, Cockiness (Love It) / Birthday Cake

8. Nicole Scherzinger – Killer Love

Nicole’s solo debut blends killer pop with strong ballads showcasing powerful vocals. Highlights: Poison, Killer Love, Right There, AmenJena

7. Mýa – K.I.S.S.

Mýa continues to deliver solid R&B with her latest album deservedly re-released in the USA. Highlights: K.I.S.S., Take Him Out, Mess Up My Hair, Mr. Incredible

6. Nadia Oh – Colours (read the full-length review here)

The sound of the summer! Deliriously catchy, irresistible dance-pop with tongue firmly in cheek. Highlights: Jump Out The Window, Taking Over The Dancefloor, No Bueno

5. Jay-Z & Kanye West – Watch The Throne (read the full-length review here)

The rap event of the year with production and braggadocio so confidently executed, it couldn’t fail. Highlights: Niggas In Paris, Who Gon Stop Me, Murder To Excellence

4. Natalia Kills – Perfectionist

Masterful, dark pop with powerful imagery to match its consistently hooky and interesting songs. Highlights: Wonderland, Free, Zombie, Mirrors, Broke, If I Was God

3. B.Slade – Diesel

My discovery of the year – the best male vocalist I’ve heard in a very long time, with an impressive lyrical depth and stylistic range. Highlights: B.A.S.S., I’m Done, Do U Get Down?, Dorothy Humperdink, Never Again…, Sequel

(P.S. his new album Stealth. is also excellent, but that only came out on 25th December and I don’t feel I have listened to it enough to be able to judge it – however, it likely would have earned its own place on this list!)

2. Lady Gaga – Born This Way

Lady Gaga just keeps getting better, giving everything she has – heart and soul. Highlights: Marry The Night, Born This Way, Judas, Americano, Yoü and I, The Edge Of Glory

1. Beyoncé – 4 (read the full-length review here)

Genuine soul, classic ballads and earth-shattering uptempos make for Beyoncé’s best album yet. Highlights: the whole album! (you can skip Start Over and the bonus tracks if you’re pushed for time)

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Jay-Z & Kanye West – Watch The Throne (real-time track by track review).

August 13, 2011

Jay-Z and Kanye West’s collaborative album, Watch The Throne, was always going to be a self-important, grandiose affair. To this end, the magnificent artwork (creatively directed by Givenchy’s Riccardo Tisci) exudes opulence, with the cover appearing to be engraved gold, while inside Kanye and Jay’s faces are morphed into tigers’ jaws. So the artwork is striking, fashionable, and strong. What of the music?

Of course, this isn’t the first time that Jay-Z and Kanye West have collaborated. From the former’s celebrated album The Blueprint, to West’s recent “Monster” single, the two have been a frequent pairing. One question is whether Watch The Throne, which is a near-perfect melding of the two rappers’ most recent albums, My Beautiful Dark Twisted Fantasy (West’s magnum opus to date) and The Blueprint 3, would exist without West’s latest solo album. It certainly wouldn’t sound the same, built on a similar set of soulful samples (courtesy of Otis Redding, Nina Simone and Curtis Mayfield, among others), classic Wu-Tang-esque production (partly courtesy of the RZA) and an incorporation of unusual effects (“Lift Off” has a countdown to a rocket launch and deliberately stutters Beyoncé’s hook at the end) and modern styles for dizzying effect (“Who Gon Stop Me” thrillingly and unpredictably descends into dubstep). Unfortunately, Fantasy means that Watch The Throne sounds less innovative than its predecessor, but judged on its own merits, it is nevertheless a strong entry in both rappers’ catalogues.

Another question might be which rapper comes out on top. Although at times they sound less in sync than others, this isn’t really the issue; it’s not about one guy against the other, but what they can accomplish as a team with their two considerable powers put together.The album is bombastic, swollen with the promise that hip-hop’s magnates have to live up to. Here is a track-by-track review.

No Church In The Wild

A sinister bassline accompanied by Frank Ocean’s singing opens Watch The Throne. “What’s a god to a non-believer who don’t believe in anything?” Mysterious and cryptic, the song is nevertheless thrilling. Autotuned vocals hark back to West’s 808s & Heartbreak. Both rappers seem to be authoritative and yet feel outcast by religion… are they trying to be socially conscious? “Love is cursed by monogamy – something that the pastor don’t preach / something that a teacher can’t teach / when we die, the money we can’t keep / but we probably spend it all coz the pain ain’t cheap” (West). Are these men, who are fabulously wealthy and not particularly modest about it, trying to be human? If so, it’s a commendable move.

One thing that is confusing – several songs have little instrumental interludes at the end – what purpose do these serve? These do seem unnecessary and swiftly become irritating…

Lift Off

Pianos and strings make this song sound big and propulsive. Beyoncé sings the hook impeccably. “I’m supercharged / We’re about to take this whole thing to Mars” – they’re aware how big stars (!) they are, and also aware that this album is an Event that should be launched. Just the way that the album was launched in a planetarium… The rocket launch countdown could perhaps be a subtle link to “Countdown” on Beyoncé’s 4?

Niggas In Paris

Another sinister-sounding song that has echoes of Mike Oldfield’s “Tubular Bells”. “What’s 50 grand to a motherfucker like me, can you please remind me?” Jay-Z is rich. Again, by demonstrating how big stars they are and how much they reign over the game, they are proving how much of an Event this album is. Jay and Kanye go back and forth on this track, which shows however that this album is far from a phoned-in effort. Jay-Z is rich, and Kanye has had sex with many girls. Thematically, this doesn’t break any ground for rap!

Otis

The Otis Redding sample brings soul, and harkens back to West and Jay-Z’s work on The Blueprint (as well as most of West’s early output which mixed hip hop and soul samples to thrilling results). Kanye: “Last week they didn’t see me cause I pulled up in my other Benz” (sounds like “underpants” !!).  West coins the phrase “luxury rap” – looking at the album cover as well as the duo’s individual reputations, is this the genre description they would ascribe themselves? Is it because of wealth, or rhyme quality (or both)?

Gotta Have It

The moaning at the beginning sounds like a black spiritual. There are elements here that also draw upon Nas’ Untitled, with that albums specific evocation and reference to black culture’s past of slavery. “LOLOLOLOL White America, assassinate my character” – Kanye sounds like he is challenging or second guessing people. Is this in reference to the infamous Bush / Katrina incident? Or when Kanye West humiliated Taylor Swift at the VMAs? “Oh shit, it’s just blacks on blacks on blacks” – West again… realising that discrimination and misunderstanding comes from his own race as well as others? Who is to blame?

New Day

It’s quite audacious to autotune your Nina Simone sample, especially when it’s her most famous song “Feeling Good”. Kanye West and Jay-Z are trying to push music forward, and symbolise that after the follies of youth, the two men have reached a stage where they enjoy being mature and responsible – “It’s a new day, and I’m feeling good”. Here, they talk about how they would raise their children and the mistakes that they themselves made in their youth, which humanises them and exposes some truth underneath their bravado. “I just want him to be someone people like / I don’t want him to be hated all the time, judged / Don’t be like your daddy” (West) / “Sorry junior, I already ruined ya / Coz you ain’t even alive, paparazzi pursuin’ ya / Sins of the father already made your life ten times harder” (Jay) – “Teach you good values so you cherish it… My dad left me I promise never to repeat it” (Jay). A touching song that is a lyrical highlight.

That’s My Bitch

Both rappers praise their women. Beyoncé gets a shout-out or two. West name-drops Basquiat. “Why all the icons all white?” (Jay, who then name-drops Naomi, Halle Berry, Penelope Cruz and Salma Hayek)

Welcome To The Jungle

This song picks up on the pictures of Jay and Kanye’s faces merged with tigers. The songs works off a “the world is a jungle / life is hard” metaphor. Jay – “My tears is tatted / my rag in my pocket / I’m just looking for love / I know somebody got it” – he inhabits the character of a gangster who can’t express emotion in public because that’s not how the stereotype works. It’s not generally something that’s permitted – but West and Jay have got to a point where they are comfortable eschewing stereotypes and exposing a little more of who they genuinely are.

Who Gon Stop Me

This sounds grimy, dirty and modern all at once, and is one of the standouts on the album. West and Jay stand, confident in their unstoppability, “Heard Yeezy was racist / well I guess it’s so on basis…. I only like green faces” (Kanye) – “This is something like the holocaust / millions of our people lost” (Kanye) / “Black on black” (Jay) – urging people to “beat the odds” and achieve their dreams and be unstoppable. A thrilling entry. Jay-Z references how far he has come from being a drug-dealer in his youth.

Murder To Excellence

A song of two halves, “Murder” and “Excellence”.

“Murder” – Chants jostle with clashing drums and a tuneful bass guitar, while Kanye and Jay-Z rap socially / racially conscious lyrics. “41 souls murdered in 50 hours” (Kanye) Again, they fixate on the crimes that black people commit against themselves. “314 soldiers died in Iraq… 509 died in Chicago” (Kanye) – some interesting reality.

“Excellence” – an immediate transition to a different sample and ominous piano vaguely reminiscent of an Eminem production, except less thunderous. From talking about murder on the streets, to the injustices the rappers have seen on their path to excellence: “Domino, domino / only spot a few blacks the higher I go” (Jay). “In the past, if you picture events like a black tie / What’s the last thing you expect to see? Black guys” (Kanye) – an axe to grind!

Made In America

A sweet song, where Frank Ocean eulogises the rappers’ parents, along with Biblical figures and leaders of the black / civil rights movement in the US. Kanye tells an abridged version of his meeting with fellow producer No I.D., and how he was able to use his new-found wealth to treat his late mother well. Jay-Z does an appreciated bit of storytelling, pretending to be boiling water in the same kitchen where his grandmother cooked banana pudding, when really he’s cooking up something quite different. “The streets raised me, pardon my bad manners” (Jay). This song feels like we are reaching the home stretch of the album (which is true), and gives us something positive, as well as lets us in on the sense of accomplishment that the rappers feel not only to have survived the streets and their upbringings, but also to have ascended to such heights of fame. They are aware and appreciative of how comfortable their lives are.

Why I Love You

Dirty guitars and beats slam in and interrupt the peaceful reverence of the previous track for this album closer (on the standard edition). The rhyme speed has picked up, and Jay pledges his loyalty to those nearest and dearest to him. Mr. Hudson, singing the hook, for once does not irritate! Now that is progress. Kanye and Jay-Z thank one another for the positive effects they’ve had on each other’s careers – which is why this (rather than the previous track, which would have been sonically more appropriate) is the album closer. Unless you have the deluxe…

Illest Motherfucker Alive

Climactic piano, synths and operatic choruses back Kanye and Jay’s various boasts. This sounds too big for its lyrics (“what the ending of Scarface should feel like”, apparently), and perhaps explains why it was relegated to just the deluxe.

H.A.M

The first single finally shows up towards the end of the deluxe album. Next to the album’s tracks, this sounds somewhat flimsy production-wise (until its apocalyptic bridge, at least). A re-evaluation of the album’s aims by Kanye and Jay-Z probably relegated this to the end of the deluxe.

Primetime

This song is perfectly adequate. I’m tired. This album is long!

The Joy

Samples Curtis Mayfield’s “The Makings of You”, giving a warmth to the deluxe album’s end that feels like proper closure after the epicness of the whole thing. It was bloated, bombastic and at times could have been trimmed somewhat, but it was very engaging! Once again, Kanye and Jay-Z expose their tenderness and talking about their families, and how this is just as important as the wealth and beauties they’ve promoted elsewhere on the record. A laid-back treat for those who get the deluxe.

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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.