Ariana Grande "Yours Truly" Album Review

Alright, guys, it’s marathon time. Given that she’s got a new album on the way (and given that she’s an artist I love), we’re gonna look back at Ariana Grande’s discography, starting off with her 2013 debut album “Yours Truly.”

Ariana Grande, you know the name, you probably know the face, the Nickelodeon star turned pop diva superstar has been one of the biggest hitmakers of the 2010s so far. With a bevy of Top 10 hits spread across her three albums “Yours Truly,” “My Everything,” and “Dangerous Woman,” Ariana has been one of the business’s biggest, and her voice is pretty distinguishable in the field today. She’s also proven to be a figure that can overcome adversity (from the doughnut-licking scandal that people still try to knock her for to her show of love in organizing the “One Love Manchester” event last year) and stand tall as an empowering feminist figure. She’s an artist I’ve always had love for, but I haven’t gotten to listen to any of her albums entirely, so I figured that with her new record “Sweetener” on the horizon, why not fix that? So, let’s go!

Honeymoon Avenue: The opener to the album, apparently this one originally had an Amy Winehouse vibe to it, but the version included on the album is actually a “remix,” oddly enough. Either way, the album version has something of a Justin Timberlake vibe to it instead, as Ariana sings about wanting to go back to the beginning of a relationship that she had, instead of being at the sad ending they are currently at. The very bright instrumentals are beautiful, and Ariana’s vocals are very pretty (apparently she sang this song with a skull & lung infection, and while I can very slightly hear it, she still sounds amazing). I didn’t really dig the hook on this one at first, but it really grew on me with repeat listens. A great opener to the album.

Baby I: The second single that Ariana released from this album, I actually wasn’t that crazy about it when it first came out. It took a few listens for me to really dig it. This track hearkens back to 90s R&B with a few disco vibes here and there, as Ariana talks about how she loves someone so much, but just can’t properly explain it. It’s still one of my favorite cuts from the record, with its infectious hook, bouncy feel, and catchy beat, and I think that, even for an older Ariana cut, it holds up pretty well today. Will it go down as one of my favorite cuts from her? Maybe not, but it still remains an energetic and enjoyable cut five years after its initial release.

Right There (ft. Big Sean): A song featuring Ariana’s now ex-boyfriend Big Sean, Ariana’s described this one as “kind of like the sequel to ’The Way,’” and you can hear that in a few subtle ways, from the way it opens to the way Big Sean’s verses are placed in the song. Still, though, Ariana’s vocal flow is really interesting here, and her vocals are still gorgeous here against the click-clack percussion and sweet synths. And even though I’m not a Big Sean fan, I do think his verses on this one are pretty solid, and they add an extra layer of fun to what is already a pretty strong cut.

Tattooed Heart: Like “Honeymoon Avenue,” Ariana recorded this song with her skull & lung infection, but that doesn’t do anything bad to her vocals. On this track, there’s more of a slow-jam, doo-wop vibe, as Ariana sings about wanting to leave a permanent impression on her lover over some very smooth keys and a slow, snappy drum beat. In a way, this feels a little like an interlude, but it’s a really interesting and very different track than the previous ones, and I can appreciate that, much like how many of the songs on here take on a 90s R&B-inspired feel, this feels like a bit of a throwback and a really good one at that!

Lovin’ It: With this one, Ariana takes the throwback feel to a whole new level. I got some Britney Spears vibes, some Beyoncé vibes (at one point, I thought she interpolated “Irreplaceable”), and even more. What also contributes to that is that she samples “Real Love” by Mary J. Blige, which adds to that feeling of “throwbacks.” I love that feel that the song has, Ariana’s vocals are great and the beat is fantastic, but unfortunately, I think the song is held back by what I think is one of the clumsier hooks on the record. I was really digging everything about it until we got to that “nothing but loving you, nothing but loving you, baby” chorus. Maybe a few more listens might help, but all in all, that hook definitely hurt the song a bit.

Piano: Here’s a track that doesn’t really get a lot of talk that I still love! This non-single cut sees Ariana talking about how she could make a somber ballad with her new piano about a failed romance, or she could make a more poppy, danceable song that can be played on the radio. Trust me when I say she definitely goes to both extremes on this album, but this one turns into the latter: more poppy, vibrant and danceable (just without the radio part because this wasn’t a single). I love Ariana’s vocals on this cut, and I think she really sells this very exciting, sticky hook, and the production is very strong, even using pianos to help sell something more poppy. I know that goes a bit against what the song is saying and all, but she makes it work, and it’s a pretty great track!

Daydreamin’: Taking things back to the whole “doo-wop” feel that we saw earlier on “Tattooed Heart,” Ariana talks about how her love for someone is so strong that it leaves her daydreaming about them. It once again feels like a little bit of a slow-jam, and it’s got some really luscious piano chords and heavenly vocals from Ariana. And even though it has that slow-jam feel to it, the beat is still energetic and exciting, and it meshes well with the bright keys and upbeat feel of the song. I also think it’s very sweet that, at the tail-end of the song, Ariana included an audio clip of her grandparents talking about how they fell in love. I know from her social media posts that Ariana has a close connection with her family, so it’s sweet that she did that, and it helps round out a very sweet song.

The Way (ft. Mac Miller): Ariana’s first big single, this one features her now ex-boyfriend Mac Miller as they essentially play “call-and-response” to discuss their extreme love for their respective partners (I say “respective partners” since they weren’t dating at the time). Once again, the song takes on something of a 90s R&B-inspired feel, with some very bouncy beats and gorgeous piano melodies. Ariana’s vocals are stunning, as she is given all the room to explore her vocal range and show off the power in her voice, and the hook is also quite sticky as well. Mac Miller’s verses also feature some relatively sweet bars, and he helps round out a very good first single for Ariana.

You’ll Never Know: Let me tell you, I haven’t heard this song in years, and getting to hear it again after so long is just refreshing! I so wish it was released as a single, it’s definitely one of the bests on the album. Another prime piece of 90s R&B/pop fusion, Ariana sings on this cut about a boy who wasn’t good enough for her because he just couldn’t tell her how he really felt about her, and she sings over some excellent production consisting of very dreamy, gorgeous synths and a vibrant beat. Her vocals are fantastic as usual, and the song also has one of the most sticky and memorable hooks on the entire record. I’m so glad I got to hear this again, it’s excellent!

Almost Is Never Enough (ft. Nathan Sykes): Remember how I said with “Piano” that Ariana would tackle both extremes on this album? You know, the ballad side and the poppy side? Well, here we are with that ballad! This one sees Ariana collaborating with Nathan Sykes of The Wanted (you may remember them for the song “Glad You Came”) on a single that actually made it onto the soundtrack for a film called “The Mortal Instruments: City of Bones” that came out in 2013 (remember that movie? No? Don’t worry, not many people do, apparently). The song’s light piano melody allows for Ariana and Nathan to really let their vocal chops sell the song, and sell, it does. They both sound gorgeous singing about a relationship that just didn’t get the effort it needed to push forward, and it makes for one of the best tracks on the album.

Popular Song (MIKA ft. Ariana Grande): Technically, this isn’t Ariana’s own song, it’s a collaboration that she did with Lebanese-British singer MIKA that is something of an updated version of the song “Popular” from the musical “Wicked,” and it serves as something of an anti-bullying anthem. Nice message to have, for sure, and both Ariana and MIKA show some great vocal interplay over a very snappy, ecstatic beat and some really head-noddy guitars. The hook is also guaranteed to be stuck in my head for all the right reasons. Great track!

Better Left Unsaid: Finishing off the album, Ariana tries her hand at a little bit of electropop and dance music here to…unfortunately weaker results. Ariana’s vocals are beautiful as always, as she sings about leaving things unsaid and just living in the moment, but unfortunately, the electronic production just feels rather uninspired and lackluster. Maybe it’s because I’ve been burned by a lot of electronic songs like this, but I found that the instrumentals were just too purging and monotonous to sit through. Part of me wishes that Ariana chose to end off the album with “Popular Song” instead, to be honest, because this is definitely one of the weakest cuts on the album.

Overall, despite that final song being less than stellar, Ariana Grande’s debut album still holds up beautifully to this day. Ariana’s vocals, which received a lot of Mariah Carey comparisons, are gorgeous and her range is strong, but what makes the album really work is that not only does Ariana show off her vocal chops really well, but she has a strong ear for infectious, throwback-styled production. It’s clear that she wasn’t trying to settle for something that sounds “factory-produced” and “bubblegum” that played more to her Nickelodeon origins, she actually wanted to make a mature album that appreciates the style of music that she grew up on, and it works. Even on some of the weaker cuts here, Ariana’s appreciation for 90s/early 2000s R&B and pop music shines through, and it makes the album a resounding success that’s definitely worth listening to even after five years and plenty of new music.

Up next is Ariana’s sophomore album “My Everything.” Let’s see if it continues this album’s success, or takes a step backward.

Favorite tracks: Honeymoon Avenue*, Baby I, Right There, Tattooed Heart, Piano, Daydreamin’, The Way, You’ll Never Know, Almost Is Never Enough, Popular Song

Least favorite tracks: Lovin’ It, Better Left Unsaid

Rating: Excellent

(*An asterisk next to a “favorite track” indicates that the track wasn’t initially one of my “favorite tracks” when I first wrote the review. If a track has an asterisk next to it, it means the song wasn’t initially a favorite of mine, but it grew on me, and the text for the song may have been edited to more properly reflect that.)

THINK PIECE: Songs I Wish Were As Big As Their Album’s Biggest Singles

I get it, I get it, artists have certain songs hit the top of the charts because they are commercial and because they’re poppy, even if they aren’t the best songs on the album. Unfortunately, this means that a vast majority of great cuts from albums go completely forgotten to many because they aren’t pushed as much as that #1 hit. For this “THINK PIECE,” my first in several months, I’m gonna talk about some tracks that I wish were pushed as much as their album’s biggest singles. As usual, the albums I discuss will be albums I have reviewed in the past since those are basically all the albums I’ve listened to in their entirety. And also, I’ll point this out, when I say "songs I wish were as big," that isn’t strictly limited to “non-singles.” Sometimes, songs get released as singles but don’t stick quite as well as that Top 10 hit. Or hell, they might make the Top 10 as a “fluke hit” or as the result of an “album bomb,” but fade away very quickly and fail to have the longevity of the bigger singles. This is basically no holes barred in terms of songs, and it’s basically just tracks that I believe should’ve gotten more attention.

To that point, I want to mention that this list is mostly just based on personal opinions, so some of these you will not agree with. That’s fine, so long as you don’t start flame wars about it (though, given that it’s the Internet, I’m not holding my breath. Then again, I’m not holding my breath that people will comment on this anyway). However, I will say that a few of the tracks were chosen because I found that there was more easy bankability to them that could’ve made them bigger hits than the songs that did blow up, so I did do some critical thinking for the list beyond my enjoyment for the songs. Anyway, we’ve got a lot to dissect here, so let’s just jump right in:

Kendrick Lamar - DAMN.

Biggest Single: “HUMBLE.” (Billboard Hot 100 Peak: 1)
What I Wish Was As Big: “LOYALTY. FEAT. RIHANNA.” (Billboard Hot 100 Peak: 14)

Look, “DAMN.” is an amazing album, and there are so many amazing tracks that could’ve gotten more attention. “HUMBLE.” was the one song on the album that actually hit #1, and “DNA.” hit #4 despite not really being a “single,” but if I had to pick another song that I wish hit #1 as “HUMBLE.” did, it would be “LOYALTY. FEAT. RIHANNA.” Yes, “HUMBLE.” was great, and “LOYALTY.” did actually get some traction by making it into the Top 15 for a week (mostly thanks to the “album bomb”) and even landing on Billboard’s Year-End Hot 100, but I wish it got just a little bit higher. It felt like this got released as a single, but didn’t have the long-term impact of “HUMBLE.” which is a shame, especially given that “LOYALTY.” was even referred to as one of the album’s more “radio-friendly cuts” by Complex and had a premium feature in Rihanna that could’ve pushed this even higher. Ah well, at least a few tracks from “DAMN.” gained chart traction where “To Pimp a Butterfly” couldn’t.

Lil Uzi Vert - Luv is Rage 2
Biggest Single: “XO Tour Llif3” (Billboard Hot 100 Peak: 7)
What I Wish Was As Big: “The Way Life Goes”/“Sauce It Up” (Billboard Hot 100 Peak: 24/49)

Perhaps this comes from my idea that society is starting to reject “mumble rap” to a degree, but “The Way Life Goes” and “Sauce It Up” were just as fun, if not more fun, than “XO Tour Llif3,” and I wish they caught on a bit more. Sure, “The Way Life Goes” hovered in and around the Top 40 for a decent amount of time, but it didn’t have nearly the same longevity as “XO Tour Llif3.” “Sauce It Up” had it even worse, as it debuted at #49 thanks to the “album bomb” and didn’t even touch the charts when it finally got a single release this February. And look, “XO Tour Llif3” is a fine song and all, but I just think it kinda sucks that the biggest song off of Lil Uzi Vert’s debut album was a song that actually debuted on a previous project (“XO Tour Llif3" first appeared on “Luv is Rage 1.5”) and that the track, which was just thrown onto the album because it was a big hit, still outdid everything else new to the album. Ehh, Uzi’s probably not bothered by it.

Fifth Harmony - Fifth Harmony
Biggest Single: “Down” (Billboard Hot 100 Peak: 42)
What I Wish Was As Big: “Sauced Up”/“Bridges” (Billboard Hot 100 Peak: Did not chart/Did not chart)

It’s clear that “Fifth Harmony” didn’t chart nearly as well as the group’s previous albums, nor did the singles, and whether or not that was the result of Camila Cabello leaving is unclear, but what is clear is that the group definitely didn’t do this whole “single” thing right and, compared to their previous album, they didn’t have success with the whole “single” thing as they did with previous albums. “Down” was released as the lead single (and even though it charted the highest of the bunch, it didn’t even hit the Top 40), and it was followed by “He Like That” and “Por Favor,” the latter of which I didn’t even cover in my review because it was part of Spotify’s re-release of the album. Given that “Down” was honestly one of the group’s more generic singles, I wish they put out “Sauced Up” (since it had more good energy and a far better hook) or “Bridges” (since it had a somewhat political, but still positive message) as singles instead. Ah well, sorry ladies.

The Weeknd - Beauty Behind The Madness
Biggest Single: Can’t Feel My Face/The Hills (Billboard Hot 100 Peak: 1/1)
What I Wish Was As Big: Real Life/Angels (Billboard Hot 100 Peak: 69/Did not chart)

“Can’t Feel My Face” and “The Hills” are amazing. “Beauty Behind The Madness” is amazing. “Real Life” and “Angels” are amazing. The fact that “Real Life” and “Angels” didn’t chart or get single releases is not amazing. The opening and closing tracks to the album, respectively, “Real Life” at least MADE the Hot 100 for two weeks (thanks to the album bomb), but “Angel,” despite being one of The Weeknd’s big “audience participation songs” at his concerts, didn’t even have the luxury of receiving a single release. Yes, a song that The Weeknd gets a lot of audience participation out of at concerts was NOT given a single release. But hey, at least he still brings it out at concerts unlike “Real Life.” Even though that was a crazy good opener to “Beauty Behind the Madness,” it seems like that’s another one of the many non-single cuts that got pushed to the side at recent concerts (much like every “Trilogy” song minus “The Morning” and “Wicked Games,” and every “Kiss Land” song), and it’s unfortunate because “Real Life” was awesome. Oh well, I’m sure The Weeknd is proud of his songs that have made it on the charts, and at least those songs are amazing.

Kesha - Rainbow

Biggest Single: Praying (Billboard Hot 100 Peak: 22)
What I Wish Was As Big: Rainbow (Billboard Hot 100 Peak: 113)

I understand, “Praying” is fantastic. It’s so emotional and gorgeous, and I’m so glad that, after all the nonsense Kesha had to go through with Dr. Luke and the fact that this album came out after such a long wait, she was able to get even one song that earned some traction on the Hot 100. However, the title track “Rainbow” is also emotional and gorgeous, and it didn’t even hit the Hot 100 (it hit the Bubbling Under Hot 100 chart at #13, hence the 113 you see above). I wish this at least got somewhere close to “Praying” because I feel like it’s honestly one of Kesha’s best. It’s so raw and honest, and I think that, as much as I love “Praying” for how powerful it is, I honestly like “Rainbow” a bit better, and wish it had gotten the same love and traction that “Praying” received.

Rae Sremmurd - SremmLife
Biggest Single: No Type (Billboard Hot 100 Peak: 16)
What I Wish Was As Big: Safe Sex Pay Checks (Billboard Hot 100 Peak: Did not chart)

I know, I know, marketing and releasing a single that’s called “Safe Sex Pay Checks” is gonna be tough and is gonna require censorship, but hey, it’s one of the best songs on “SremmLife,” and it at least deserved a chance. But now it feels like the song was simply shoved to the side and isn’t really remembered by Rae Sremmurd fans, even though it's basically the culmination of what the duo tries to achieve: partying, fun, and a good time. Instead, Swae Lee and Slim Jxmmi would prefer to have their audiences shouting the illogical sentence “I don’t got no type, bad bitches is the only thing that I like” at their concerts. And look, “No Type” has grown on me just a little, and I do think it’s a fun song even with that dumb hook, but having seen Rae Sremmurd perform while opening for The Weeknd, I’d rather turn up to “Safe Sex Pay Checks” at their concert than “No Type.”

Rae Sremmurd - SremmLife 2
Biggest Single: Black Beatles (Billboard Hot 100 Peak: 1)
What I Wish Was As Big: Look Alive/Set the Roof/Shake It Fast/Start A Party (Billboard Hot 100 Peak: 72/Did not chart/Did not chart/Did not chart)

Yeahhh, I’m sure you can tell that I think there was bigger single potential with “SremmLife 2” that Rae Sremmurd didn’t quite capitalize on. Sure, I’m thankful that the Mannequin Challenge helped propel “Black Beatles” to the top of the charts, I’m happy that “Swang” got a bit of clout, and I’m glad “Look Alive” charted at all, but I wish the latter had gotten more of a push and had more longevity, and I wish any of the other songs I mentioned got the same love. No, I’m not saying they should’ve released them all, of course, because that’s a lot of singles right there, but there were so many bangers on the album that could’ve made great singles if they just received more of a push. Hell, even something like “Just Like Us,” which I didn’t mention above, could’ve gotten a single release, and even though I’m one of the five people on the planet that actually likes “Swang” despite the autotune screeching on the hook, I think “Just Like Us” could’ve been the better “bonus track” single of the bunch and that one didn’t even get a music video (“Start A Party,” “Shake It Fast,” and “Set The Roof” did, even though they weren’t singles, and other non-singles from the album received videos). I think you guys get it by now, “SremmLife 2” had far more single potential than it showed.

Ed Sheeran - ÷
Biggest Singles: Shape of You/Perfect (Billboard Hot 100 Peak: 1/1)
What I Wish Was As Big: Eraser/Barcelona (Billboard Hot 100 Peak: 90/96)

“Eraser” and “Barcelona” mostly made the charts because of the “album bomb,” and look, I love "Shape of You" and "Perfect" so I’m glad they got to #1, but “Eraser” and “Barcelona” are such different-sounding but still charming songs from Ed that could’ve made great hits. “Eraser” could’ve been the more rocking companion to “Castle on the Hill,” and “Barcelona,” being a more Spanish-influenced track, was very different than the usual Ed Sheeran fare and could’ve played as a good “summer song” (and while I liked “Bibia Be Ye Ye” of course because I liked every song on the album, I wish “Barcelona” got more of a push than that one). Hell, Ed recently released “Happier” as a single and, while I adore that song (outside of the music video version where the drumbeat they added messed it up for me), I feel like Ed should’ve picked a more fast-paced, upbeat single to follow “Perfect.” Maybe that’s just me, though.

P!nk - Beautiful Trauma
Biggest Single: What About Us (Billboard Hot 100 Peak: 13)
What I Wish Was As Big: Beautiful Trauma (Billboard Hot 100 Peak: 78)

The title track of P!nk’s latest album is, in my opinion, one of her best songs. Yes, I said it. Even for all the iconic songs in P!nk’s legendary discography, “Beautiful Trauma” is one of her absolute bests. I’m glad we got P!nk a Top 15 hit with “What About Us” (even if that wasn’t one of my favorite songs on the album), but why couldn’t we do that with the title song? It’s so damn fun and P!nk’s vocals are so gorgeous and lovely, and the song perfectly bounces back and forth between being upbeat and lowkey, it’s such an excellent song! What stopped it from charting as well as “What About Us?” Beats me, but I wish it got the love that “What About Us” did. Sure, I’m happy that, after all these years, P!nk can still put out songs that chart well, but come on! “Beautiful Trauma” was awesome! Ah well, you win some and lose some.

Alessia Cara - Know-It-All
Biggest Single: Here/Scars to Your Beautiful (Billboard Hot 100 Peak: 5/8)
What I Wish Was As Big: Four Pink Walls (Billboard Hot 100 Peak: Did not chart)

Yes, I loved every song on Alessia Cara’s debut album, and yes, “Here” and “Scars to Your Beautiful” were absolutely deserving of being singles (especially the latter, given the message it sends out), and I’m more than happy the two of them made it to the Top 10 on the Billboard Hot 100, but I wish “Four Pink Walls” got the single treatment, because again, it’s such a different-sounding song for Alessia, and it’s such a great one. With Alessia’s great flow, a hook that’s very sticky and beautiful, and some really fun production, this one deserved as much love as those other two hit singles. And on the topic of Alessia Cara, WHEN ARE WE GONNA GET “GROWING PAINS” CHARTING HIGHER THAN 48? COME ON, PEOPLE! SHE’S GREAT AND THE SONG DESERVES TO BE HIGHER AND…ahem, sorry, got a little excited.

Niall Horan - Flicker
Biggest Single: Slow Hands (Billboard Hot 100 Peak: 11)
What I Wish Was As Big: Since We’re Alone/You and Me (Billboard Hot 100 Peak: Did not chart/Did not chart)

Honestly, I’m happy that, at the very least, ANYTHING off of Niall’s debut album caught on here in the States. I’m glad “This Town” charted well, and “Slow Hands” is still an enjoyable song, but “Since We’re Alone” and “You and Me” are also very sweet cuts that I think deserved more listens. Sure, I can see why some people may have skipped over them because, ya know, they’re just acoustic guitar ballads and stuff, but they’re both just so charming and beautiful in their own ways, I would’ve loved to at least see Niall give them a chance with single releases. Oh well, at least he had a few successful cuts off of “Flicker,” and at least those two high-charting singles are still great, so I’ll give him props on that.

Kanye West - The Life of Pablo
Biggest Single: Famous (Billboard Hot 100 Peak: 34)
What I Wish Was As Big: Ultralight Beam (Billboard Hot 100 Peak: 67)

Let’s face it, Kanye’s release patterns with albums these days are WEIRD, and I don’t think he releases singles with the intention of them becoming chart hits anymore. Obviously, he’s had a few recently, like “Yikes” from his latest album making the Top 10, and the non-album single “FourFiveSeconds” making it to #4, but I don’t think he puts these singles out intending to push them to #1 or anything like that, and that showed with “The Life of Pablo,” which had its biggest single peak at #34. “Famous” became somewhat big thanks largely to how it ignited the beef with Taylor Swift, but personally, I didn’t think it was the best song on the album. “Ultralight Beam” was a glorious, heavenly track that deserved a much larger push. Though, as I said, I feel like Kanye’s less concerned with releasing huge singles than he is just putting out albums so, meh, can’t expect a ton.

Taylor Swift - Reputation
Biggest Singles: Look What You Made Me Do/…Ready For It? (Billboard Hot 100 Peak: 1/4)
What I Wish Was As Big: New Year’s Day/End Game (Billboard Hot 100 Peak: Did not chart/18)

“Look What You Made Me Do” was a hideous leadoff single, and “…Ready For It?,” though I enjoyed it enough to put it in my “favorites” in my review, wasn’t the best follow-up Taylor could’ve picked. Though “New Year’s Day” and “End Game” both received single releases (and the latter made the Top 20), I believe that if Taylor wanted to hook listeners into her “new sound,” she should’ve pushed “End Game” as her leadoff single, and she also should’ve used “New Year’s Day” as the cut to help keep the old fans from leaving. After all, “End Game” is a track that actually has some bounce and very real excitement to it (and with Future and Ed Sheeran, it could’ve gotten more promotion from them), and “New Year’s Day” was so gorgeous and honest for Taylor that she could’ve used it instead of trying to alienate her older fans. No, releasing that as a single wouldn’t have fixed the album's problems and made things better, but at least there would’ve been a bit more excitement going into it that it would be more genuine than it actually was.

Childish Gambino - “Awaken, My Love!”
Biggest Single: Redbone (Billboard Hot 100 Peak: 12)
What I Wish Was As Big: Zombies (Billboard Hot 100 Peak: 121)

“Redbone” became the meme? Look, it’s an amazing song and all, but listen to “Zombies!” Not only is it another amazing song, but do you hear Gambino’s vocal performance on this one? You couldn’t meme that? Actually, wait, if “Zombies” got meme’d, there’s a chance the song would’ve been ruined forever…NEVER MIND, THANKS FOR NOT TURNING “ZOMBIES” INTO A MEME!!! But anyway, “Zombies” was a very infectious and weirdly awesome track that I think could’ve been a good companion to “Redbone.” They both have an interesting old-school vibe to them, and I think “Zombies” was different enough from “Redbone” that it wouldn’t have felt like a rehashing of the big single.

Lorde - Melodrama
Biggest Single: Green Light (Billboard Hot 100 Peak: 19)
What I Wish Was As Big: Homemade Dynamite (Billboard Hot 100 Peak: 92)

Even though there was nothing on the album that came close to “Royals,” I’m glad Lorde was able to get a hit of some kind off of her excellent album “Melodrama,” but I wish that “Homemade Dynamite” saw as much success because I’d argue it’s an even better song. I think the hook is even better, the vibe is far different here, and there’s just even more fun to be had with it. And hell, the remix is the perfect example of a remix that doesn’t totally screw things up and, in fact, can make things better! And with star power like Khalid, SZA, and Post Malone, had they helped push this single a bit more, it could’ve been even bigger! Either way, I’m glad Lorde got some chart success from “Melodrama,” I just wish “Homemade Dynamite” contributed a bit more to that.

Drake - So Far Gone (EP)
Biggest Single: Best I Ever Had (Billboard Hot 100 Peak: 2)
What I Wish Was As Big: Houstatlantavegas (Billboard Hot 100 Peak: Did not chart)

Funny story: while typing this description out, “Best I Ever Had” actually came on my Spotify. Make of that what you will. Anyway, we’re about to see a lot of Drake here, people. Yes, “Best I Ever Had” is a pretty great song, but I think that “Houstatlantavegas” played to Drake’s strengths very well, too, and it could’ve been a good way of showing Drake’s versatility, with the more rap-oriented “Best I Ever Had” going hand-and-hand with the woozy, intoxicating R&B vibes of “Houstatlantavegas.” I get that a lot of artists don’t get more than one hit off of an EP (at least from what I noticed), but as I said, Drake is an artist that is not only known for rap, but also for R&B-flavored tracks, and “Houstatlantavegas” would’ve been a great introduction to the latter side. Ah well, Drake’s got a lot of hits anyway, I’m sure he doesn’t need an older song suddenly jumping up on the charts.

Drake - Thank Me Later
Biggest Single: Find Your Love (Billboard Hot 100 Peak: 5)
What I Wish Was As Big: Shut It Down (Billboard Hot 100 Peak: 125)

Okay, this one is entirely just personal preference speaking. Yes, “Shut It Down” has the cheesy lyric about a fine cousin, but it’s such a luscious, gorgeously-made song and I wish it got a bit more traction. I don’t really say that because of the song’s huge commercial potential or anything like that, this is just one of those cases where I really like the song and just wish a few more people did. That, and while I do like “Find Your Love,” I do feel like there were several better songs from “Thank Me Later” that I wish could’ve caught on in the same way. I definitely see why “Find Your Love” was the biggest charting song because it is the most poppy and immediate song on the album, but that doesn’t mean it was the only one deserving of massive chart success.

Drake - Take Care
Biggest Single: Take Care (Billboard Hot 100 Peak: 7)
What I Wish Was As Big: Crew Love (Billboard Hot 100 Peak: 80)

The biggest charting single on Drake’s best full-length album (if we count “If You’re Reading This, It’s Too Late” as a mixtape) is the title track? I’m sorry, that confused me a bit, I don’t even think it’s close to being the album’s best. “Crew Love” is an infectious, pumping banger that definitely should’ve received more of a push back when the album was released. I know it could’ve been harder to market it given that it’s closer to being The Weeknd’s song than it is to being Drake’s, and The Weeknd wasn’t nearly as huge in 2011 as he is now, but hey, think of it like this: The Weeknd still uses “Crew Love” as an “audience participation” song at his concerts, and it’s one of the songs that gets the crowd the most hyped, so hey, just imagine how many more people the song could’ve hyped up if its single release had gotten more of a push.

Drake - Nothing Was The Same
Biggest Single: Hold On, We’re Going Home (Billboard Hot 100 Peak: 4)
What I Wish Was As Big: Furthest Thing (Billboard Hot 100 Peak: 56)

I get it, “Hold On, We’re Going Home” is more poppy and radio-friendly than most of “Nothing Was The Same,” and it’s a pretty fun song in its own right, but “Furthest Thing” deserved a good chance, too! It blends Drake’s styles so nicely and it seems to be one of the more liked songs off of the album, I think this deserved the push that “Started from the Bottom” got, especially since I’d argue that’s one of the weaker cuts on the album. Hell, the song could’ve still gotten plays even if they decided to cut out the second part! Personally, and maybe I’m the only one, but I think “Nothing Was The Same” was one of the biggest examples of Drake mishandling his single choices, and it’s a shame because even as one of Drake’s weaker projects, there are far better songs on there that just didn’t get the attention that “Started From The Bottom” and “Hold On, We’re Going Home” got.

Drake - Views
Biggest Single: One Dance (Billboard Hot 100 Peak: 1)
What I Wish Was As Big: Still Here (Billboard Hot 100 Peak: 40)

I think you guys get it at this point that, even if Drake’s got a ton of fantastic singles, he definitely could’ve picked some better ones. Yes, I’m one of the five people on the planet that actually liked “One Dance,” but “Still Here” was a complete banger that deserved more plays than Drake’s patois and dancehall. Hell, I actually liked some of the dancehall-styled tracks like “Controlla” and “Too Good,” and I don’t even think they needed to be released as singles. Personally, it just felt like Drake got the “Hotline Bling” sound right, and then had a massive hit with “One Dance” (it was his first #1 single as a lead artist) and then just decided that he should flex all of the marketing muscle on the dancehall songs. Hell, the one “rap” single he did drop was “Pop Style.” Drake picked “Pop Style” over “Still Here?” Come on.

Post Malone - beerbongs & bentleys
Biggest Singles: rockstar/Psycho (Billboard Hot 100 Peak: 1/1)
What I Wish Was As Big: Candy Paint (Billboard Hot 100 Peak: 34)

I absolutely adore “rockstar” and “Psycho,” they’re some of Post’s best hits yet. And for that matter, most of what Post did on “beerbongs & bentleys” improved upon “Stoney.” That said, I wish “Candy Paint” stuck a bit more and didn’t get viewed as just “the song from the Fast and Furious movie that Post threw onto his album to remind everyone that it exists.” I’m glad it at least pushed up into the Top 40, but I wish that including it on “beerbongs & bentleys” helped it to jump a little higher. Maybe if he dropped a music video for it that would’ve helped? I’m not sure, but I wish it didn’t just get viewed as a “movie soundtrack song” and got the awareness push that “rockstar” and “Psycho” received upon their releases.

Charlie Puth - Voicenotes
Biggest Single: Attention (Billboard Hot 100 Peak: 5)
What I Wish Was As Big: If You Leave Me Now (Billboard Hot 100 Peak: Did not chart)

Once again, this is just a personal preference pick because no, I don’t expect that an a cappella song would’ve charted nearly as high as “Attention,” even if you throw Boyz II Men on it. I just wish the song got more, ahem, “Attention,” when being released as a promo single, because it’s honestly one of my personal favorite cuts on the album. It’s such a beautiful track and, honestly, I think there could’ve at least been some niche chart appeal to this one, just because it’s so different from what we hear today. Again, though, I’m not sure how interested the radio is in playing a cappella songs, which is probably what limited its success a bit. I wish that wasn’t the case, but hey, beggars can’t be choosers.

Shawn Mendes - Handwritten
Biggest Single: Stitches (Billboard Hot 100 Peak: 4)
What I Wish Was As Big: Imagination (Billboard Hot 100 Peak: Did not chart)

Once again, just a personal pick. “Stitches” definitely has plenty of appeal and is a very nice single, but “Imagination” is such a heartbreaking cut that definitely should’ve gotten a larger push. It does have a clean enough radio-friendly feel to it that could’ve helped it to chart well if Shawn released it as a single, and given that “Stitches” and “Treat You Better,” both pretty sad songs, were able to see chart success, I don’t think the very sad subject matter would’ve stopped this one from making it. And hell, the YouTube video for the song has 50 million views even though it’s a deep cut. Clearly, people were open to the song, how’d it slip past Shawn?

Shawn Mendes - Shawn Mendes
Biggest Single: In My Blood (Billboard Hot 100 Peak: 11)
What I Wish Was As Big: Lost in Japan (Billboard Hot 100 Peak: 64)

I’m happy Shawn released “Lost in Japan” as a single, especially after “In My Blood,” but this was a weird case of “reverse Ed Sheeran” for me. When Ed released “Castle on the Hill” and “Shape of You,” “Castle on the Hill” was the harder, arena-rocking song that charted well but could’ve done better, while “Shape of You” was more poppy and made it to #1 as a result. Meanwhile, “In My Blood” is the harder, arena-rocking song that charted better than the more poppy “Lost in Japan.” In the case of Shawn, I’m now in a position where I wish the poppier-sounding song received the chart success that the arena-rocking song did. Also, the song sounds so different than many of Shawn’s best tracks, so I think it had a lot more potential. Oh well, at least “In My Blood” did well enough on the charts.

N*E*R*D - NO_ONE EVER REALLY DIES
Biggest Single: Lemon (Billboard Hot 100 Peak: 36)
What I Wish Was As Big: 1000 (Billboard Hot 100 Peak: Did not chart)

I’m glad N*E*R*D was actually able to get a Top 40 hit off of their new record, but “1000” should’ve been right up there with it. It’s infectious, exciting, and it’s got a huge feature from Future, a guy who could’ve helped get the song a lot more plays. Honestly, I’m a bit sad that “Lemon” was their ONLY song to actually chart anywhere. There were so many great tracks that could’ve stood with it, and given that Pharrell Williams is one part of the group, I would’ve thought that his name would be recognizable enough to push the album and give it a bit more attention. I guess not, apparently.

Well, there are my personal picks for songs from albums I reviewed that I wish got as big as their biggest single(s). I’m sure there’s gonna be some disagreements here, one because not everyone shares the same opinion, but also because there are so many great songs that end up falling to the back of their albums because they don’t get single releases or chart success. What are some of those songs for you? They don’t just have to be from albums I’ve reviewed either! Leave your thoughts and personal choices down in the comments below!

Jaden Smith "SYRE: THE ELECTRIC ALBUM" EP Review

Ohhhh my God, okay, so I didn’t think there’d be much new music to review this month, but we’ve got something here, yes we do. It’s time to review the new Jaden Smith EP “SYRE: THE ELECTRIC ALBUM.”

This is the latest project from actor, singer, songwriter, rapper, and Twitter big-brain extraordinaire Jaden Smith, and it’s also the follow-up to his 2017 album “SYRE.” Now, I’m sure you remember it (because I remember it all too well) when I reviewed “SYRE” back in November of 2017…I won’t mince words, I hated it. I thought it was a hideous, overly-long, laughably bad album with weak production, silly lyricism, and an extreme lack of focus. I also stated in my review that if you happened to see a physical copy of the album on a store shelf, report it to the store’s manager so that they may dispose of it properly, and I advised that you take safety precautions when listening to it, and report to your doctor if you find your mental health worsening as a result of the album.

*snickers* Ohhh, I was harsh on that one. But either way, after teasing us with what was going to be the album’s “sequel,” allegedly titled “ERYS” (which is still on the way, apparently), Jaden is back with this new EP, which is simply “electric” versions of five songs from his previous album. Now, while I’m not really looking forward to this, because it’s simply new versions of two of the last album’s worst tracks, and three of the album’s more forgettable ones, I can at least appreciate that, at 28 minutes across five tracks compared to 70 minutes across 17 tracks, this at least will be a little shorter and more focused than before, and I can respect that, after “Lost Boy” was nine and a half minutes before, he at least shortened it to just over 4 and a half now (odd that it’s now the shortest on the EP). So, perhaps this EP could be a bit better than the full album. Let’s see:

B (Electric): Originally the first part of the “BLUE” concept that Jaden threw at us at the beginning of his first album, where the “B,” “L,” “U,” and “E” tracks were separately in four and combined to talk about the idea of sadness and melancholy, this cut sees Jaden take things on by himself without the help of Pia Mia or Willow Smith, turning the song into something slower and more minimal, as Jaden auto-croons against only a guitar melody, giving off something of a Travis Scott vibe. I like the vibe of this one, it’s very mysterious and mellow, and Jaden’s auto-crooning does add to the emotional feel of it. Sure, it’s a little bit slow, but all in all, it’s definitely a surprisingly good track!

Ninety (Electric): With this one, Jaden thankfully shortened things from what they were before: originally a nearly 8-minute cut, the track is now nearly five minutes. Thank you, Jaden, I appreciate that. Anyway, this song deals with Jaden’s attempts to improve his relationship with conversations as opposed to trivial sexual acts and it takes on a similar feel to the last one, consisting only of Jaden’s autotune-assisted mumble-singing and more guitar-driven, nocturnal production. The production and vocals mesh well together, but the big problem I have is that the song does sound a bit too much like the intro, and if every track on here is gonna sound exactly the same without changing up very much, I’ve got a bad feeling about the rest of the EP.

Lost Boy (Electric): Another track I’m very thankful that Jaden cut down, this song has been chopped from a damn-near unacceptable nine and a half minutes to just under five, and it went from being the longest song on the original album to being the shortest here. Strange transition, but this cut sees Jaden struggling to figure himself out, and he does that by doing exactly what he did on the last two cuts: auto-crooning over a very spacey, minimal guitar-driven melody. This one is a little bit louder and more thrashing than the last few cuts, which is a nice little transition, but unfortunately, it just doesn’t do enough to make the song feel any better than the last few.

Fallen (Electric): Unfortunately, just because Jaden cut down the amount of time on some of the unnecessarily long tracks, that doesn’t mean every track had that happen, as this song, which was originally just under four and a half minutes, is now just over six! I mean, Jaden is nothing if not inconsistent, that’s for sure. Either way, this song may have a multitude of different meanings (from relating to the idea of the “Syre” character being alone in his room to dealing with Jaden’s personal life), but one thing it doesn’t have a multitude of is different interesting sounds. Instead, Jaden just kinda does the bare minimum once again, auto-crooning over a guitar melody without really adding much of a different vibe. And even though the song does take on a somewhat more interesting feel at the end when Jaden starts rapping, you’ll have to sit through a lot of music to get there, and it’s not an interesting enough payoff. What started off as an interesting change of sound for Jaden is now turning into a contest to see just how much you can sit through before you fall asleep.

Icon? (Electric): The one single from the last album that got the most plays returns here with some slight alterations to lyrics and (of course) length, Jaden took a roughly three-and-a-half-minute song and made it the longest cut here, clocking in at just about seven minutes. Man can never make up his mind about how long to make his songs! Either way, the track takes on a very similar instrumental feel to the last few (though it does sound a little more acoustic) as Jaden raps in spoken-word style on the first part of the song. I can safely confirm, though, that Jaden’s flow and “performance” on this one do not make the lyrics any better to me. And even though Jaden tries to be a bit more empowering on the second part of the song by calling others an “Icon,” it’s another case where you’re gonna have to sit through a lot of music to get to that part without an interesting payoff: though Jaden actually shows some emotion for once on this track, the guitar melody once again just sounds really dull to me. Yeah, Jaden could’ve made this track more than a few minutes shorter, that’s for sure.

So is Jaden’s follow-up to “SYRE” an improvement over that hot piece of garbage? Well, if “bland and generic junk” is better than “sickness-inducing, cringe-worthy dreck,” then yes, it most certainly is an improvement! Jaden has decided with this EP that, instead of trying to make something completely silly and lame…that he should just recycle the same sounds for 5 tracks and hope that they stick. Well, bad news, they don’t. I liked the feel that Jaden was trying to go for at first by making something with more of a Travis Scott vibe. I thought doing something more mysterious and moody that was based more around auto-crooning could be a nice different direction for Jaden…and it turned out I was only right for the first song because then he just did it again, and again, and again, and again. And I just got tired of it too quickly.

In fact, really, the first track is only successful enough to be listed as a “favorite” down below by virtue of it being the first track on the project because things go sour very quickly almost immediately afterward. I honestly don’t want to hate this thing: for starters, it’s an EP so expectations shouldn’t be very high to begin with, and two, it’s not like I was cringing or losing my sanity while listening to the EP either. I didn’t want to say that this thing was completely awful, but unfortunately, after a good start, things just went from bad to worse almost instantly, and when you only got me to really enjoy ONE song from a FIVE song EP…yeah, that essentially means you got a 2/10 rating on a number scale, which, in case you don’t know, is pretty awful. Jaden, good on paper, bad in execution. Changing your sound was a fascinating idea, but next time, try not to repeat the formula for every song on the project, okay?

Just skip this. Even at 27 minutes, it’s not worth it.

Favorite tracks: B (Electric)

Least favorite tracks: They all just kinda meshed together to me, to be honest.

Rating: Awful

One-Year Anniversary Q&A!!!!!

Today, July 14th, marks the first anniversary of when I wrote my first album review. It’s been a wild journey, and I didn’t think I’d still be doing this, but it’s definitely been quite fun. I decided that, to celebrate, I would do a Q&A talking about my reviews, and what the first year was like. Thanks to some friends of mine, I received quite a few great questions to answer. So, let’s get to it, shall we?

What led you to start reviewing music?

Around this time last year, I went to see Ed Sheeran in concert. At the time, I had just been getting into watching music reviews, thanks largely to Mr. Anthony Fantano, who probably inspired a bunch of us album reviewers. Before the concert, my good friend that I went with gifted me Ed’s latest album “÷,” since the concert was mere days after my birthday. A few days later (this day last year), I listened to the album in its entirety, and I wrote down some minor notes on it, basically in my current format but far less detailed. After writing my notes, I thought it would be fun to possibly post them to my Facebook in the style of a review. Eventually, it just kinda stuck as more albums started to release and my curiosity became more and more piqued. The idea to move my reviews to this blog was to try to branch out and allow more than just my Facebook friends to read them.

Are you a musician yourself?

I am! As of the time of this writing, I have been playing the drums for 10 years. It’s not a main focus of mine, because that’s not my career path, but it’s always something to have, and it’s a really enjoyable activity. I have a little piano experience as well, nothing too big but just a little bit. In regards to singing…uhh, my Mom tells me I’m good but I think that’s what she's supposed to do. I feel like I don’t have the greatest voice in the world or anything like that, but I can at the very least hold a note and sing in key, so at least I’ve got that.

How do you choose which albums to review?

Well, obviously, there has to be a desire for me to review them. I don’t often go out of my way to review albums from artists I don’t like or don’t listen to unless the albums receive some kind of critical acclaim, huge chart success, or larger viral discussion. My own personal desire to listen to them comes first and foremost, though sometimes I’ll disregard that if I feel like an album is going to be talked about by many, and I want to understand what the buzz is (in some cases, very negative reviews from other critics might even make me want to review something just out of bile fascination). And, of course, if someone requests an album, I’ll try to look at that as well if time permits it.

Do you set aside time to focus and listen to the album, or do you do things while listening?

Most of the time, I set aside time to focus and listen. There have been a few times where I would do things like, say, play video games while listening to an album, thus allowing me to judge how the album is as a comfort listen, but I’ve stopped doing that. Big reason being, I tend to type out my thoughts on a song as I’m listening to it. While I’m digesting it, I like to type out exactly what I’m thinking exactly as it’s happening. That way, I get my thoughts out while they’re still in my head, but also so that I don’t have to listen to a song, pause, type out my thoughts, and THEN play the next song.

How many times do you listen to an album before you review it?

Controversially…just once. If I had more time, I’d listen to an album more than once before I review it, but most of the time, it’s just once. Usually, if my thoughts on something change very heavily, I’ll edit my review to point that out (and I’ll leave a disclaimer in the review so that people know that my thoughts have changed), but my reviews are always written after a single listen. Generally, outside of maybe interludes and short tracks, I think I can get the point of what a song is trying to do and whether or not I enjoy it off of one listen.

Why do you prefer to review music subjectively as opposed to objectively?

The beautiful thing about music is that it’s pretty much entirely subjective. Something that sounds great to me might not sound great to someone else, and some aspects of a song that others may find abhorrent or annoying might actually be charming and fun to me.

For me personally, there's also a difference between reviewing music as opposed to reviewing, say, a film or a video game: with a film or a video game, the good and bad elements are more set in stone than they are in a song. For example, I can definitively say if a film's writing is subpar or if a game has bad controls because that's tangible and visual; I can clearly tell if a film's writing is weak or if a game's controls are bad simply by watching or experiencing it. Whereas, with music, as I said earlier, a groovy bassline or a dreamy synth to me might be a generic bassline or an overbearing synth to someone else.

I’m more subjective with my reviews because, at the end of the day, I review albums to see if they have music that I will enjoy. I don’t write my reviews to conform to what others are saying or to tell you guys the things you want to hear, I write them because I like to listen to music and I like to tell you guys if I PERSONALLY found the music to be enjoyable.

What made you choose to review pop/rap/R&B/“radio” music instead of alternative/underground music?

Just happens to be the music that I’m into. Not that I’m totally against underground or alternative music, but a lot of times, pop/rap/R&B or "radio music," as some call it, just happens to be the kind of stuff that I look forward to listening to and reviewing. That, and a lot of times, I like to listen to what charts to see if I can ascertain the appeal of it, and figure out why it could be charting so high. Again, though, I’m not opposed to reviewing more underground music, I just happen to mostly look forward to the stuff that charts.

Have you ever regretted any of your reviews?

No, not really. Generally speaking, I go into my reviews with an “I regret nothing” kind of mindset because what do I have to gain by writing a dishonest opinion on an album? I feel like I do have some reviews that people would conceivably hound me for if I had a larger following (giving U2’s “Songs of Experience” an “Excellent?” The Weeknd’s “House of Balloons” and “Kiss Land” “Okay” ratings? Remember those?), but if I like an album, I’ll tell you I like it, and if I don’t, I’ll tell you that, too.

If anything, I wish I had given that Wendy’s “We Beefin?” EP an actual rating and not “FRESH, NEVER FROZEN.” I probably would’ve given it a “Good” if I wasn’t giving in to the meme.

Would you be interested in becoming an official music critic someday?

Honestly, probably not. Personally, I already get enough anxiety writing reviews as I do now on an underground blog that doesn’t get a whole lot of views, I feel like writing for a major publication would only raise my anxiety for several reasons: I might have to change my style (since it’s a bit unconventional for a review), I might have to change my rating system and conform to a 1-5 or 1-10 scale, I’d have to listen to even more albums than I do now, and, where my reviews now are written after a first listen, I’d probably have to give albums even more listens before writing a review for a major publication, and while I’m not opposed to re-listening to albums, I feel like forcing myself to do so would be slightly maddening. In all honesty, if I were a music critic for a major publication, I’d probably end up hating the medium entirely, quit my job at said publication, and lock myself in some desolate location where I’d never have to hear a single note of music ever again.

Okay, maybe that’s a bit dramatic, and I'd probably just ask to write different kinds of articles, but you get the idea.

Have you ever thought about making your own music?

In some cases, I have, but I’ve always been held back by something. Personally, I’ve wanted to be a cover artist, but I don’t really have enough confidence in my vocals to try something like that, and while I’d love to be a drummer for a band/artist of some kind, I’ve never figured out what genre I would want to try out. I love playing music and I would definitely enjoy trying something like that, but I haven’t put a ton of legitimate, critical thought into how I would go about it.

Yeah, that’s all the questions I received. I know it wasn’t all that much, but something’s better than nothing. In any case, thank you to everyone that’s supported my reviews over the last year! I really appreciate it, and here’s to several more years of reviews! Oh, and if you have other questions about my reviews that went unanswered, you can just comment them below!

Ella Mai "Ready" EP Review (120th Review)

This one might also come out of nowhere, but since she’s been blowing up lately, I’m gonna be taking a look at the 2017 Ella Mai EP “Ready.”

Ella Mai is a London-based R&B singer-songwriter who first gained a bit of notoriety when she appeared on Season 11 of “The X Factor” as part of a trio known as Arize. Though they didn’t get very far in the competition and broke up shortly after, Ella ended up releasing a 4-track solo EP called “Trouble” on Soundcloud. She was quickly discovered on Instagram and signed to DJ Mustard’s record label 10 Summers Records, where she would release a trilogy of EPs from 2016-2017. It started with “Time,” continued with “Change,” and then ended with this EP right here. Her first EP “Time,” though it didn’t see much chart success, notably had a single called “She Don’t” which featured Ty Dolla $ign, which served as the first time she grabbed a prominent feature, and this EP’s release coincided with Ella’s appearance as an opener on Kehlani’s “SweetSexySavage” tour. Recently, Ella has been making major waves, specifically here in the US, where her breakout single “Boo’d Up” has not only charted higher than it did in her home continent but has thus far reached #6 on the Billboard Hot 100 and has been dubbed by Rolling Stone as “one of the biggest singles by a breakout female R&B singer in the past 10 years.” High praise, indeed.

Now, originally, I didn’t think I’d be covering this project, but the reason I am is actually a somewhat funny story: recently, I was on Spotify, and on my account, I have two playlists: one is for all the songs I list as “favorites” in my reviews, and the other is for songs I enjoy from albums/mixtapes/EPs/etc. that I don't have reviews of. While listening to music through Spotify, I realized that I didn’t have “Boo’d Up” in the latter playlist. I had to change that, because “Boo’d Up” is a song that I absolutely adore. It’s easily one of my favorite Top 10-peaking singles of the year (and probably one of my favorite overall singles of the year), so I had to add it to my playlist. Originally, I was gonna do just that, but on Spotify, I wasn’t led to the “single” version, I was led to the full EP itself. Noticing that it was only 6 tracks and 21 minutes, I decided, “hey, why not review the whole EP instead of just adding one song to my playlist?” So, let’s see if Ella’s EP can live up to what is one of my favorite singles of the year.

Boo’d Up: I have played this song on repeat too many times to count already. I already mentioned at the beginning that I absolutely adore this song, so I’ll try to keep this part short: this very romantic cut is a beautiful piece of R&B goodness, where Ella sings about someone that makes her feel like the greatest person in the world. I love the click-clacking percussion, Ella’s vocals are beautiful, and the hook is too sticky: it gets in your head and won’t get out, but luckily, it’s something you won’t mind having in your head. Again, one of my favorite Top 10-peaking singles of the year, it’s definitely a really lovely track that starts off the EP wonderfully.

Breakfast in Bed: Taking things far differently from the upbeat feel of “Boo’d Up,” this one features a more eerie, mysterious DJ Mustard-produced instrumental, as Ella takes on more of a trap-flavored song where he yearns to give her lover things such as, obviously, “Breakfast in Bed.” While it definitely has a nice vibe to it and the beat is head-noddy enough, I don’t think this one is as immediate as “Boo’d Up” because I don’t think it gives Ella quite the same amount of room to explore her vocal range, and the hook isn’t quite as memorable either. Definitely not a bad cut, but definitely one of the weaker cuts on the record.

Nobody Else: Moving back to something more upbeat, this is another trap-flavored song with a DJ Mustard instrumental that I’m sure you’ve heard more than a few times before. Still, it does have a pretty fun groove to it, the hook is relatively fun, and even if Ella stays mostly in her lower register, her vocals are very smooth, as she sings about how her lover should be loyal to her, and not be getting romantic with anyone else. Again, I’m sure it’s nothing you haven’t heard before, but it definitely still has enough fun production and nice vocals to satisfy.

My Way: BABY WON’T YOU COME MY WAYYYYY, GOT SOMETHING I, oh…sorry, Fetty Wap, this is about Ella. Anyway, this one feels like Ella’s attempt to show who wears the pants in the relationship, as she sings and warns her lover about how he'd better treat her right if he wants her to stay Adding to that, the instrumentals here are once again very dark and mysterious, but unlike “Breakfast in Bed,” I find it to be more sticky and enjoyable, and Ella’s charm is on full display, as she sells what might be seen as a rather repetitive hook (“only my way, my way, my way”) because of her very smooth and charismatic vocals. Good track!

Makes Me Wonder: AND IT REALLY MAKES ME WONDER IF I EVER GAVE A FU…dammit, I keep thinking of other artists' songs from these titles. Sorry, force of habit. Anyway, no, this is not the Maroon 5 song, this is Ella indulging in nostalgia, singing about an old relationship, and wondering what happened to it. Once again, her vocals are quite pretty, even though she spends most of the song in her lower register, but I think what stops me from really enjoying this is that it sounds like almost any other DJ Mustard-produced track. Hell, as pretty as Ella’s vocals are, I couldn’t help but think of her as sounding like a “female Chris Brown” on here. It’s not a terrible track, I just really think it’s missed potential, and Ella deserves better than this.

Anymore: Finishing things off, Ella plays off the title of the EP, claiming that she’s “ready” to move on from the relationship she was once in. And again, I think the hook is occasionally pretty fun, but the song just feels a bit too much like every trap/R&B fusion that you’ve heard before. There’s a very standard 808-drum beat, and unfortunately, the song doesn’t give Ella a whole lot of room to really show off the power of her vocals. I’m sure it’s a cut that others will get some enjoyment out of, but after hearing a number of tracks that sound just like this on this very EP, it’s definitely not the best ending to the project.

Overall, Ella Mai had a great idea going with the theme of “Ready” by starting off with a track about the amazing feelings of love and then having the next tracks gradually decrease over the project, and she definitely had an incredible single on her hands with “Boo’d Up,” but unfortunately, I feel like her support structure was not quite strong enough to make this EP pop like that one single did. For the most part, outside of “Boo’d Up,” everything else on the project felt like wash-rinse-repeat trap-flavored cuts that don’t distinguish themselves much from other DJ Mustard-produced singles. And Ella’s vocals, though mostly nice, weren’t allowed to be explored as fully because she wasn’t given enough room to run around and show them off thanks largely to the very homogenous production. Luckily, I did come away from this thing with a few pretty solid tracks that I’ll throw into the regular rotation, and I can say that I would definitely LOVE to hear more from Ella, especially after how amazing “Boo’d Up” is. I just hope that, when her eventual debut album DOES release (because let’s be honest, it’ll happen sooner or later), she gets some slightly better production to work with than she did here. Overall, not a bad start, but hopefully Mustard gives her a bit more room for experimentation on her next project.

And on a side note, with this review, the streak is officially over. Dating back to my first review of Ed Sheeran’s “÷”, every 10th album I reviewed received an “Excellent" rating. The Weeknd’s “Beauty Behind the Madness” was #10, Beyoncé’s “Lemonade” was #20, P!nk’s “Beautiful Trauma” was #30, Sam Smith’s “The Thrill of It All” was #40, Childish Gambino’s “Awaken, My Love!” was #50, Camila Cabello’s “Camila” was #60, Drake’s “If You’re Reading This, It’s Too Late” was #70, Judas Priest’s “Firepower” was #80, Janelle Monáe’s “Dirty Computer” was #90, BROCKHAMPTON’S “SATURATION III” was #100, and Ne-Yo’s “GOOD MAN” was #110. Each of those projects received an “Excellent” from me, which had me thinking every 10th album I reviewed would get an "Excellent" no matter what. Well, here we are, at review #120…and I’ll just let you scroll down to see the rating.

Favorite tracks: Boo’d Up, Nobody Else, My Way

Least favorite tracks: Breakfast in Bed, Makes Me Wonder, Anymore

Rating: Okay (yep, the “every 10th review is an 'Excellent'” streak is over)

Michael Jackson "Thriller" Album Review

It’s been just a little bit since my last album review, but there’s really not much coming out this month to look forward to in terms of new stuff. So, I decided to take some time to review some backlog albums that I was interested in getting to for several reasons. Starting off, I can’t really think of a particular reason why, but I wanted to review an all-time classic album, an album that’s transcended generations and still stands as the highest-selling album of all time. Yep, you guessed it, I’m gonna be reviewing the legendary 1982 Michael Jackson album “Thriller.”

Yep, Michael Jackson, larger-than-life legend, the “King of Pop” himself, everybody. One of the most popular artists of all time, Michael Jackson started off as part of The Jackson 5 but ended up ruling over pop music from the 1970s all the way through the early 2000s once he went solo, with this album going 3x Diamond, the follow-up “Bad” going Diamond and every other album since “Off the Wall” going at least 2x Platinum. He also ruled the charts with now-iconic Billboard Hot 100 chart-topping singles like “Ben,” “Don’t Stop ‘Til You Get Enough,” “Rock With You,” “Billie Jean,” “Beat It,” “I Just Can’t Stop Loving You,” “Bad,” “The Way You Make Me Feel,” “Man in the Mirror,” “Dirty Diana,” “Black or White,” and “You Are Not Alone.” You counted that right, that’s TWELVE songs that hit #1 on the Billboard Hot 100. The list of Top 10-peaking songs only stretches further, with tracks like “Got To Be There,” “Rockin’ Robin,” “Off The Wall,” “She’s Out of My Life,” “The Girl Is Mine,” “Wanna Be Startin’ Somethin’,” “Human Nature,” “P.Y.T. (Pretty Young Thing),” “Thriller,” “Smooth Criminal,” “Remember The Time,” “In The Closet,” “Will You Be There,” “Scream” “Childhood,” and “You Rock My World.” The man inspired several big-name artists today such as Bruno Mars, The Weeknd, Justin Timberlake, and many, many more, so much so that there’s a whole Wikipedia page of artists influenced by Michael Jackson. Even despite the controversies he faced throughout his career and the tabloid rumors that followed him, Michael was one of the most successful artists ever, and he’s such a big name that “Love Never Felt So Good” and “Don’t Matter to Me,” two songs released after his death, managed to make it into the Top 10 on the Hot 100.

Now, admittedly, I sort of consider myself to be a “bandwagon” Michael Jackson fan. I know that’s some character assassination right there, but I admittedly didn’t get into Michael’s music until after his tragic death in 2009, where a cardiac arrest resulting from propofol and benzodiazepine intoxication cut his life unfortunately short at age 50. This was just weeks before he was set to embark on his final series of concerts “This Is It,” which were set to be held exclusively at the O2 Arena in London. It’s not for ill-will or anything like that, it’s because…well, I’m thinking it was this: Michael’s last album before his death was “Invincible,” and his last single that charted in the Top 10 before his death was “You Rock My World” in 2001, and I wasn’t really able to finally understand what music was like until a year or so later when Michael was embroiled in controversy and awaiting trial for the charges of sexual abuse. And even though he was found not guilty, it so happened that every album that came after that until his death was repackaged compilations, and I didn’t get to hear his music until 2008 when “Beat It” was in "Guitar Hero: World Tour." Still, after his death, I became obsessed with his music and his artistry and listened to it almost any chance that I could. As Michael is an artist that I’ve grown to love, I really wanted to listen to this album in its entirety and review it. So, let’s do just that!

Wanna Be Startin’ Somethin’: Kickings things off, Michael wastes no time bringing the energy on this one, talking about tabloid rumors (specifically regarding his sister LaToya Jackson, who was rumored to have a strained relationship with her sisters) over an emphatic, grooving disco instrumental with a brilliant bassline. The hook is infectious, and Michael really goes wild on this one vocally. Bringing a lot of charm and interestingly weird energy, Michael just goes all out and has so much fun here. And of course, I can’t go without mentioning the iconic outro of the song, because let’s be honest, who could forget “Ma-ma-se, Ma-ma-sa, Ma-ma-ku-sa?” Michael shows right from the jump that he’s not pulling any punches and he’s just pulling us right into the party. Really dig this track!

Baby Be Mine: One of only two songs not released as a single, Michael slows things down just a tick on this more R&B-flavored love song. Luckily, the track features some very gorgeous synths, great brass instrumentals, and a very funky, grooving drum beat that even has some cowbell on the hook! Could always use more cowbell! But in all seriousness, I love Michael’s vocals on this one, the hook is plenty of fun, and the song has so much great energy to it. I can kind of see why it wasn’t released as a single because I don’t quite think it measures up to something like “Billie Jean” or would’ve had the historic impact of a song like that had it earned a single release, but that doesn’t stop it from being plenty enjoyable and fun!

The Girl Is Mine (ft. Paul McCartney): The only song on the album to have a feature, Michael joins up with legendary singer/songwriter/multi-instrumentalist Paul McCartney (of Beatles fame) to argue about a girl. This one feels more like a slow-jam than the many other danceable cuts on the album, but the song doesn’t suffer at all for that. I really love the perfect bass groove and Michael’s very smooth vocals on here, though Paul is, of course, no slouch vocally. I also think that Michael and Paul have great vocal interplay on this one, and I also found myself laughing quite a bit at how polite they sounded while arguing over who gets the girl. Very nice cut!

Thriller: With this song, Michael Jackson mastered the art of making a novelty track for a holiday season that you can play year-round and still love. Raise your hand if you can unironically listen to “All I Want for Christmas Is You” by Mariah Carey in the Spring? Nope, didn’t think so. Now, raise your hand if you can listen to “Thriller” and still love it even when it’s not Halloween? Yep, that’s right. And that’s because Michael blended disco and funk so well and made a track that is as danceable and exciting as it is frightening. The synth-driven instrumental and bass grooves are fantastic here, Michael’s vocals are killer as always, and the song also features one of the most memorable choruses of all time. Even if we disregard the song’s iconic music video, it’s still a great single to enjoy no matter what time of year it is.

Beat It: Another very widely-revered single, this cut sees the King of Pop leans into a more rocking feel, with emphatic guitar chords and riffs throughout, as well as a now-iconic Eddie Van Halen guitar solo that was recorded free of charge. It’s a song that sees Michael preach for pacifism, with lines like “don’t be a macho man” alluding to Michael telling one not to get into a fight and to keep things peaceful, but it actually serves as the rare example of a “preachy” song that still works, and that’s thanks not only to the rocking guitars I mentioned earlier but also to Michael’s very emotional and passionate vocals helping to sell the story. It’s definitely an energetic, and all-around fantastic, single.

Billie Jean: One of the most iconic and well-loved pop songs ever created (that also happens to be accompanied by one of the greatest music videos ever made), “Billie Jean” is a song that, even today, sounds brilliant. The song features one of the most remembered bass grooves and synths in music, and Michael really sells this story of a woman who tries to claim that he was the father of her child. It’s one of the most infectious blends of soul, funk, and pop to ever grace music, and it’s a very dreamy track that works not only for its production, but thanks to Michael’s gorgeous, multi-layered vocals. It’s a classic that still remains entertaining and cutting-edge over three decades later.

Human Nature: One of my personal favorite Michael Jackson songs, this brighter, more ballad-y song channels the child-like, wide-eyed, bushy-tailed idea of wanting to get outside and explore the big city, and in that essence, it perfectly channels Michael’s personality. Michael was someone who had a very childlike air to him, even towards the end of his life, and this song really encapsulates that. It’s got a very gentle vibe, some very dreamy synths, and absolutely gorgeous vocals from Michael that are honestly enough to elicit goosebumps (and trust me, I’ve gotten goosebumps listening to this song quite a few times). The hook on this one is also hypnotizing, and it serves to round out what I think is one of the best songs in Michael’s expansive chronology.

P.Y.T. (Pretty Young Thing): Michael sings about a girl that he wants to love over a very fast-paced, synthpop-inspired instrumental that once again blends funk, R&B, and soul better than most other songs can. I once heard a critic call this song “fluff” on the album, but I personally don’t know what they’re talking about. I mean, come on, it’s so infectious and gorgeous! Michael’s vocals are on point as always, the hook is damn incredible, and as I hear the song, I can tell how the instrumentals inspired so many artists that came later, with its gorgeous grooves and sticky synths. It’s a song that’s still fantastic after all this time.

The Lady In My Life: The other song that didn’t see a single release, Michael closes out his magnum opus with a slower love ballad. Part of me kinda thinks this could’ve made a really good single, and even though I didn’t grow up in the 80s, I can see how this song could’ve served as a great “slow-dance” kind of song for proms/marriages/etc. because it’s a very beautiful ode to Michael’s lady love, filled with dreamy synths and a magnificent bass groove. Michael’s vocals are also raw and emotional, and the song as a whole is just so enchanting and lovely. An excellent finish to a brilliant album.

Overall, I’m sure it should come as no surprise that I’m over here gushing about “Thriller,” because it’s a masterful album. Few artists were able to fuse funk, soul, R&B, and pop (and even some hints of rock) like Michael did, but even fewer artists were able to perfect them in the way that Michael did. With such engaging, hypnotic production and stunning, powerful vocals, “Thriller” remains just as cutting-edge and fantastic in 2018 as I’m sure it was in 1982. Even as someone that didn’t live through the 80s, I can only imagine how incredible and different this must have sounded then, but even after being out for 36 years (as of this writing) and having been dissected, discussed, and critiqued to the bitter end, it still remains an excellent project from one of the greatest musicians of all-time. There’s a reason this is still the highest-selling album after over three decades, and that’s because it’s one of the finest, tightest records ever made.

To that point of it being the highest-selling album, it seems likely that it’ll remain as the highest-selling album, especially when you compare it to the highest-selling albums every year since 2000. “Thriller” is estimated to have sold 66 million copies where, in comparison, last year’s highest-selling album (Ed Sheeran’s “÷”) is said to have sold 6.1 million copies (so it would take a lot longer for it to reach “Thriller” numbers), while the highest-selling album since 2001 (Adele’s “21”) sits at 31 million, less than half of Michael’s numbers. It seems likely it’ll remain the highest-selling record for at least the foreseeable future, but I’m glad we have an album like this holding that record because I think it’s albums like this that deserve to be used as benchmarks for how to make pop records that stand the test of time. Michael did it, and he did it as well as (if not better) than any of his contemporaries (or his successors) and he made an album that will continue to live on and influence a vast majority of artists for generations to come.

They didn’t call him the “King of Pop” for nothing.

Favorite tracks: ALL NINE TRACKS

Least favorite tracks: HAHA, GOOD ONE

Rating: CLASSIC (that’s a fancy way of saying “Excellent” on my scale)

Panic! at the Disco "Pray for the Wicked" Album Review

Think of this review as a “half request,” because I was thinking of covering this, but a friend of mine asked if I’d be reviewing it, so I will be: it’s time for a review of the new Panic! at the Disco album “Pray for the Wicked.”

Panic! at the Disco shouldn’t really need an introduction, but if you haven’t heard of them, they’re a popular Las Vegas-based rock band that’s been around since 2004. The group first broke out with their 2005 debut album “A Fever You Can’t Sweat Out,” a record that included their now-iconic single “I Write Sins Not Tragedies,” which peaked at #7 on the Billboard Hot 100 and was #20 on the Year-End Hot 100 back in 2006. They’ve since seen success with albums like “Pretty. Odd.,” “Vices & Virtues,” “Too Weird to Live, Too Rare to Die!,” and “Death of a Bachelor,” which became their first album to hit #1 on the Billboard 200. This is their sixth studio album, and thus far, it seems to be getting some mixed reviews from several YouTube music critics.

Now originally, I wasn’t really sure if I was going to cover this album, because while it was the talk of the town, Panic! at the Disco is a group I’m not super familiar with, only really knowing the aforementioned “I Write Sins Not Tragedies,” and while that’s a song I do enjoy, I can’t say I’m familiar with the group just because I’ve listened to that. Recently, though, a friend of mine asked if I’d review the record, and I decided to because I listened to the first two singles “High Hopes” and “Say Amen (Saturday Night)” and actually enjoyed them. Not only that, but the album's 34 minutes spread across 11 tracks so, much like how I felt going into the Fall Out Boy album “Mania” (which no, I’m not typing all those spaces that they typed), I’m entering this with the mindset of, even if it isn’t good, at least it won’t take too much time out of my life. So, all that said, here we go:

(Fuck A) Silver Lining: Kicking things off, Brendon Urie talks on this track about wanting to excel at literally everything life throws at him, and turns the idea of “every cloud having a silver lining” on its head by basically saying that a “silver lining” just isn’t good enough. Ballsy, man, ballsy. Anyway, this one is very vibrant and loud, but it’s definitely a bit too overbearing for me. And while I do think the song has some fun vocal moments, and the song certainly has some funkiness to it, it just feels a bit too much like the instrumentals are overpowering Brendon Urie’s vocal charm here. Not a terrible track, and maybe some re-listens might help it grow on me a bit, but it’s not the best start to the album.

Say Amen (Saturday Night): Taking things in a more sinister, dark route, Urie sings on this one about his spirituality over an instrumental that features chopped vocals and apparently samples one of the group’s transitions between songs on one of their tours. If that isn’t a unique sample, I don’t know what the hell is. Either way, I really love the vibrant, grandiose instrumentals on this one, and Urie sounds very powerful as he jumps into his higher register to strong results (talk about a high note, by the way). And once again, I find the hook getting stuck in my head very easily because it’s definitely one of the more snappy and memorable choruses on the album. I really dig this track!

Hey Look Ma, I Made It: Described by Genius.com as a more “tongue-in-cheek song,” this one sees Urie celebrating his success as a musician and basically thanking his mother for allowing him to pursue his dream as an artist even despite her fear of said dream leaving him starved for financial stability. Thanks, Mom. On this cut, Brendon sings over a somewhat more laid-back, electronic instrumental that has some very nice bounce to it. I like the jazz-influence on the song, Brendon sounds great up against the 808 drum beat, and the hook is very easy to get into and enjoy. Really digging this, I can see this having a lot of replayability.

High Hopes: The first single I heard from the album, I really like the lyrical message about always having hopes and chasing after your dreams without hesitation, a message and subject matter which apparently stems from Brendon Urie and Panic! and the Disco’s constant challenges and problems they’ve had to battle through since their debut in 2005. I also like the very grand, upbeat, somewhat Broadway-esque feeling of the song, as it adds nicely to the theme of being positive and having high hopes. Urie’s vocals are bright and powerful, and the hook is an infectious ear-worm. Great track!

Roaring 20s: Sticking to the “Broadway-esque” feel that I described in the last song, Urie talks about his love for Broadway and reflects on his starring role as Charlie Price in the musical “Kinky Boots.” And, in keeping with the song talking about Broadway, it has a very “Broadway musical” instrumental to it, and Brendon’s vocals have a lot of charisma to them. Actually, as I listen to him, I kinda get some “The Greatest Showman” vibes, even though that’s not quite a “Broadway” musical. Either way, the instrumentals are frantic but vibrant and I love the very jazzy, danceable vibe it has. Really like this one!

Dancing’s Not a Crime: A lyrically simple, youthful song about the idea of young love and dancing with your significant other, this one got’s a very swinging drum beat and a bright instrumental. It does feel like it kind of meshes together with some of the other songs, but I can still commend it for having some very real, unexplainable charm to it. I can really see this song being part of a Broadway musical, it’s got very lively production and a hook that just gets too easily stuck in your head! It also helps that the song is anchored by Brendon Urie, who brings another very confident, enthusiastic vocal performance to the table, but even beyond his vocal charm, the song is just so intoxicating and gorgeous, and I have too much fun with it!

One of the Drunks: Now this song had my attention when I read the Genius.com annotation for it, because Urie talks on this about the party lifestyle (you know, sex, drugs and rock & roll…and booze, of course), but instead talks about the downfall of it, and he talks about how we don’t need to go crazy and binge to think we’re doing the party lifestyle correctly. What a guy, that Brendon Urie: talented singer-songwriter, but also the dad that we all deserve. In any case, this song has a slightly darker feel to it than the last few, but it’s still very lively and exuberant, with a fast-paced drum beat, some gorgeous synths, and a more lowkey but nonetheless great vocal performance from Urie. I don’t think the hook is quite as strong as some of the others on here, and the song does kind of blend together with other tracks a little bit, but nonetheless, I definitely thought this was a solid cut, and it might grow on me with a few more listens.

The Overpass: Back to the theme of love, Urie talks about a relationship that’s been broken off, but that he desires to have back. I thought this one would take a bit more of an emotional detour, but outside of a few somewhat more emotional moments, it’s another sprightly cut that even samples "Chase" by James Brown. I like Urie’s vocals once again, and I think the very upbeat and energetic production is nice, but the song does start to feel a little too much like many other songs I’ve heard before. I also don’t really find the hook all that compelling, to be completely honest, so while it’s not complete dreck, it’s definitely not one of the album’s best.

King of the Clouds: Apparently, even though Brendon Urie made a track earlier about being careful with the “binge culture,” this song that talks about inter-dimensional traveling and multiverses came as a result of one of Brendon Urie’s weed-highs. Uhh…do as he says, not as he does? Uhh, regardless, this is a somewhat slower, more dreamy cut that sees Urie’s vocals being placed under some autotune-filters that make them feel more layered and eerie. And even with those filters being on his voice throughout most of the song, he still shows a lot of range up against the very seductive, irresistible instrumentals. I like this one a lot!

Old Fashioned: Here, Brendon gets a little nostalgic, talking about his youthful memories of partying and drinking (the stuff he wants to steer us away from) and reminiscing on the years he wasted with alcohol. Takings things a bit more fast-paced than the last one, Urie’s vocals are very smooth here, even when he jumps into his higher register on the hook. The energy on this song is undeniable, as the horns mesh nicely with the snappy, click-clacking drum beat and the very emphatic strings. I think it could’ve used a slightly better hook, but I do think this was a very nice song that might even grow on me with some repeat listens.

Dying in LA: As the title would suggest, this song is about what it’s like when one tries to move to LA to pursue their musical dreams, only to have that tear them down over time and, after being so in awe by the glamorous LA lifestyle, finding that it’s not all it’s cracked up to be when you peek behind the curtain. Happens, happens. And finally, Brendon goes down that emotional route I was thinking he’d go down earlier, singing over a piano melody that still has a fast pace and an emotional vibe to it. Brendon’s vocals feel rawer on this cut, and I think they carry some very real emotional weight to them. It’s an admittedly sad song that, even if it has a somewhat familiar lyrical theme to it, is delivered with such conviction that makes it worth repeat listens. Great ending to the album.

Overall, this album definitely threw me for a loop, I didn’t anticipate I’d enjoy it as much as I did. With some of the more mixed reception I was hearing about it, I expected that I wouldn’t find a ton about it that I liked, even though I enjoyed those first few singles, and I worried that some of the album would just mesh together and end up feeling repetitive. Well, I kept waiting for that moment where the album would get repetitive, but as it turns out, that never happened. I really dig what Brendon Urie had going on throughout this record, from the very Broadway-inspired production to his very powerful vocals, everything really came together here and, even with a few sour cuts, the album was just an infectious, joyous collection of irresistible fusions of pop-rock, jazz, and Broadway.

Now, will Panic! and the Disco’s hardcore fans enjoy the record as much as I did? Well, I don’t know. As I’ve said earlier, I’m not a hardcore fan of Panic! at the Disco, so I can’t really speak from that perspective. I can say that, while critics in general seem to be enjoying the album thus far, I’ve been hearing that a number of YouTube reviewers were disappointed in it, and despite the pretty good Metacritic score, anecdotally it seems like no one can agree on what to think of the project. Speaking from the perspective of an outsider, I can’t really say if that’s the result of the album being a huge sonic change in comparison to the rest of the group’s music, but that could be a key component to some of the pushback it’s receiving. I guess I can suggest going into it with an open mind, and you’ll walk away satisfied. I went it not knowing what to think, and I found myself really enjoying it. Perhaps I’m the only one, and perhaps I’m becoming increasingly easier to please with all the “Excellent” ratings I’ve been giving lately, but hey, I can’t help that I’m enjoying music.

Favorite tracks: Say Amen (Saturday Night), Hey Look Ma, I Made It, High Hopes, Roaring 20s, Dancing’s Not a Crime, King of the Clouds, Dying in LA

Least favorite tracks: (Fuck A) Silver Lining, The Overpass

Rating: Excellent