Alicia Keys, Alicia | Album Review 💿

All in all, Alicia ends up being a pleasant, well-rounded seventh studio album by Grammy-winning R&B artist Alicia Keys. 

Alicia Keys is a highly decorated musician at 39; she’s won 15 Grammys. Arguably, she has little if anything else to prove two decades in.  Still, it’s always a treat to get new music.  Her seventh studio album, Alicia, was originally due in March 2020.  The LP would ultimately be delayed until September, with seven songs released in advance. While some of the element of surprise is spoiled, all in all, Alicia is pleasant and well-rounded. The pendulum doesn’t swing, nor did it need to.

“Truth Without Love”  

“Truth Without Love” gives Alicia a great start, no cap! More extended intro/interlude than full-length song, the production shines brightest.  The backdrop is incredibly lush – simply gorgeous. Larrance Dopson and Khirye Tyler set Keys up for success.  There are keyboards, dramatic strings, and soulful layered vocal harmonies that remind us of the glorious days of the neo-soul era.

On ✅ “Time Machine”, Keys embraces the R&B of the past, a winning formula (the groove, in particular). Vocally, she gives a balanced, cool performance.  Her vocal harmonies, which appear during the chorus, mark a highlight of the song. Beyond the chorus, lyrically, Keys is reflective on the verses.  “Fear of what’s in the mirror, yeah / So much to be afraid of,” she sings on the first, adding on the second, “It’s the dreams that we weren’t chasing / Come back to haunt us, eventually.” Ultimately, a winner.

On “Authors of Forever,” she strikes a balance between pop and adult contemporary R&B. This is a sound and vibe are something she’s done successfully throughout the 2010s. The reflective lyrics examine the different roles we play as ‘authors’ of our lives.  It’s thoughtful and ultimately, Keys sings it well.  Worth noting, Mark Ronson is a member of the four-person production team.

“Wasted Energy” 

On “Wasted Energy,” we get a starkly different Alicia Keys.  How so? A fusion of reggae and R&B.  This isn’t the first time Keys has brought in the music of the islands, but certainly the most overt example.  Once more, she sounds quite expressive atop the P2J production, drops a fitting f-bomb on the vibe-laden chorus (“Wasted energy / Why did you, why did you fuck up the chemistry?”), and gets a pretty sweet outro from Diamond Platnumz. No complaints really.

Stylistically, ✅ “Underdog” encompasses pop, adult contemporary R&B, and singer/songwriter. This Ed Sheeran co-write is driven by rhythmic acoustic guitar accompaniment.  Keys has a socially conscious mindset best exemplified on the chorus, where she gives shout-outs to various underdogs. She sets up the underdog on the verses superbly saying at the end of each, “One conversation, a simple moment / The things that change us if we notice / When we look up sometimes.” The inspiration and empowerment exhibited here deserve massive applause.

“3 Hour Drive”

On the mid-tempo ballad “3 Hour Drive,” Keys enlists the services of the great Sampha. Sampha co-produces, also lending his own distinct, expressive vocals on the second verse and bridge. Additionally, he joins Keys on the second chorus, yielding sweet chemistry.  Like everything on Alicia up to this point, “3 Hour Drive” is sound without moving the needle.

Collaborations keep on coming seven tracks into Alicia.  On the chill, icy “Me x 7,” Keys looks to rapper Tierra Whack for the assist.  Keys never gets too high over the course of “Me x 7” while Whack contrasts during her guest verse, bring more punch.  Much like “Wasted Energy,” “Me x 7” is very much a ‘vibe’ contrasting what Keys has released in the past.  It’s not as accomplished but a welcome sight to hear a more contemporary sound.

“Show Me Love”

Perhaps the best way to describe “Show Me Love” are factors besides songwriting best characterize it.  There’s plenty of repetition, with a lack of depth lyrically. Nonetheless, the soulful, R&B vibe is quite electric. The production by Keys and Morgan Matthews shines. “Show Me Love” is sensual, but eschews crossing any lines, giving it a sense of ‘classicism.’ Vocally, Keys and Miguel sound awesome, separately and when they duet. Worth noting, a lack of traditional form leaves the listener yearning for slightly more oomph.

✅ “So Done” gives Keys a sleek, more commercial record than much of Alicia. Enlisting Khalid for the assist shows that the ‘true OG of R&B’ is willing to assimilate with the times and evolve, at least to some extent. “So Done” features a lovely harmonic progression, which helps to construct a chill, sensual, and soulful sound. The production is strong with guitars serving as the main accompaniment; the sound is throwback but refreshing. The biggest reason why it’s a winner for Keys is her voice; she sounds strong. Furthermore, the chemistry between her and Khalid is nice. 

“Gramercy Park” 

One thing’s for sure – Alicia Keys isn’t afraid to incorporate a number of stylistic ideas throughout Alicia. The classy “Gramercy Park” gives her a country-infused record – or somewhere between country/folk. No, there’s no twang or anything totally out of character, but this is an experiment.  The results are, once again, respectable without making you jump out of your seat per se. The lyrics, melody, and vocals are a big-time selling point.    

✅ “Love Looks Better” finds Keys writing and producing with some of the biggest names in pop music: Noel Zancanella and Ryan Tedder. The collaboration pays off as “Love Looks Better” contrasts everything she’s released up to this point.  Musically, things are energetic from the jump, with accompaniment including piano bass notes and big drums. This isn’t a R&B exclusive background, but rather one blending the best of R&B and pop. Eventually, more of the piano range enters (right hand), as well as some synths with things only growing in scope. As far as her performance, she’s compelling and quite commanding. Furthermore, she has a nice melody to work with. Throw in catchy sections and a relatable theme, and all it’s all good.

“You Save Me” 

After two non-collaborative joints, Keys brings in Swedish-born, Iranian R&B singer Snoh Aalegra on “You Save Me.” The sound hearkens back to Keys of the aughts, refreshing for us who grew up with the Grammy winner. “You Save Me” bears a soul harmonic progression and is accompanied primarily by piano. After Keys handles the first half of the record stunningly, Aalegra joins in on the post-chorus, before showing off her own compelling vocals on the second verse, pre-chorus, and chorus.  These two talented women join forces on the final post-chorus.  

As expected on a song entitled “Jill Scott,” Jill Scott appears as the featured guest.  That said, Scott is not the dominant voice – she merely appears on an interlude.  Structurally, “Jill Scott” lacks a traditional form; there are just choruses, a bridge, and an interlude. This love-driven joint is more vibe than fully developed song.

“Perfect Way to Die”

Penultimate gem ✅ “Perfect Way to Die” captures the racial inequality and police brutality that’s dominated headlines in 2020. On this piano/string ballad, Keys tugs at the heartstrings as she depicts incidents where innocent black lives were lost.  “Simple walk to the corner store,” she sings on the first verse, continuing, “Mama never thought she would be gettin’ a call from the coroner / Said her son’s been gunned down.”  The second verse is similar, this time with a girl being the victim – the martyr if you will. The centerpiece is the chorus, where “the perfect way to die” comes into play. Keys seeks to find the positive that can come from tragedy, most notably necessary change.  “Perfect Way to Die” is upsetting, but totally necessary. 

There are lots of things to like about the closing cut, ✅ “Good Job”. First and foremost, it is incredibly thoughtful, giving thanks to everyone affected and helping to combat the devastating COVID-19 pandemic.  Keys is encouraging and uplifting. “Good job, you’re doin’ a good job, a good job,” she sings on the chorus, continuing, “Don’t get too down / The world needs you now / Know that you matter, matter, yeah.”  Essentially, she says all the right things.  Also, as she sings, she infuses her soul into it, given it incredible authenticity.  While the production eschews bells and whistles, it suits the tone of this record.

Final Thoughts 

All in all, Alicia is a pleasant seventh studio album by Alicia Keys.  Keys does try a number of different styles and collaborates with a number of talented musicians.  That said, she doesn’t ‘reinvent the wheel’ nor truly ‘move the needle’ with anything she does throughout the album. Fans who have been craving something that hits as hard as say Songs in A Minor or The Diary of Alicia Keys will still find themselves craving after listening to Alicia, but, it’s much stronger than HERE, her weakest album to date.  Keys shouldn’t take a victory lap for Alicia, but it’s sound overall.

✅ Gems: “Time Machine,” “Underdog,” “So Done,” “Love Looks Better,” “Perfect Way to Die” & “Good Job”

Alicia Keys • Alicia • RCA • Release: 9.18.20

Photo Credit: RCA