Kicking off a rather mundanely simple set with a falsetto baring pop production is a bold move -- and a good one too. While "Money On My Mind" is far from the perfection and upper reaches of In the Lonely Hour's most entertaining efforts ("Stay With Me", the acoustic rendition of Disclosure's "Latch" and "Leave Your Lover"), it's easily one of the albums most accessible cuts and one of the few that'll still be able to appreciate listen after listen after listen. It was already a success in the United Kingdom (#1 in January), and I'm willing to bet US pop radio will eat it up as well. It may take a while (as the gospel tinged "Stay With Me" is currently being shopped to domestic stations), but trust me, it's bound to happen.
2. "Good Thing"
The pain of a twisted and complicated love is always referred to in some way or another one an album, even in ways that you can't figure out (at times). But when a whole album is about a lonely heartbreak, it's hard to find a track that really stands out as truly outstanding when it comes to heartbreak. "Good Thing" is so so sad, it and its dripping instrumentals will reduce you to tears:
"I had a dream I was mugged outside your house/I had a dream in a panic you came running out/For a moment you were sure I'd die on you/For a moment I believed you loved me too/But life is never like this, and you're never strong"
The spine tingling, gospel choir backed sounds of "Stay With Me" are both chilling and graceful at the exact same time -- even if that doesn't seem possible. The track navigates and shape-shifts through love brushed verses and rounds of choruses that feel like they could be sung at church congregation every Sunday without ever getting boring. Currently being shopped to pop radio, "Stay With Me" has become a runaway success for Smith, as well as his most successful release to date. And it makes sense too -- it's extremely catchy.
4. "Leave Your Lover"
In a world -- and by that I mean album -- filled with the pain of heartbreak and sorrow, it's odd to find a piece of music that actually asks the person in question to inflict pain on their lover and trade in for a new one. It's sad because the track is actually a great stand out on In the Lonely Hour, but the whole concept makes me uneasy. If you're spending the rest of your time gushing about how cruel love can be on a full length album, I feel it's not appropriate to inflict someone else with the same pain you're planning on babbling about for a complete hour. It's just cowardly and completely hypocritical. It's even more sad, given its one of the album's more exquisite offerings (in terms of sound).
5. "I'm Not the Only One"
There's no denying that Sam Smith can tell a vibrant, passionate, heart-wrenching story, but when you compare the bold and downright ridiculousness of "Leave Your Lover" to what you hear on "I'm Not the Only One", you get a sense of confusion. For those criticizing "Leave Your Lover" for being hypocritical, it's hard to still call Sam Smith a hypocrite by the time the end of strings and chords come to a bitter end in "I'm Not the Only One". Why? Because you've already forgotten about the previous track, and are engrossed at the possibilities of what's next to come.
I'll give Sam Smith one thing: he's surprisingly good at telling a type of story that he hasn't had much experience with.
6. "I've Told You Now"
The instant shifts between falsetto vocals and standard pop chords would normally seem a bit jolting or uneven, but somehow everything seems to snap and flow well on "I've Told You Now". It's extremely enjoyable to listen to whenever you're down -- and even includes a picture perfect ending. Unfortunately (or fortunately; depending on your point of view), the story seems a bit undeveloped, seeming to be open to interpretation. While that's not necessarily a bad thing, it seems odd to have one story that makes you think in a sea of clearly explained chapters. Smith croons: "I've told you now", but you can't help but ask him to at least explain what he's told his lover.
7. "Like I Can"
Sam Smith has voiced his opinion for immensely successful, fellow British singer/songwriter Adele many times before: he loves her and her music. What better compliment to a fellow artist than to rip off one of their most successful singles of all time, right? No. "Like I Can" is easily one of the album's shiniest moments. It's not stripped down, it's bold and its extremely catchy... courtesy of Adele. Now, I'm pretty sure everyone who had a hand in producing In the Lonely Hour would call this criticism of the track preposterous if they read this review, but I (along with a large group of others) noted that "Like I Can" sounds almost identical to Adele's #1 single "Rolling In the Deep" (in terms of the beat structure). It starts off almost the same, and progresses to include the banging of a drum within 3 seconds of when "Rolling In the Deep" does it (0:21 versus 0:24) and the chorus explodes around the sam time as well (0:40 versus 0:50 and 1:00). Hmm...
8. "Life Support"
Is it just me, or is there a sense of trap flavored music discreetly stuck right in the middle of the beat here? Okay that's just a bit odd. Anyway.... "Life Support" is just in the style of the album's other ventures, with an extra load of somewhat creepy falsetto. The entire chorus sounds like it was sung by a female ghost. Sorry to say it that way, but I could easily do without this mess.
9. "Not In That Way"
As the guitar strums in the background stay gentler than a tear rushing down a face throughout the entire length of the track, "Not In That Way" proves to me that Sam Smith does know how to sing. Sure, it's evident on other tracks as well, but not in the same way. This track feels wholesome, down to earth and completely naked. It feels more real, and gives the listener -- what appears to be -- at least somewhat of a true look at Sam Smith's life. It's both elegant and enjoyable.
10. "Lay Me Down"
What I don't understand, is how this wasn't well received upon release. It really makes no sense. "Lay Me Down" (Smith's initial lead single) is better than over 1/2 of In the Lonely Hour, yet nobody payed attention to it. Now, they're engrossed in an album that's of a worse quality. It's a real shame, because "Lay Me Down" could have easily become a hit if "La La La" had been released before it.
11. "Restart"
It's a decent way to start off the deluxe version of the album, but its not amazing. It works well in a cheesy, '80s euphoric way similar to Katy Perry's "Walking On Air" (minus the dance ready beats).
12. "Latch (Acoustic)"
This is actually really painful to listen to in full. It's tear reducing, gust busting and just pure grim. The oddest thing is that the original Disclosure produced track appears to be a feel good, party track about love. If you're reading to hear some true heartbreak (instead of an hour long whine), then "Latch (Acoustic)" is perfect for you. Sorry, it only comes on the deluxe edition of the album.
13. "La La La (feat. Naughty Boy)"
This track really does not fit the theme of the album, and feels just like a random filler that was both unnecessary and unwanted. It's a good pop song, but it gives off a mixed signal. Why include a complete swerve from the main road the album has already developed for the past 12 tracks? It makes absolutely no sense. And don't even give me that "Well he just wanted to put it for the longtime fans" crap. Everyone who intended to buy "La La La" already did so, and that's just that. If it was acoustic (like Sam Smith's other collaboration, "Latch") it would have fit into the pool so much better.
Rating: 70/100 (C-)
Quick Wrap: Sam Smith captivates with the promise of an interesting story and killer vocals, but there are too many blips and blemishes to accept it without ridicule. In the Lonely Hour proves that music designed around heartbreak and pain is profitable and sometimes easy to write... even when everything that comes along with it is completely fabricated.
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