Month: December 2021

Week 47: Adele- 30

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Here is a track-by-track review of Adele’s fourth album:

Strangers by Nature:

As you may have heard, before the record was even released, the primary subject was her divorce from Simon Konecki, which certainly comes across from the first listen. Adele foretells about the sheer agony of what divorce does to one’s psyche. The first track features strings as Adele sings lamentably about what happened. As the song climaxes, you can see the colour reappearing in her life after all that has occurred.

Easy on Me:

Ha! Unfortunately, the day this teaser single was released, I missed the premiere, and I didn’t go searching to hear it because I had the gist of what to expect from the track and the album. I am not alone. The single received mixed reviews, with some saying it was a new era and others saying it was the same old tired song we have come to know by her. So, what is a “typical” Adele track? It involves her beautiful vocals over a piano and the subject of being heartbroken. This track is exactly that. I never knocked her voice because it is impressive, but this song is your signature Adele track.

My Little Love:

Now, we are getting somewhere that is different with Adele. It’s the first song on the record that goes against the grain—a track drenched in soul. However, I found it somewhat disturbing as it featured interludes of Adele having a conversation with her son about how much she loves him, and through all the bullshit, it has been him who keeps her spirits up. It also explains why she left his father. I find that quite creepy, and it isn’t our business to know what Adele shares with her son. I believe a subject matter this deep should be done in private.

Cry Your Heart Out:

Another surprise on the album. Adele is now trying her hand at RnB. The melody is quite uplifting, even though the lyrics are dark. The backing vocals and the ivories tinkling add to the tune’s sweetness.

Oh My God:

An interesting take on her vocals here. They seem to hide behind the chorus when everybody knows her vocals are her most vital asset. It seems off-key to want your most critical asset to pale into the background rather than be the track’s focus. You can hear her vocal range during the verses, so I wonder why she decided to take the attention away from the chorus.

Can I Get it:

My standout on “30” as we hear an acoustic guitar for the first time since “19” (I think.). Before Adele was signed, she played an acoustic in most of her sets in the good old days. The last time I remember Adele playing an acoustic was on Later…with Jools Holland back in 2011. I am unsure if she played it on this track, but it is there nonetheless. It sounds as if Ed Sheeran was involved because it has that kind of technique. Maybe even KT Tunstall because she plays the same way. The drums follow the acoustic as Adele changes tempo as the track progresses. It is by far the most audio-pleasing song on the record. 

I Drink Wine:

I am not surprised by the title going by what Adele used to be like before motherhood. However, the track is more about reflecting on her childhood and finding a way to leave her current situation in the rearview. The lyrics are pretty sad as she looks for the answers to take back control and live life with a sense of freedom as she used to when she was younger. The vocals are straight from the heart—the reason why Adele rocketed to fame in the beginning. I say “current situation”, but that has since changed. That is how she felt in 2018, at least.

All Night Parking ft Errol Garner:

Ah, dear. The one thing I cannot stand on albums. Interludes. All they are are fillers—nothing more, nothing less. I didn’t pay much attention for that reason. All I heard was a piano.

Woman Like Me:

As you already know, the record centres around her divorce, and this song follows that trend. This is Adele not knowing which way to turn (Of course, now she is with Rich Paul.) and letting it all out with us acting as sympathetic listeners.

Hold on:

Something that we have known Adele to do in all her previous records. I do not think she needs to write a book because her life has been covered in songs. However, as the track nears the end, there is a sudden change in tempo with harmonies and an orchestral sound that one would hear in the cinema. This piano ballad sees Adele put her story centre stage. It symbolises light appearing from the shadows in her life during that period and a reason to rise again. 

To be Loved:

The lyrics “Let it be known that I tried” are heartbreaking. It is your typical Adele track, with her raw emotion displayed through her vocals and a melancholy message at the end. It is like she feels her love is never good enough. I don’t know how Rich feels, but it works fine between them now.

Love is a Game:

Not only is IT the album closer, but you sense it is also closure to the divorce. You might hear more about it on her next record, but I think she will have moved on from talking about this horrific ordeal. Adele seems to tread carefully regarding the matter of the heart, which sometimes impacts her future relationships, as she discusses in this song. 



Song recommendations: ‘Can I Get it’, ‘Cry Your Heart Out’, ‘I Drink Wine’

8/10

Week 46: Taylor Swift- Red (Taylor’s Version)

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Unless you have been living under a rock, you will know that Taylor Swift was being held to ransom by Scooter Braun over her original masters for her past albums. To combat this, Taylor has decided to re-record the records, which are more enhanced versions of the original albums; over her years of experience as an artist, “Red (Taylor’s Version) is the second instalment of the re-worked records. Initially, the album was released in 2012.

Now, you would have thought that the interest from her fans or just generic listeners of hers wouldn’t bother listening to or buying an album they already have, but no, you would be wrong. I didn’t listen to the original record, but I did listen to a fair chunk of the songs through going shopping, listening to the radio, or watching television. The songs are far more enhanced now and better for it. Her vocals are more mature and softer. In the originals, Taylor sounds raw and angry. On these re-works so far, she has been far calmer. The production and the featured artists show that Taylor is savvier than she was as a youngster.

The immense excitement generated for this album’s release was the 10-minute version (That closes the record.) of ‘All too Well’. Her fans have known it, but the track was unreleased until this album came out. The song is about her brief relationship with actor Jake Gyllenhaal, which led to a heartbreaking split in 2010. The record also opens with the original shorter version of the same song, albeit more enhanced.

Unlike the original, the extended version includes anecdotes about how the breakup ruined her 21st birthday, and she scathes at the age difference between them. Taylor asks Jake if the split also hurts as the track fades out with haunting layered vocals. The track didn’t make me cry, but that might not happen with you. It is quite a challenging listen, but as mentioned before, Taylor remains measured with her vocals rather than spitting venom.

Of course, an added incentive to buy these reworks is the “From the Vault” tracks. Of course, as mentioned in my review earlier in the year, these songs are album tracks from those sessions. These sessions would include ‘All too Well (Extended Version)’, ‘I Bet You Think About Me’, ‘Run’ featuring Ed Sheeran, ‘Nothing New’ with Phoebe Bridgers and many others.

I enjoyed the refined version of ‘I Knew You Were Trouble’. It sounded familiar, but yet an entirely different track from the original. The production is more sophisticated, so any distortion has been cancelled out. I remember hearing this soft Dubstep track with a tinge of distortion, or maybe that’s just me. There are even tracks such as ‘Stay Stay Stay’ and ‘the Last Time’ featuring Snow Patrol’s Gary Lightbody that tended to be overlooked and have been given a new lease of life on this version, with Taylor taking it back to her country roots.

I will have to concede that this version of “Red” is far superior to the original because Taylor’s vocals are more refined and measured, plus the production is crispier. Taylor’s confidence has grown over the years of being an artist, and this re-work certainly shows it.

Song recommendations: ‘the Last Time’, ‘I Knew You Were Trouble’, ‘Everything Has Changed’

8/10

Week 45: ABBA- Voyage

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Well, everyone knows who ABBA is without even knowing who they are. Now, I am not a fan, but there is no denying that their music is funky and uplifting. At some point, whether at a party, school disco or wedding reception, the DJ has always played at least one of their iconic songs. The band split up 40 years ago, but through the request of Anni-Frid Lyngstad and Agnetha Fältskog, Benny Andersson and Björn Ulvaeus put their differences aside and reformed the quartet for a tour and new album in the here-and-now. 

The record is full of their signature sound, but somehow, they have managed to put a modern spin on it. That is what made “Voyage” enjoyable for me. I expected to hear the same old ABBA but was surprised by how modern yet retro the sound was. It is hard to describe precisely what I mean by this in words. You will have to listen to understand where I am coming from with that statement. There are even two songs based around Christmas, and my particular favourite off the album ‘Little Things’. It is a typical Christmas song with a children’s choir and all the other trimmings of a familiar, uplifting Christmas song. It will compete for the top spot for Christmas because this and the Lathums song ‘Krampus’ deserve to be at the acme. When was the last time an actual Christmas song was at number one for Christmas? I can only think of the Darkness’ ‘Don’t Let the Bells End’ in 2004. 

ABBA’s return has not been a damp squib as you find all four singers singing sublime harmonies with solid vocals. Whatever trials and tribulations they went through in the past have been put behind them as they appear as one on the record. Some bands struggle to see past conflicts, which can appear evident on the recordings of an album or even during live performances. Surprisingly, although the record does sound more modern yet retro with the melodies, the quartet has yet to succumb to the concept of using modern pop chart methods like including a rapper, auto-tune and those God-awful beats. For a start, ABBA has held back a track since 1979’s “Voulez-Vous” sessions. The track in question is ‘Just a Notion’; honestly, it was the only track I heard that seemed like ABBA of old. 

You could say that the modern yet retro sound is down to their use of modern technology. Benny and Björn have relished the opportunity of noodling with the technology that wasn’t available to them in the year of their split (Obviously.). And the retro part? Most of their songs utilise the typical minor to major to minor key. I enjoyed their implementation of strings on ‘Ode to Freedom’, the final track of the album. It is utterly orchestral and a terrific and glorious way to sign off.

There is room for Celtic pop and a ballad about the environment with ‘When You Danced with Me’ and ‘Bumble Bee’, respectively. ABBA foretell about their return on ‘Don’t Shut Me Down’, one of their teaser singles released in September. The other is ‘I Can be That Woman’, a story about rekindling a love lost through alcoholism. The protagonist, portrayed by Anni-Frid, has overcome alcoholism and wants another chance. However, an argument occurs in front of a dog, and she is visibly frightened by the heated exchange. Indeed, Anni-Frid mentions in the lyrics that the female dog jerks every time the male swears at his former lover. Although the song sounds great, the lyrics are far more sinister. Now, you might need to pick it up or pay more attention when listening to the track because the instrumentation conceals the subject’s realism. Still, when you check out the lyrics, you will realise just how sinister the subject is. In a way, it is like the Police’s ‘Every Breath You Take’.

Another favourite of mine was ‘Keep an Eye on Dan’ (If you know why, you already know.). Another quite sinister track where a child called Dan (Again, obviously.) is being dropped off by his mother to spend time with his father as agreed during a custody battle in court. The mother appears anxious to let her son spend time with his father. 

Indeed, as she drops him off, she drives around the bend, punching the steering wheel as her heart aches. It might not be evident during the vocal delivery, but the lyrics depict a mother who is angry, frightened and full of anxiety at the thought of leaving her son in the hands of her former husband/lover. ABBA has appeared as the master of disguising melancholy within uplifting melodies on “Voyage”. The graphic shows should be something else with the broad sounds and subjects offered.

Song recommendations: ‘Little Things’, ‘Keep an Eye on Dan’, ‘I Can be That Woman.’