Review: "Alicia" Album by Alicia Keys
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Alicia Keys calls “Alicia” genre-less, but we think it’s more like a mesmerizing melting pot filled with spices from all corners of the earth. The album is definitely guitar heavy as opposed to her previous piano preference. She utilizes the instrument in diverse and creative ways, so we don’t even miss those signature keys from Keys (don’t worry, we still get some in “Perfect Way to Die”). From the 80s to present day, Alicia weaves a gorgeous tapestry of sound. This is her first comeback since “This Girl Is On Fire” and it’s a glorious one, filled with flawless, carefully curated features. In this album, Keys’s natural musicality and seasoned years in the industry shine through organically.
The album begins with “truth without love” which feels like abstract jazz before her smooth vocals bring in an unusual R&B flow that we haven’t heard before, with notes of Solange. There’s a freeness to it that we event felt from the artist in more pop-centric tracks like “Girl On Fire”.
Its a bummer for the track “Time Machine” that clubs are closed, because this funk-inspired, danceable track takes us a couple decades back in time, soaking Keys in an Sade-style track that we’re obsessed with. For an artist that’s had as many musical chapters as Alicia Keys, it blows our minds that she’s still this innovative in 2020, a year that we needed it most.
Wasted Energy with Diamond Platinum slows down things to a bassy, mellow reggae beat and she softens her voice up for this song that we can all relate to. It’s a a tale of rejection and heartbreak that we’ve all felt at one point or another, “Brokеn promises along the way/Lost count of how many you made/My lovе, my love, my love/Tied up in your plans/still on center stage/no great escape.”
Usually these lyrics are reserved for more conventional R&B beats, but the sadness behind this beat speaks something more complex. She’s looking back on painful memories, but coming from a place of healing and reflection. Tanzanian artist Diamond Platnumz kills it on the outro before a choppy acoustic guitar wakes us up on the inspiring “Underdog.”
This song, co-written by Ed Sheeran, is a shoutout to the marginalized people who face adversity, as Alicia’s hook sings “This goes out to the underdog / Keep on keeping at what you love,"You'll find that someday soon enough / You will rise up.” It’s all about defying the odds, and a line that stands to us is “ They say I would never make it but I was built to break the mold.” For anyone experiencing a low, it’s kind of impossible not to feel uplifted by this track.
“3-Hour-Drive ” slows things down again to this baby-maker of a track that’s perfect for setting the mood, or going on an existential late night drive. As always, Sampha’s vocals give us goosebumps, especially against that spacey echo of a background beat.
We love that she’s gone back to her slow tempo R&B roots, especially in tracks with fellow crooner Miguel . This gentle guitar duet is a smoldering back and forth between the artists that definitely needs to be added to the 3 hour drive playlist. A song hasn’t given us this kind of tingle since Jhene Aiko’s more explicit “Pu$$y Fairy” released earlier this year. “So Done” ft Khalid is another glossy guitar track that Keys’ voice sounds like velvet against.
It feels almost surreal to see Keys do a collaboration with her protégée, Swedish R&B sensation Snoh Aalegra who sounds like Keys with a hefty dose of Amy Winehouse. It’s a love song to the one that acted as her saviour (we’re assuming she’s talking about hubby Swizz Beats and her kids) and the safety of a sure, secure, and healthy relationship: (“And if I could stay, I'll stay here forever/And if I could be here, we'll be here together/'Cause did you know that you save me?/Did you know that you save me from the fall?”).
Her guitar theme gets beefed up with some percussion in “Jill Scott” ft. Jill Scott as the two icons daydream about public displays of affection without a hint of shame - just pride to show that person off: “Kiss on me in the daytime/In front of the whole show/So they can all know/I want you to love on me, love on me/Love on me in the daytime/Like you do at bedtime/So they can all know”. It’s the anti-sidepiece anthem to remind women all over they deserve to be showered with unconditional love in all settings.
Her final song is a reminder to us that even though Keys is an A list celebrity, she’s still as earnest and genuine as she was since Day One. “Good Job” is a timely song dedicated to other “underdogs,” as Alicia likes to call them. From parents to teachers and frontline workers, it’s a celebration of the ordinary people, whose strength keeps the world turning: “you’re the engine that makes all things go/always in disguise my hero I see your light.” During coronavirus, when so many people are struggling, this track hit us hard in the hearts.