I’m not a musician.
I took piano lessons for something like eight or ten years when I was a kid. I started when I was 7 and quit sometime in high school. I never learned how to read sheet music without counting “Every, Good, Boy, Does, Fine,” so at a certain point (high school) the music got too difficult to play by ear. I don’t have many regrets in life, but dropping the piano instead of finding a jazz piano teacher who can teach playing by ear could be considered a regret. Maybe there’s still time. Life after seminary.
Today, I can play most piano chords – C, F#, D7, Asus2, G, Emaj7, etc. – throw it at me and I can look at the keys and play it. I understand chord progressions. I can sit down at a piano and play through most any song as long as I’m given the chord progression. I can even figure out the melody if I’ve listened to a song enough times. But I’m not a musician, and I don’t review albums as if I am.
I do, however, know how to groove.
I like percussion, cadence, chord progressions, samples and lyrical flow among other things. Strings are gorgeous. Gimme a dirty bassline (see: “Don’t” on this album) and I can’t get enough. The tone of an artist’s voice is more important to me than what they’re singing about. I don’t care much for actual lyrical content – songwriting is impressive and creative, absolutely, but for some reason my ear doesn’t hear the words themselves. I don’t know the words to some of my all time favorite songs.
When I listen to music, my mind is not tuned into the meaning or language in songs. I’m in it to experience the groove. I feel music more than I listen to it.
Friends who know me well will respond: “Whatever. You know all the words to all the songs we listened to on that road trip we went on that one time.” True. And some artists are easy for me to actually hear and internalize lyrical content – hip hop, boy bands, pretty much anything I digested between 1998 and 2004 – these are exceptions. When I take in an album for the first time (Ed Sheeran’s x, for example) I don’t hear the words themselves as much as I hear their sound and flow (both areas where Ed excels greatly).
I say all this to make sure we’re all on the same page for where these album reviews come from: I am a consumer. My angle is not remotely “expert” on anything besides my own personal experience of music.
If you’re purely a consumer like me, then these reviews are for you.
Disclaimer over. On to the review.
It’s pronounced “multiply,” which is an extremely annoying album title, but follows up nicely to Ed Sheeran’s debut album + (pronounced “plus”) which is equally goofy.
But that’s pretty much where my negativity ends with this album. Ed Sheeran is fantastic. x is predominantly acoustic guitar centered with strong percussion/piano parts, but what truly drives the sound Ed Sheeran’s work is his vocal cadence. He’s quick and clever with his flow. His crooning quickly gets into my shoulders and neck area and gets me bobbing around.
The only song I really knew off this album prior to my first listen this week was “Sing,” and I was already a big fan. It came across Justin Timbelake-ish. It’s the high range vocals that do it – every time he goes up, he sounds like JT. Turns out, that track is produced by Pharrell Williams and while I was doing some research I literally read, “Justin Timberlake’s debut album, Justified, was a favourite of Sheeran’s, which he consciously tried to channel for ‘Sing,'” on Wikipedia. Well, boom. Talk about stroking my listening ego.
Take a listen here…(warning: video contains puppets)…
Caveat here: Sheeran wanted to keep “Sing” off the album and work more exclusively with Pharrell and put it on a future album. It’s the only Pharrell track on the album, so it’s naturally one of my favorites. But let’s be honest: if Ed puts out a full album with Skateboard P he’ll win multiple Grammys. You heard it here first. We’ll revisit it in a couple or three years. #Grammys2017?
Also, I’m not sure everyone realizes just how impressive Pharrell Williams is. I mentioned this in my review of G I R L earlier this year, but everything the dude touches turns to gold. But this isn’t a Pharrell post, so moving on.
This album keeps me bringing me back to Adele. Not necessarily in the sound, but in the content. This whole album is about Sheeran’s heart being broken and drinking/drugging his sorrows away. He’s not happy with this chick, and it’s entirely to our benefit. I’ve often thought if Adele falls in love and gets married we’re going to lose out on a lot of quality music. I might feel the same way here. Nobody wants to hear cute love songs (okay some people do, but I don’t) – we want tales of heartbreak and anger and frustration. WE want songs that get under our skin and make us feel something strong. That’s how Ed is like Adele – okay, they’re both British too.
Sheeran clearly has a bent toward self-medication. The entire focus of “Bloodstream” is feeling the chemicals kicking in as he tries to recover from broken heart. Those are his words, not mine. He mentions drinking away his sadness in multiple songs – which ALWAYS reminds me of Elton John’s “Saturday Night’s Alright For Fighting.”
Elton and Jamie Foxx get the most mentions on how Ed Sheeran hit it big. Now I’m picturing the three of them hanging out at the booth from Horrible Bosses drinking cider – Elton and Ed on one side of the booth and Motherf*cker Jones drinking from a straw on the other. I digress.
While the core of the album is groovy and fast-paced, “One” is an odd choice for an opener upon first take. It’s directed toward the same love interest from +, which feels opposite from the rest of the album. However, it makes sense when partnered with track 2, “I’m a Mess.” By opening the album with love, it actually manages to pull the listener into the heartbreak deeper. Ed’s like, “here’s this love that I had, and now I’m going tell you how I jacked everything up and now I’m broken hearted.” And I’m like, “thanks, but no thanks, Ed. I wish I’d never met this girl so I wouldn’t have to feel your heartbreak as much.” It’s better for it though. “One” is a cute lead track that I’m sure the sentimental ladies really swoon over.
Apparently “One” was the first track recorded too, which makes me believe the track layout is less about the ebb and flow of the album as much as mirroring the story of Ed Sheeran’s own life. I wonder…is the track list simply in order of when he wrote them? Hmmm.
I should also mention this nugget: Ed Sheeran can rap. “The Man” and “Take It Back” are both straight rap. Don’t let his lyrics convince you otherwise: “I’m not a rapper/I’m a singer with a flow,” he says in the latter track. Malarky, I say. This is acoustic rap and it’s so good. It is a bit strange to hear someone with an English accent rapping – just different. The sound has a subtle enough difference that it sounds like something fresh and new.
There’s a balance between up-tempo grooves and stripped down acoustic ballads here. I’m a huge fan of the former and kinda meh about the latter – shocker, I know. Overall, it’s a very strong album. Henceforth, I’ll proudly claim to be an Ed Sheeran fan.
Top Tracks (no particular order):
– Take it Back
– The Man
x is up for Album of the Year and Best Pop Vocal Album at the 2015 Grammys. His competition for AOTY: Beyonce, Sam Smith, Pharrell and Beck. His competition for BPVA: Coldplay, Miley Cyrus, Katy Perry, Ariana Grande, and Sam Smith.
As of this post, I think he’s the front runner for BPVA, but will lose out to Queen Bey in AOTY.
One last thing before I go: I’m planning reviews for all 5 albums up for Album of the Year. Potentially more than that if I really get into this. You can find the other links here (will update links as posts are released).
For other reviews up for Album of the Year…