BLACK GIRL DEBUT MAGIC™ - WINNER
- Thread starter Mr.Arroz
- Start date
We're not in the top 10 yet x
Mr.Arroz
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I’m astounded at Broken Clocks and Anything being out so soon while other duds/forgettable tracks from SZA still remain...
Mr.Arroz
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D
Deleted member 21339
You’re definitely right about this part. Those two and Drew Barrymore are my trinity from the album. Done so dirty.
Mr.Arroz
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If you're the host wouldn't you know what tracks they didn't like?
Assuming they voted.
Mr.Arroz
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Oh hunty I know all and yes, they did vote. I'm just commenting on their horrific taste. So in all,
#39
Altadena
8.321
Highest score: 10 x 8 (@Trouble in Paradise, @K94, @inevitable, @TRAVVV, @paperboyfriendd, @Vitamin, @constantino)
Lowest scores: 6.5 x 1 (@theelusivechanteuse)
6 x 1 (@kermit_the_frog)
4 x 1 (@happiestgirl)
My score: 10
Track background: ARIEL MOTHERFUCKING RECHTSHAID joins Jam City and kwes. on production duties, with Mocky, Will Boston and Sabina Sciubba co-writing alongside Kelela. FEAST UPON the full credits as you heathens CLEARLY need to SOAK IN what you’ve done and reflect on the mastery of song crafting on display in all five minutes and eleven seconds that goddess Kelela was clearly too generous to let you have in your empty, vain lives:
Mastering
Dave Kutch
Backing Vocals
Jessica Chambliss
Vocal Production
Jessica Chambliss
Backing Vocal Arrangement
Jessica Chambliss
Assistant Engineering
Matt Mysko
Mixing
kwes.
Additional Instrumentation
kwes.
Additional Production
Ariel Rechtshaid & kwes.
Recorded At
Vocals at Heavy Duty Studios (Burbank), MUTANT Studios (London) and Rooftop Studios (London)
Kelela even BLESSES you as she gives more intimate details of her life-changing abilities here:
Bow down all, before the supreme, godly, otherworldly, Altabible.
My correct, infallible thoughts:
LISTEN. LIIIIIIIIIIS - ‘UHN.
This song is beautiful, and ever so valuable to me once you know exactly the intent with the song and its lyrics. Written as a “note of encouragement” it basically captures the entire concept for this rate in song-form. Not to mention it is insanely beautiful, poignant, heartfelt, and just fucking WARM. Even as a queer man of color working on my own album, this means so much to me and finally getting my work somewhere, considering Kelela was 34 at the time of Take Me Apart’s release, and has spoken much on the anxiety of releasing her first fully realized LP at what’s considered a rather non-traditional space in one’s life. This song is a daily reminder of our ability to be in a world that reminds us that we shouldn’t at all, and for that alone, it’s everything to me. I knew it might struggle here due to its relative chillness, but I’ll certainly take top 40 in a rate full of terrific songs from so many talented Black women. Yeeeeeeee.
Your thoughts:
@Sprockrooster (9) - One of the few tracks that was not instant as many others from this album, but have been growing gradually on me.
@TRAVVV (10) - Wrote a thousand poems today, still I got nothing to say … I think Kelela might be the best lyricist in the rate.
@Bangers&Bops (8.5) - Closing with slow jam chords that recall Madonna’s “Borderline” era 80’s pop but in a more lush way. A perfect closer to such an amazing album.
@ohnostalgia (9) - Just swaying gently, cocooned by Kelela’s voice. Very calming.
@constantino (10) - This got a lot of hype when the album first dropped and I have to admit, I didn’t quite get it at first. This, in contrast to Frontline, shines in isolation. Having taken the time to listen to this on its own, it is now possibly one of my favourite songs of hers, there are so many new sounds, details and layers to soak up with every new listen.Knowing that it is effectively a message to under-appreciated black woman on their grind, it becomes all the more powerful.
@Solenciennes (8) - I think this album plays about with focusing either on the production around Kelela’s voice, or her voice in isolation, with Altadena falling into the latter category. It’s an appropriate way to close the album and it’s by no means a bad body of work, I think it’s well made and don’t hate anything on it but find it’s maybe not so successful in deciding what it wants to be, compared to the other five albums in the rate that assert a more confident sort of identity. It’s a strange one. Anyway, Altadena is a lovely showcase of Kelela’s voice and rounds out another great album.
@Trouble in Paradise (10) - A beautiful closing song. Love the affirmation for black women. The section with just the piano is gorgeous. Another favorite lyric: "wrote a thousand poems today still I got nothing to say
Live performances:
There...
are…
none.
(!!!!)
I'm going to eat pizza and drown my tears with a vodka tonic. Get thee behind me, Satan. This result is some BULLSHIT.
Idk a @happiestgirl, but she's canceled.
These sztans are rabid. Praying for @happiestgirl's safety.
It’s ok, I brought this upon myself I know those two are her most popular tracks!
Mr.Arroz
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houston_we_have_lift-off.gif
#38
Normal Girl
8.346
Highest score: 10 x 6 (@1991, @Solenciennes, @CorgiCorgiCorgi, @Jwentz, @theelusivechanteuse, @paperboyfriendd)
Lowest scores: 6 x 2 (@BML, @TRAVVV)
My score: 8.5
Track background: Written alongside Carter Lang, who also produced the track, “Normal Girl” stands at track twelve on Ctrl’s tracklisting. Its second verse features a slight interpolation of “Controlla”, Drake’s hit single from his 2016 LP, Views.
My thoughts: A) the production on this, like basically all of Ctrl, is phenomenal. I love both the intro as well as the outro, especially the latter being allowed to shine as much as it does. B) the lyrics are once again #relatable #realness, coincidentally relevant for so many of us here are queer people, used to living outside the lines of what’s considered to be “normal” from a heteronormative standpoint, much less just being seen as worthy enough to have a partner at our side. But coming from SZA herself, it definitely ties into the album’s overall showcase of the anxiety and self-doubt that she’s targeted in interviews and other pieces since the album’s release.
Your thoughts:
@digitalkaiser (9) - I love the circus-esque low-fi realness of this song. It’s got that carnival twinkly synth cascading with the beautiful backing beat and guitar that rolls in. It’s a beautiful song, her vocals as always are affecting and command attention, it’s a highlight near the end of the album with a bit of bounce. I relate to the struggle of being ‘Normal / Someone to be proud of’ but not quite ever hitting that mark in my own mind. It’s a relatable struggle.
@Bangers&Bops (8.5) - Though possibly giving off a wishy-washy vibe, SZA just wants love. To me, the theme of the album is SZA yearning to be whatever her man needs her to be. From a “Supermodel” to a “Normal Girl”. I say she can be it all.
@Kuhleezi (8.5) - I sweeeeeeAAAAR!
@ohnostalgia (7.5) - Patriarchy is a binch.
@constantino (9) - Ooft when the guitars kick in...I just...yes. The outro is also heavenly; this track is the very definition of a slow burner.
@Solenciennes (10) - The self-doubt and wishing to be some other type of person is so relatable and you just want to reach into the song and tell her to love herself for who she is.
@Trouble in Paradise (9) - Her vocals are great here and the lyrics are perfect Something I love about this rate is putting this alongside Santigold allowed me to see how free-spirited creative black women who reject labels can still feel that constraint of being a "lady."
Live performances:
I FUCKING LOVE THIS PERFORMANCE. I think this was one of her first televised performances from the record, right? She’s definitely come far vocally, live.
#38
Normal Girl
8.346
Highest score: 10 x 6 (@1991, @Solenciennes, @CorgiCorgiCorgi, @Jwentz, @theelusivechanteuse, @paperboyfriendd)
Lowest scores: 6 x 2 (@BML, @TRAVVV)
My score: 8.5
Track background: Written alongside Carter Lang, who also produced the track, “Normal Girl” stands at track twelve on Ctrl’s tracklisting. Its second verse features a slight interpolation of “Controlla”, Drake’s hit single from his 2016 LP, Views.
My thoughts: A) the production on this, like basically all of Ctrl, is phenomenal. I love both the intro as well as the outro, especially the latter being allowed to shine as much as it does. B) the lyrics are once again #relatable #realness, coincidentally relevant for so many of us here are queer people, used to living outside the lines of what’s considered to be “normal” from a heteronormative standpoint, much less just being seen as worthy enough to have a partner at our side. But coming from SZA herself, it definitely ties into the album’s overall showcase of the anxiety and self-doubt that she’s targeted in interviews and other pieces since the album’s release.
Your thoughts:
@digitalkaiser (9) - I love the circus-esque low-fi realness of this song. It’s got that carnival twinkly synth cascading with the beautiful backing beat and guitar that rolls in. It’s a beautiful song, her vocals as always are affecting and command attention, it’s a highlight near the end of the album with a bit of bounce. I relate to the struggle of being ‘Normal / Someone to be proud of’ but not quite ever hitting that mark in my own mind. It’s a relatable struggle.
@Bangers&Bops (8.5) - Though possibly giving off a wishy-washy vibe, SZA just wants love. To me, the theme of the album is SZA yearning to be whatever her man needs her to be. From a “Supermodel” to a “Normal Girl”. I say she can be it all.
@Kuhleezi (8.5) - I sweeeeeeAAAAR!
@ohnostalgia (7.5) - Patriarchy is a binch.
@constantino (9) - Ooft when the guitars kick in...I just...yes. The outro is also heavenly; this track is the very definition of a slow burner.
@Solenciennes (10) - The self-doubt and wishing to be some other type of person is so relatable and you just want to reach into the song and tell her to love herself for who she is.
@Trouble in Paradise (9) - Her vocals are great here and the lyrics are perfect Something I love about this rate is putting this alongside Santigold allowed me to see how free-spirited creative black women who reject labels can still feel that constraint of being a "lady."
Live performances:
I FUCKING LOVE THIS PERFORMANCE. I think this was one of her first televised performances from the record, right? She’s definitely come far vocally, live.
