Album Review — The Weeknd’s ‘After Hours’

There’s nothing better than on the first listen of an album knowing that you’re listening to something that’s special. When I listened to this new album from The Weeknd, that’s the feeling I got. On his last album Starboy, there were several great moments. But the overall album felt unfocused and bloated. It just didn’t have a direction. All of this though is not only rectified on After Hours, it’s a front-to-back required listen to truly appreciate each song. It’s what an album experience should be.

Eery keyboards play in opening track “Alone Again,” where Abel Tesfaye (it feels more appropriate to refer to him by his actual name when discussing the story) finds himself in an identity crisis, wondering if he’s really the type to be in a relationship. But at the same time he questions if he can be alone again too. It sets up a battle that plays out through the album: his love versus his demons, fighting for and against both at various points. On “Too Late” the relationship has fallen apart and now he’s alone, confronting the guilt and realizing how he did her wrong. I love the pulsating, yet reflective tone of the production, as it heightens the lyrics. “Hardest To Love” is Abel admitting how difficult of a person he is to love and seeing how she’s trying to let him go for good. The dream pop influences mixed with The Weeknd’s usual sound really works well, a credit to producer Max Martin. It gives the song an appropriate overwhelming feeling, as this feeling of disappointment consumes Abel.

“Scared To Live” sees Abel apologizing for being selfish enough to not let her go sooner, stringing her along much longer than he should have. He also owns up to ruining her perception of love and encouraging her to get back out there and find love. It’s a great dose of maturity on an album centered around immature and reckless love. One more cool factoid for this song: it uses an interpolation of Elton John’s “Your Song.” On “Snowchild” Abel reflects on all the sacrifices and work it took him to make it big, but now he plots leaving the bright lights of Los Angeles. He’s simply over it all in the light of the breakup, looking to remove himself from the situation entirely. Despite the sad nature of the song, The Weeknd does manage to get in a clever and funny line: “She liked my futuristic sounds in the new spaceship/Futuristic sex, give her Phillip K. Dick.”

“Escape from LA” sees him leaving finally, but not before one more battle of giving into the desires and sins he knows are destroying him, hooking up with his ex while also realizing she’s a “cold-hearted bitch” and the fake, plastic nature of the bright lights around him. The frustration at the situation and himself bubbles out, while yet indulging in what he knows is wrong. This leads to his jaded bitterness now driving him on “Heartless.” He’s fully relapsed into his single lifestyle, sleeping with every woman he can trying to ignore the pain coming from his heart. The glitzy, yet dark undertones of the production from Metro Boomin perfectly paints the mindset and feeling of Abel in this moment. The song serves as the precursor to the car going off the cliff so to speak.

Abel is going down hill fast and headed for rock bottom on “Faith,” the major turning point on this album and in this story. He throws away his year-long sobriety, indulging in drinking and various drugs in his favorite place of sin, Las Vegas. He admits he’s losing his religion and faith, as the heartbreak of his situation completely overtakes him. By the end of the song he finds himself in the back of a cop car, finally hitting rock bottom. Both the lyrics and production do such a great job of giving that feeling of slowly descending into darkness and then the thud of hitting the bottom at the end when the sirens sound. It’s the most important moment on this album, the crossroads of falling and climbing back to the top.

The climb back up begins on “Blinding Lights.” Abel begins to fight to regain his love, admitting that maybe he can learn to truly love someone. It’s an appropriate title too, as it’s play on the last song being about being blinded by the lights of a cop car and Las Vegas. But now he’s being blinded by the light of the realization of how much he wants to win his love back. Martin comes through once again with more fun production, as the synth and drum machine-driven sound is instantly catchy and makes you want to dance. “In Your Eyes” is Abel professing his love and claiming to see that same passion in her eyes, even though he know there’s hurt that still lurks within her too. This song features even more excellent production from Martin, in fact it’s the best on the album. It’s also the best modern take on 80s pop rock I’ve heard, nailing every little detail needed with the synths, including the fantastic surprise saxophone that comes in at the end.

“Save Your Tears” sees Abel coming across his love at a club, with each exchanging looks and neither being able to walk up and talk to the other. Internally he’s pleading for her to take him back, while also acknowledging he’s late and that she deserves better than him. I love all the little details in the lyrics showing both the external and internal conflicting emotions on display from both Abel and his ex. Throw in the moody, dream pop-influenced production of Martin that gives the song the right amount of tension and anticipation and it’s another great coordination of The Weeknd and Martin. “Repeat After Me” is an interlude of Abel saying his ex doesn’t really love her new man if she’s still thinking of Abel and that it’s just casual sex that means nothing to him. One wonders if he’s trying to convince her or himself more with this plead. Also gotta love how The Weeknd manages to sneak in yet another top notch producer in Kevin Parker to produce this, who of course even in an interlude manages to deliver great production.

The album’s title track is about Abel falling into desperation over his pleadings to win back his ex, unable to sleep. In fact the song is a mash-up of essentially all the feelings he’s experienced up to this point, showing how his emotions are spiraling out of control. He finds himself stuck reliving everything from his past as he struggles to cope with his feelings in the present. The production is noticeably darker and downbeat, as it goes into the final track “Until I Bleed Out.” Abel finally realizes that he’s lost her for good and will never win her heart back again. Now he’s trying to go through the process of letting her go, proclaiming with these visceral lines: “I wanna cut you outta my dreams/Till I’m bleeding out, til I’m bleeding out/I wanna cut you outta my mind.” The production is appropriately dreary and dark, as Abel reaches the same point he thought he might have wanted at the beginning of the album: alone.

After Hours is a phenomenal achievement by The Weeknd. This album is a rich, cinematic experience of love, losing it, fighting to regain it and ultimately reaching the realistic conclusion of realizing that it’s lost. The production team absolutely nails every emotion on this album and takes the lyricism to a whole new level. The juxtaposition of the breezy, mixed cocktail of genres (R&B, pop, hip-hop, dream pop, 80s) feels perfect on this album of frenetic, dark emotions that permeate throughout it. This is without a doubt an album of the year contender.

Grade: 10/10

Josh’s Jukebox Journal — Country Hits: 2006

Once upon a time there was a popular feature on this blog called The Current Pulse of Mainstream Country Music and it’s sister feature The Past Pulse of Mainstream Country Music. It was an enjoyable feature for both you and I, before I decided to take a hiatus from blogging. My own enjoyment of the feature had waned, but I’ve wanted to return to a feature like this ever since.

Kyle over at Kyle’s Korner Blog took over the torch for The Current Pulse and is doing a fantastic job with it, so please go check it out if you haven’t done so. But I was wanting to do a Past Pulse. Unfortunately as I’ve discovered, Billboard has become greedy and decided to lock past charts behind a paywall. Quite an asinine decision in my view. So with this stupid decision by Billboard, I obviously can’t do The Past Pulse. But that sent me down the idea rabbit hole and I got to thinking how I could re-adapt the Past Pulse into something new. Combined with another feature idea I had been tinkering with, I’ve come up with Josh’s Jukebox Journal.

Josh’s Jukebox Journal is a brand new feature on the blog that will be similar to The Current Pulse of Mainstream Country Music, but with a twist. Rather than rely on past charts from Billboard instead I will look at playlists. This could be from any genre, from any year, past or present, various artists or just one artist. I will run through the playlist giving a thumbs up (let it play), shrug (essentially playlist filler) or a thumbs down (skip it). The best song will get two thumbs up and the worst will get two thumbs down. At the end I will give a grade for the quality of the playlist. These playlists can come from any of the streaming services (preferably Spotify, Apple Music or YouTube).

This feature won’t have a set day or time of when it releases. It will essentially be when I want to do one. And of course I want to hear playlist ideas for future versions of Josh’s Jukebox Journal in the comments! Today I will take a look at the Apple Music playlist Country Hits: 2006…

    • Rodney Atkins – “If You’re Going Through Hell” πŸ‘Ž
    • Rascal Flatts – “What Hurts the Most”🀷
    • Josh Turner – “Your Man” πŸ‘
    • Carrie Underwood – “Jesus, Take the Wheel” πŸ‘
    • Jennifer Nettles & Bon Jovi – “Who Says You Can’t Go Home”🀷
    • Brad Paisley – “When I Get Where I’m Going (feat. Dolly Parton)” πŸ‘
    • Jason Aldean – “Why”🀷
    • Kenny Chesney – “Summertime”🀷
    • Phil Vassar – “Last Day of My Life” πŸ‘
    • LeAnn Rimes – “Something’s Gotta Give”🀷
    • George Strait – “She Let Herself Go”🀷
    • Jack Ingram – “Wherever You Are” πŸ‘
    • The Wreckers – “Leave the Pieces” πŸ‘
    • Kenny Chesney – “Living In Fast Forward” πŸ‘
    • Brad Paisley – “The World” πŸ‘
    • Carrie Underwood – “Before He Cheats” πŸ‘
    • Trace Adkins – “Honky Tonk Badonkadonk” πŸ‘ŽπŸ‘Ž
    • Rascal Flatts – “My Wish (10th Anniversary)” πŸ‘Ž
    • Blake Shelton – “Nobody But Me” πŸ‘
    • Dierks Bentley – “Settle for a Slowdown” πŸ‘πŸ‘
    • Steve Holy – “Brand New Girlfriend” πŸ‘
    • Josh Turner – “Would You Go With Me” πŸ‘
    • Little Big Town – “Bring It On Home” πŸ‘
    • Sugarland – “Want To” πŸ‘
    • Toby Keith – “Get Drunk and Be Somebody” πŸ‘Ž

Thumbs up: 15
Shrugs: 6
Thumbs down: 4

Grade: 7/10

This is a pretty solid playlist (until you see a lot of the songs missing I list below that I would have added and then you’re going to get angry like me). I was actually a little surprised, but then as I listened to it more not so much because I remember every single one of these songs vividly. I was 14/15 years old when these songs were popular and this was when my brother and I would watch the CMT music video countdown show every week. So I definitely got some nostalgia running through this playlist. And I can’t get over how much mandolin was allowed on country radio back then!

So many great songs to choose from for the best. Josh Turner was absolutely on fire during this time. I really enjoyed Carrie Underwood and Brad Paisley’s material at that time too. Underwood of course just released her debut album and it’s arguably still her best record. Paisley helped Dolly get another hit and that’s always great. But I had to go with Dierks Bentley’s “Settle For a Slowdown” from the excellent Modern Day Drifter album. The ominous and dark atmosphere created by the guitars and the descriptive lyricism that so perfectly lays out the longing heartbreak taking place in the song made me choose it as best.

Not a lot of bad songs to choose from on this playlist, which is nice of course. I enjoyed all of Rodney Atkins biggest hits at first, including the one above, but thank country radio and grocery stores for overplaying them to the point I cringe when I hear them. I don’t mind Rascal Flatts’ “My Wish,” but for some bizarre reason they put a flat and bad 10th anniversary version on this playlist. Long-time readers know how I feel about post-9/11 Toby Keith. But picking Trace Adkins’ “Honky Tonk Badonkadonk” as the worst was a slam dunk choice. This song was everywhere, well rather the remix version, which I’m surprised isn’t what was chosen for this playlist. It’s an annoying novelty song that will only age worse with time. (That I’ll also admit that teenager me loved at the time)

Songs I Would Have Added to the Playlist

  • Billy Currington – “Must Be Doin’ Somethin’ Right” (Currington was so good during this time and his omission is bad)
  • Dierks Bentley – “Every Mile a Memory”
  • Brooks & Dunn – “Believe”
  • Little Big Town – “Boondocks” (A cult classic!)
  • George Strait – “Give It Away” (How in the hell was this not on the playlist, yet the sleepy Strait hit was chosen?!?)
  • Emerson Drive – “A Good Man”
  • Eric Church – “How ‘Bout You” (Not a single Church song on the playlist is criminal!)
  • Kenny Rogers – “I Can’t Unlove You” (Rest in peace Mr. Rogers. Also people forget this was a top 20 song for him in 2006 and definitely worthy of this playlist)
  • Gary Allan – “Life Ain’t Always Beautiful” (Why was this not on the playlist either?!)
  • Alan Jackson – “Like Red on a Rose” (I’m just getting more angry at what was not on this playlist)
  • Jack Ingram – “Love You”
  • Van Zant – “Nobody Gonna Tell Me What to Do”
  • Eric Church – “Two Pink Lines” (Incredible song!)
  • Keith Urban – “Once in a Lifetime”
  • George Strait – “The Seashores of Old Mexico”
  • Joe Nichols – “Size Matters (Someday)”
  • Tim McGraw – “When the Stars Go Blue” (Not a single McGraw song on the playlist, especially not this one?! Come on)
  • Billy Currington – “Why, Why, Why”
  • Jake Owen – “Yee Haw”
  • Kenny Chesney – “You Save Me” (Take the two songs he has on the playlist and replace them with just this one, his best hit of the year)

Be sure to weigh-in with your thoughts on the playlist and what you would have added to the playlist too below!

Album Review — Caitlyn Smith’s ‘Supernova’

I gave high praise to Caitlyn Smith’s last album Starfire. Hence why I had such high hopes for the follow-up and put it as an album to watch out for in my inaugural Spinning All The Records feature. Unfortunately this album does not live up to the hopes I had for it. It would be hard to call this album anything other a disappointment from my eyes and that’s hard to say considering the immense talent of Caitlyn Smith. But that’s just it: Smith has an amazing voice and even better songwriting skills. And it results in Supernova. She’s just capable of so much more.

The album begins well enough with “Long Time Coming.” It’s a dramatic song about overcoming darkness to reach the light. Smith sings her ass off and delivers a belting performance that impresses. The production has an immediate gravitas about it and grips the listener. While the production works really well in in this song and other moments on the album, this extra emphasis on the production is the ultimate detriment of the album. “Damn You For Breaking My Heart” is another highlight on the album, a cutting track about having a hard time getting over a breakup. Smith adds so many nice little details to give the story texture, such as trying to hook up with a stranger and then feeling the instant guilt because she can’t get over her ex.

“Put Me Back Together” feels like a mainstream play, but it’s an enjoyable enough song, as I find it easy to sing-a-long with. Smith delivers a fun vocal performance. I think this song would be easier to enjoy if the rest of the album was better though. “All Over Again” is another song that contemplates lost love and the what ifs of the relationship. It’s just fine. Neither good nor bad, as nothing about the production nor the vocal performance stands out. It feels like playlist filler and this certainly isn’t the last instance of this on the album. “I Don’t Want to Love You Anymore” is great with it’s stripped down, airy production that allows Smith’s voice to carry the story of the song. Despite this being another song about not wanting to love someone anymore, it’s Smith’s vocal performance that really sells the emotions of the song and makes it connectable.

The album’s title track centers around the concept of time, how things can change so fast and trying to enjoy the moment. I really enjoy the songwriting and Smith’s eloquent, yet nuanced approach to time. But man do I find the sound of the clock hands in the background to be annoying and distracting. I get the inclusion of it, but as soon as I hear this the first time it bugs me every time I hear it the rest of the song. It’s just not necessary and it takes away from what should be a great song. To make matters worse this leads right into the playlist filler portion of Supernova. “I Can’t” sounds like a generic B-cut from a (insert pop star from the 2010s) album. “Rare Bird” feels like it drags on and on, as Smith has nothing interesting to say in this love song. “Midnight in New York City” has a cool aesthetic, but the lyrics are completely forgettable.

The monotony gets broken up on “Fly Away,” which is a fun love song. It’s catchy and the bounciness of the production gives it a lightness and carefree feel that fits the lyrics well. Although I would be remiss if I didn’t point out that this feels like a lesser version of “Contact High.” I really enjoy “Feel That Way” at first. It’s soulful, swelling with emotion and utilizes Smith’s vocals perfectly. But it goes too long, as at about the three minute mark Smith’s repetition of the hook makes it a frustrating listen. It’s very similar to how in hip-hop when an artist repeats the hook one too many times, crossing from fun and catchy into terrible ear worm territory. The album concludes with “Lonely Together,” an admirable attempt at a heartfelt love song. The soft piano play sets the mood for this type of song exactly the way you would want it. But just like so many other songs on the album, the lyrics don’t stand out enough for me.

The tale of the tape for Supernova is quite simple: this album focuses too much on flash and not enough on substance. Smith seemingly forgets about her greatest strength on this album and that’s her songwriting. It soared and impressed on Starfire. On this album the songwriting is so lifeless and it feels like so many themes are used multiple times and recycled. There are some bright spots on this album, but they’re dominated by what I would describe as run-of-the-mill pop rock moments for the most part. I never thought I would levy this kind of criticism toward a Caitlyn Smith album, but the songwriting just isn’t good enough. Supernova is ultimately just an okay album.

Grade: 5/10

Album Review — Jay Electronica’s ‘A Written Testimony’

The long-awaited debut album of Jay Electronica finally arrived. Years of delays and mystery around one of rap’s most promising young artists at the end of the 2000s and early 2010s is over and now A Written Testimony is here. If you’re not familiar with Electronica, read this summary of the wild and unpredictable path of his life. Electronica signed to the legendary Jay-Z’s label Roc Nation nearly a decade ago. Now on his debut album Hov himself makes an appearance on nearly every single track. Imagine having one of the all-time bests in hip-hop as your side man on your debut album. That’s crazy! But it fits with Electronica.

The album opens with “The Overwhelming Effect,” which serves more as a vignette than song as it’s a monologue from Minister Louis Farrakhan set to a beautiful sounding instrumental. That’s one important thing to note up front with this album: for better and for worse, Electronica’s faith, The Nation of Islam, has a noticeable influence throughout. I don’t really want to give my opinion on the faith itself or any other religions for that matter, as I respect all people’s beliefs. So any commentary I have regarding the religious influences on this album are strictly from a musical standpoint (just like my criticisms of gospel music and Kanye’s latest album in the past on this blog). So as far as an opener, it’s fine and I guess gives a dramatic buildup. But I would always rather hear bars to open a rap album.

“Ghost of Soulja Slim” opens not with Electronica rapping, but Jay-Z. And I have to say Jay-Z sounds as hungry and fiery as ever on not just this song, but the whole album. His bars are catchy, have something to say and get right to the point. When Electronica makes his appearance about halfway through the song, he matches Jay-Z’s bars himself. But the song drags on too long with it’s instrumental at the end and the use of the clip of the kids cheering is really annoying. I feel like this song would have been better as the introduction track, as it doesn’t really have a point and has more of an introduction/demonstration feel to it.

“The Blinding” sees the Jays joined by Travis Scott. And it’s obviously a mainstream/streaming play with Scott’s inclusion. But it’s one of my favorites on the album, as Electronica opens up about the making of this album, the pressure of the buildup of the release and how he never wants to let his daughter down. Despite it’s shortness and Scott being kind of shoehorned in, the song does well at telling a great story and giving the listener an appropriate insight into rap’s biggest enigma. “The Neverending Story” has a fun and spacey sound that envelopes the listener from the beginning and I’m not surprised that it was The Alchemist behind this smooth beat. It’s perfect for Electronica to lay down some of his most clever wordplay on the album. I particularly enjoy these lines: “Spread love like Kermit the Frog that permeate the fog/I’m at war like the Dukes of Hazzard against the Bosses of the Hogs.”

Next is “Shiny Suit Theory,” a song that came out years earlier. I’m glad it’s included though because I love the bouncy horns and glimmering chimes that drive the beat of this song. Electronica himself produced this song and it sounds great. Once again this is a song that gives an insight into Electronica’s thinking and a conversation he had with P. Diddy before dropping his album. The bars from both him and Jay-Z are tight and don’t waste any time in getting to the points they’re making. I enjoy the dramatic production on “Universal Solider,” but the bars feel too same-y to me throughout and the over-reliance of religious references doesn’t work for me. And once again I think the song carries on a bit long like “Ghost of Soulja Slim.”

Jay-Z spits absolute fire over great production from Electronica on “Flux Capacitor.” He goes on the defensive over his deal with the NFL and again I love how in the latter half of his career he’s maybe dropping some of the best bars of his career. It’s unfortunate for Electronica though he’s getting out-rapped on his own song and album, but that’s what happens I guess when you have an icon as a sideman on your album. “Fruits of the Spirit” feels more like an interlude than song but it’s still one of my favorite moments on the album. The soulful production of No I.D., one of my favorite producers in hip-hop, and Electronica rapping his ass off (with a sweet Thanos reference to start the song) makes me wish this was a full-fledged song.

I enjoy the different, clinky sound of “Ezekiel’s Wheel” and the inclusion of The-Dream as a feature is a great choice on a chiller, smooth song like this one. The bars from the Jays aren’t bad for the most part either. It’s just too long at six and a half minutes. The bars that are bad though is where Electronica raps: “It could be in Lagos, or Seattle, or Chicag-y/Hotel lobby Grammy after-party, it’s whatev-y.” It’s cringe-y and dumb-y. I do not understand why he felt the need to just randomly add y’s to these words other than trying to make his bars flow together better. Despite this baffling choice, Electronica redeems himself in a big way on the closing song of the album, “A.P.I.D.T.A.” Over gorgeous production from Khruangbin (who you know I’ve absolutely praised), Electronica absolutely pours his heart out over heartfelt bars about the loss of his mother. It’s heartbreakingly touching and beautiful personal song from Electronica that shows why his debut album has been so hyped. It’s without doubt the best song of his career.

The long-awaited debut album of Jay Electronica does not live up to it’s lofty expectations and hype, but A Written Testimony is nevertheless a pretty good album. The production is definitely the strongest point of this album, as a cavalcade of all-star producers and Electronica himself create some exciting and interesting sounds throughout the whole album. The bars on this album are mostly good despite some bumps along the way and the overuse of religious imagery. More than anything I’m glad that Jay Electronica is finally releasing music and I think on his next album we’ll see something even better from him. But for now this is a solid debut.

Grade: 7/10

Album Review — Brandy Clark’s ‘Your Life is a Record’

Brandy Clark’s last album Big Day in a Small Town initially really impressed me, but eventually I found it to be a slightly above average album. And one of the big reasons was the production was all over the place. It just lacked cohesion and I also felt Clark didn’t do enough lyrically to elevate the tired small town themes of country music. So coming into this new record I was a bit unsure of what to expect, although with Jay Joyce returning as producer I continued to expect different sonic choices. And that definitely is the case with this album. But Your Life is a Record is also a much rawer and more personal record from Brandy Clark, which I would argue is definitely beneficial to this album.

Opening track “I’ll Be the Sad Song” lets you feel right away the pure somberness that fuels much of this record (Clark broke up with her partner of several years, inspiring many tracks on this album). And a big part of what helps drive this feeling is the sweeping and gorgeous strings throughout the chorus. It fits the reflective nature of looking back on a lost relationship really well. There’s no bitterness or anger, just a sad realization of what will never be again. “Long Walk” is on the other end of the spectrum, a fun sing-a-long that wishes bad things upon a person you don’t like. The kicker lines of course are “So take a long walk off a real short pier/Take a cinder block with you as a souvenir.” Out of the context of the song this is overly dark and vengeful. But the playful melody and Clark’s tongue-in-cheek delivery make for a whimsical, silly response to a person who’s clearly agitating.

“Love is a Fire” is a smoldering love song that shows off Clark’s passionate side and to excellent effect. I really enjoy the spacey, drifting feeling created by the strings and piano. The lyrics do a great job of painting that imagery of love being this blazing, out of control fire in the listener’s head too. “Pawn Shop” shows how vivid of a storyteller Clark can be, as she tells the duel stories of a woman pawning off her wedding ring and a man pawning his guitar. Each reflect on the loss these items represent and the ending of dreams. But then Clark reminds you that somebody else will buy them, starting dreams anew for somebody else. It’s a really clever look at the duality of life and death, how each are constantly playing off each other and how each gives the other value.

“Who You Thought I Was” is about striving to be a better person after falling in love with someone. The bouncy juxtaposition of the horns, mandolin and flute gives the song an enjoyably fun melody. As for the lyrics, they’re solid, clearly getting across the change in heart of the person who’s fallen in love. “Apologies” has an enjoyable flute and horn section, but the song meanders too long for me. It just feels like this song never leaves second gear and doesn’t ever reach anywhere with it’s message. The lyrics just sort of glaze over you after a couple of listens.Β  Randy Newman joins Clark on “Bigger Boat” and I just have to be flat-out honest: I do not like Newman’s voice. It annoys the shit out of me. The song has an admirable aim of pointing out the absurdity of the disagreements that run through social media and society nowadays. But it’s just too hokey for my taste. That’s a shame because I do enjoy the production on this track.

I have the same issues with “Bad Car” as I did with “Apologies.” And the other thing that bugs me is I feel like I’ve heard this song done so many times in country music. There’s just nothing that stands out to make it different from every other song that personalizes and gives emotional meaning to a vehicle. It’s not a bad song per se, it’s just fine and I won’t remember it. “Who Broke Whose Heart” fortunately does not have this problem. In fact this is probably one of my favorite songs I’ve heard from Clark, as it’s instantly catchy lyrics and melody hooked me. The production actually reminds me of Electric Light Orchestra in the way it utilizes the strings, horns and guitar. It’s just a really fun song with a surprising amount of bite.

“Can We Be Strangers” is a devastatingly great heartbreak song. This relationship has soured to the point of where the narrator just wishes they had never even met each other in the first place. And the way Clark delivers the chorus is painstakingly and soulfully beautiful. The horns and strings perfectly complement this song too, not taking over and instead adding dramatic gravitas that only enhances the emotions. “The Past is the Past” wraps the album up in a nice bow, with Clark reaching the point of letting the past go and moving forward in her life while still letting herself feel the heartbreak from the situation. As I said it’s a fitting and mature conclusion after the myriad of emotions Clark expresses throughout the album. Lessons have been learned and now a new life begins.

Despite a few hiccups, Brandy Clark takes a big step up from her last album with Your Life is a Record. I think the production is the biggest improvement, as it flows together really well from start to finish. I really enjoy the incorporation of the flutes in this album, as it’s something not really utilized as much in country music. The songwriting stumbles in a few spots, but for the most part is pretty good and at times great. There’s a surprisingly nice mix of emotions on an album centered around a breakup too. Most importantly, Clark rewards you for listening to the whole album, giving you the emotional journey with the fittingly positive, yet realistic destination.

Grade: 8/10