Grade: B-
I’ll just come out and say it: I was never a big Meghan Trainor fan.
In the past, Trainor's lyrics have proved problematic in how they attempt to glorify one body type while shaming another and used the opinion of men to validate self-worth and beauty standards.
With her sophomore release “Thank You” we see a drastic musical and personal growth with the pop star almost on the same level as Carley Rae Jepson’s third album “Emotion.”
I didn’t think that at first though. In fact, the first two tracks of this album create one of the worst openings I have heard in an album in a long time. It was basically Cher Lloyd junk.
It also features some of the worst lyrics of Trainor’s career like “I ain’t saying I’m the besteses/ But I got nice curves, nice breasteses” and “I feel so good like James Brown in his day.”
Seriously, what?
Ricky Reed, the executive producer of “Thank You,” really should consider a career change. This album is a disaster in terms of flow. It has both a terrible beginning and ending, with the only impressive material included in the middle of the album.
The leading single to this album “NO” would have been more ideal as an opening track than “Watch Me Do,” just as “Woman Up” would make a better ending than “Champagne Problems.”
Regardless, the majority of songs on this LP are stunningly exciting and well-written. This could very well be because of the approach Trainor decided to make for this record. In a recent interview with MTV, she cited Caribbean music, Bruno Mars, Aretha Franklin, Elvis Presley and nostalgic music as influences.
It shows too. The opening of “NO” sounds like Amy Winehouse’s “Me and Mr. Jones,” “Dance Like Yo Daddy” has a rockabilly vibe and the ukulele in “Just a Friend to You” is tearfully reminiscent of Israel Kamakawiwoʻole.
None of these tracks are even the best, either. “Hopeless Romantic,” with its Adele-esque piano playing and soft vocals shows a far more vulnerable side of Trainor than we’ve ever seen, including “Like I’m Gonna Lose You.”
“Kindly Calm Me Down” also accomplishes this, but on a far more dazzling level. The euphoric strings and anthem-like vocals wouldn’t feel out of place on Florence and the Machine’s “Ceremonials.”
I feel like if either of these songs, as well as “Woman Up,” were being marketed as singles, this could be a far more successful album.
It’s not a bad album. It’s a powerfully emotional record that defines who Trainor wants to be.
But, once again, incompetent record producers have dipped their hands in the paint cans and splattered the canvas with horridness that could hardly be called art.
Austin Faulds
afaulds@umail.iu.edu | @a_faulds9615
