Posts Tagged ‘lyrics’

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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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sensitivity.

May 27, 2012

I find that as I’m getting older, rather than becoming more blasé and desensitised to things, significant and insignificant events alike have a deeper emotional resonance. As a teenager, I watched endless horror films without ever getting scared (the very occasional example aside); I sped through various important academic achievements and educational landmarks without batting an eyelid or appreciating the gravity of them (even when everyone around me was congratulating me and making a really big deal); I would visit new places without often taking in what surrounded me beyond a cursory acknowledgement. How could I be more jaded in my adolescence than I am now? Going to a wedding or even the graduation of my students brings a lump to my throat; watching a romantic drama or action extravaganza that is meant to be a disposable way of passing a couple of hours can have unexpected meaning that makes me stop and really contemplate. I’ve always been in touch with my emotions and music & lyrics have always been a great emotional conduit for me (which makes sense), but lately it feels like I have more of them!

Is it because, as a fully-fledged adult, I’m more aware of my own mortality and my lack of invincibility? I don’t ever remember feeling “invincible” per se… Am I just more mature and thus more able to appreciate and find the value in art, nature, landmarks (both literal and figurative) and emotions?  Am I just more easily emotionally manipulated the longer I’m exposed to mainstream entertainment? Is my resilience being worn down, or is my emotional intelligence developing? I sincerely hope it’s the latter! 

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Madonna – MDNA (album review.)

March 28, 2012

MDNA is Madonna’s 12th studio album (depending on what you include / exclude) and it’s an improvement on her last effort, Hard Candy, simply because there’s a higher strike rate of really good tracks. It’s no Ray of Light, Bedtime Stories or American Life (her most introspective albums and not coincidentally, her best – let the debate begin!), but we get more of an insight into Madonna the Human Being than we have in possibly 10 years.

Not that you’d know it from the two singles that have been released: “Give Me All Your Luvin'” is a straightforward ‘fun’ track which has had a lot of the fun ironed out of it. Madonna’s vocal sounds flat, the production sounds a little lacklustre, and while Nicki Minaj and M.I.A. acquit themselves well during their verses, their presence is unnecessary. The melody is perky but calculated, the cheerleader chants are hooky but calculated – the whole thing is a perfectly acceptable pop song, but it sounds so desperate to be joyful that it ends up losing a lot of charm. “Girl Gone Wild” serves well as an album opener, but again it sounds dated for Madonna – which means bang-on-trend with what’s in the charts – and unimaginative. The lyrics are uninspired, the melody is catchy and you will be humming it after a couple of listens. In this sense, the singles both do their job, but there’s much more exciting stuff on the album.

Which, take my advice, should be sequenced thus:

01. Girl Gone Wild
02. Gang Bang
03. I’m Addicted
04. Some Girls
05. Turn Up The Radio
06. I Don’t Give A (Feat. Nicki Minaj)
07. Give Me All Your Luvin’ (Feat. Nicki Minaj & M.I.A.)
08. B-Day Song (Feat. M.I.A.)
09. Superstar
10. I’m A Sinner
11. Love Spent
12. Beautiful Killer
13. Best Friend
14. I Fucked Up
15. Masterpiece
16. Falling Free

I am never usually one to mess with how an artist envisions their album by cherry-picking individual songse, or by listening to things on shuffle. I am very in favour of the idea of an album being treated and listened to as a body of work. However, I gave this track list (which I found on the Popjustice forums) a go and it seems to flow so much better. It stacks the harder-edged songs at the front of the album, followed by a sunny middle section and winding down towards the slower songs at the end.

“Gang Bang” is my favourite song on the album. A revenge anthem featuring menacingly-spoken vocals (reminiscent of Dita from Erotica) atop a minimal beat, a dubstep breakdown (again, bang on trend / a little passé, but it works well in this instance) and screams of “DRIVE BITCH! AND WHILE YOU’RE AT IT DIE BITCH!”, it’s irresistible, edgy, a little silly (Madonna does not need to prove she is edgy and ‘down with the kids’ by swearing, but never mind), and it totally works. I can’t help but think of The Bride from Kill Bill when I listen to this song. Even though it would be an extremely weird choice for a single, this song is so cinematic that it deserves a video. “I’m Addicted” is the “Impressive Instant” of the album – swirling synths and insistent beats piling on top of each other to provide a climactic finish, while Madonna abandons insightful lyrics such as “all of the letters push to the front of my mouth, and saying your name is somewhere between a prayer and a shout” in favour of hedonistically chanting “M D N A M D N A” over and over.

And so we come to the album title. It’s a cool way of writing “Madonna”. Madonna has also said that the songs on this album display her musical DNA, so that also makes sense. And then, it also sounds like MDMA – which is a drug (hence the aforementioned refrain) and implies that Madonna’s new music is addictive. It’s a well-chosen title that has layers of meaning – well done to all concerned! The album cover (I am talking about the deluxe cover, above – the standard is pretty but doesn’t really go beyond that) shows Madonna posing behind a ridged glass screen which slices up the picture into discordant segments and perhaps represents an impenetrable layer between us, the listeners, and her, the performer / musical icon. The super-bright colours then pack a punch to the eye, and also reference a psychedelic, drugged-up state. Drugs like MDMA! I am spelling this out. The most intense colour comes from Madonna’s lips however, which is also important – she always takes centre stage. And her lips are where her voice comes from (sort of – you know what I mean) and Madonna is a Singer. Yes.

Back to the music then. “I Don’t Give A” is another standout track which has an urban quality to the beat. It discusses the hectic schedule of a star on Madonna’s level, and how she does ten things at once without feeling the pressure, because she doesn’t give a. It’s a defiant moment that’s further strengthened by another strong rap from Nicki Minaj, and tops out with an operatic choir repeating “I don’t give a”. As we’ll learn later on in the album however, Madonna does give a. “Love Spent”, “Best Friend” and “I Fucked Up” are introspection done right (unlike “Falling Free”, which is an epic ballad marred by Madonna’s incredibly mannered delivery and too little momentum too late). “Love Spent” switches up halfway through from practically one song to another with little more than a hook in common, but the same theme pervades throughout – if love were money, would you spend it on me? Would you care about me as much as your money? It sounds ironic for Madonna (who is not poor) to be discussing this, but then again, why can’t she? Everyone can relate to the feeling of coming second best in a relationship, regardless of whether either member of the couple is wealthy or not. It’s an emotional moment that is buoyed by a strong melody and interesting musical touches (such as the opening guitar and the Nintendo bleeps). “Best Friend” and “I Fucked Up” are apparently about her divorce from Guy Ritchie, and the demise of their relationship. Now, I know that it is easy to attribute these lyrics to that experience which the whole public knows about- and Madonna has had a couple of relationships since then (one of which was with Jesus!) – but it sounds pretty convincingly like Guy was on her mind when she wrote these tracks.  “Best Friend” talks about losing someone Madonna was very close to, and reflecting upon the time they shared together – “It wasn’t always good but it wasn’t always bad”. The fact that time has passed between the divorce and the album has allowed Madonna to apportion the blame where it lies on both sides – as well as Guy being the subject of her vitriol on other tracks, “I Fucked Up” sees her take some responsibility for the relationship’s demise. “I blamed you when things didn’t go my way… In front of you, I was cold.” Listing a number of the things that the couple could have done makes for some heart-wrenching listening, even as the production picks up speed. Although parts of the album sound manufactured for radio (like the singles) and others see her aim blindly for the craziest dancefloors, these tracks are where Madonna is open and sounds honest, rather than pre-meditated.

Other songs that deserve a mention are “Some Girls” and its basic but essential proclamation: “Some girls are not like me”; “Superstar” and its sugar-sweet hook of “Ooh la la, you’re my superstar”  (I imagine this song as being great for driving along to); the romantic “Masterpiece” which is somewhat cliché but manages to remain elegant and understated. On the other hand, weaker points of the album include “I’m A Sinner” which sounds like “Beautiful Stranger” (and I didn’t like that song either), and the ridiculous “B-Day Song” which wastes M.I.A.’s talents and doesn’t match up to the quality of the rest of the album. However, it’s relaxed nature reveals that Madonna probably had genuine fun recording this track, and it’s nice to hear a song that’s so unguarded. Perhaps it should have remained a b-side.

Overall, MDNA is a good album. It’s not outstanding as a whole, but it contains a fair few excellent moments. The songs are cohesive enough to feel like they belong (with a couple of exceptions), while varied enough to retain interest. There’s genuine introspection, braggadocio and hedonism – which is what we want from Madonna. It’s a shame that some of the album feels so calculated that it detracts from our enjoyment of the material. But once you can look past that, MDNA provides a trip well worth taking.

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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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Rihanna – Talk That Talk (album review)

November 19, 2011

Rihanna’s new album Talk That Talk sits somewhere between Rated R – her creative and musical zenith, and Loud – her hit-laden album that couldn’t stop releasing catchy, radio-friendly #1 singles. This is very much a good thing – although the album is not quite as emotionally deep or jagged as Rated R, it has more edge to it than Loud did – think of it as Loud² with the lights turned down.

Lead singles “We Found Love” and “You Da One” are excellent examples of this. The former is a hands-up-in-the-air bittersweet love anthem that incorporates basic 4-to-the-floor dance just as previous lead single “Only Girl (In The World)” did. However, “We Found Love” is lyrically much more sparse and perhaps more potent as a result – the simple refrain of “We found love in a hopeless place” carries more weight. The excellent, vibrant and startling video further brought this song to life, emphasising the exhilarating highs (the high-energy production courtesy of Calvin Harris) and destructive lows (the simple, spare lyrics) of being in an all-consuming love. The album’s opening song “You Da One” is a sticky-sweet treat in the vein of mega-hit “What’s My Name”; it’s a shame that this didn’t come out in the summer, as it is a song to play in the car when you are riding with your boyfriend or girlfriend.

The first half of Talk That Talk is relentless; after “You Da One”, “Where Have You Been” turns the BPM up to ‘insane’, adds an irresistible call to arms in “Wheeeeeeere have you beeeeeeeeeen all my liiiiiiiiiiiiife”, and quickly becomes Rihanna’s best dance single since “Don’t Stop The Music”.  The album’s title track boasts a predatory rap from Jay-Z just like “Umbrella”, and Rihanna adopts a swagger which suggests that she is at once nonchalant and aggressively icy. It’s a curious dichotomy that defines Rihanna’s appeal – sometimes she is effortlessly stylish and seems to throw out hits that succeed in spite of their singer’s lackadaisical approach; and yet, there is some fierce and determined artistry in Rihanna’s heart to make her records work consistently, and to imbue them with heart and a range of emotions that has come through in her best material. At this point in her career, she commands respect.

According to “Cockiness” and its subsequent interlude “Birthday Cake”, Rihanna also commands the bedroom. “Suck my cockiness, lick my persuasion” / “I love it, I love it, I love it when you eat it” are lyrics so aggressively sexual and yet so explicitly chosen for their shock factor that you can’t help but admire Rihanna’s chutzpah. The cherry on top is that she delivers all of these lines as if she couldn’t care less. “Cockiness” is aided by some top-notch production from Bangladesh, while “Birthday Cake” gets dark and dirty thanks to The-Dream. (This song would have been the album highlight did it not inexplicably fade out after 1:18 – possibly the album’s most glaring fault! But fear not – Rihanna is apparently recording a full version, perhaps for a repackage? I am a cynic.)

Of course, in case you were in doubt, Rihanna has a heart too – ballad “We All Want Love” attempts and fails to recreate the epicness of Rated R‘s closer “The Last Song”, and is possibly an album low-point, although Rihanna sings earnestly. “Drunk On Love” is more successful – with a chunkier beat behind her, Rihanna sings about being intoxicated to the point that “nothing can sober me up”, and the desperation in her vocal is palpable.  After this, we’re back to the template of previous Rihanna songs, and “Roc Me Out” is a retread of “Rude Boy” that is perfectly acceptable, if hardly groundbreaking. The song is fine, but it would sound a lot better if “Rude Boy” hadn’t existed. “Watch n’ Learn” incorporates reggae flavour (which was one of the best and most welcome aspects of Loud) and improves upon Loud‘s “It’s Raining Men”. “Watch n’ Learn” is raunchy, as is much of the album, but it’s also laid-back, chilled and bouncy all at once. The closing ballad “Farewell” is somewhat overwrought, but Rihanna’s vocals are impressive and the lyrics speak about wishing a close friend / lover well, and selflessly not holding them back despite wanting to – which is a unique song topic. “Somebody’s gonna miss you / Somebody’s gonna wish that you were here” is a tender lyric that succeeds where “We All Want Love” fell a little bit flat.

Talk That Talk‘s bonus tracks are all decent. “Red Lipstick” reunites Rihanna with Chase & Status for some grimy dubstep; “Do Ya Thing” is another upbeat urban pop song; “Fool In Love” is a muted, electro-ballad that would have fit nicely in the main body of the album. In summary, Talk That Talk does not take the title of Rihanna’s best album; but given the circumstances under which Rated R was produced, that album is pretty special and unique and I wouldn’t wish her to go through that again. Talk That Talk perhaps ties with Good Girl Gone Bad for second place. It’s an album of contradictions – relentlessly sexual and yet unwittingly heartfelt in places; startlingly aggressive and yet disarmingly laissez-faire; there’s a bunch of hit songs on this record that nobody else could have delivered quite as well as Rihanna, and yet a lot of these songs are clearly inspired by earlier Rihanna hits. I believe that Talk That Talk is a calculated album designed for maximum chart success, but at the same time it sounds exactly like who Rihanna is and precisely what kind of music she personally wants to release. It’s a win-win situation for all concerned, including the listener – Talk That Talk is an irresistible ride.

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Joss Stone – LP1 (album review)

August 11, 2011

LP1 is Joss Stone’s 5th album and her third consecutive attempt to reboot her career (after the stellar Introducing… Joss Stone and the defiant Colour Me Free!). This time, Joss is free of her previous record label EMI and is on her own imprint, Stone’d. So, if she is finally truly in control, why is this album so lifeless?
The good: Joss’ voice is richer, more textured and more soulful than ever. “Last One To Know” is starkly emotional, and compliments this voice with dramatic string crescendoes. On “Landlord”, a raw number which could have been recorded alongside Bruce Springsteen’s Nebraska, Joss takes centre stage backed by nothing but an acoustic guitar.
The bad: There is little else positive to say about the album. Its major crime is that it is dull. Hook-free songs plod along with nondescript drums and guitars blending into an MOR blur. The lyrics are frequently awful: take “Newborn”‘s anticlimactic “What happened to this morning when I woke up and the world was… bruised”, or acoustic closer “Take Good Care”‘s “Take… good… care… / Don’t… push… the button.” Um, what? Joss tries to inject some life into proceedings by cussing to prove how ‘badass’ she is: “I’m a girl that don’t give a shit!” This swearing becomes tiresome, as it’s unnecessary bravado rather than genuine emotion.
If the songwriting on this album matched the quality of Joss’ voice, LP1 would be a much more satisfying affair. As it is, it’s going to take more than this inert stab at independence to revitalise her career. Perhaps Stone should consider working with a soul singer-songwriter like Jazmine Sullivan, whose vocal range and depth is similarly impressive but who has songs which thrill and impress, rather than bore. Joss is one of the UK’s best singers but this material is largely deplorable – and it’s a crying shame.

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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.