My 21st Century Blues, the debut album by singer-songwriter Raye who has previously worked with some of the biggest names in music, does not disappoint in delivering a loud, bold, and dynamic experience to the listener. The album is a blend of many styles and genres including house, pop, dance, jazz, gospel, r&b, and blues so there is something for everybody. Across the board, the 15 tracks are catchy and sonically interesting with production being unique and noticeable but not in your face. Thematically, the album also maintains its variety discussing a wide range of topics and issues with precision and intensity. The vocals are kept interesting through the use of effects and backing vocals. The production on the whole is quintessentially pop bordering on hyper-pop in some cases which might alienate some. Additionally, Raye sometimes doesn’t seem to have a clear vision for the entire album skipping from genre to genre to write the song she wants, so while individually the songs hold up, the cohesion of the album suffers.
My 21st Century Blues, opens with “Oscar Winning Tears.”, which does its best to set the tone for the album, attempting to balance the fusion of electronic/dance songs and jazz/acoustic songs to mixed success. The tune, however, like every song on the album, is very catchy. The album continues with “Hard Out Here.” and “Black Mascara.”, both of which sound very electronic but are very catchy with interesting and varied production. No complaints here. These are followed by “Escapism.”, the biggest hit of the whole album and for good reason. “Escapism.” is simply superb as a result of incredible production, lyrics, and songwriting which succeed in conveying the feelings of addiction and hopelessness. The song is also a blast to listen to with the standout for me being the simple but effective drums and the recognizable and constant high, blaring, synth. This song will definitely be on my playlists for years to come. Next comes “Mary Jane.” which slows the album down while still managing to be interesting with the textured backing vocals. “The Thrill is Gone.” follows serves as foreshadowing for what’s as the electronic dance production of earlier gives way to a more natural and jazzy acoustic sound. Fortunately, the quality and catchiness of the production and melodies stays constant. The album continues with “Ice Cream Man.” which has a beautiful melody and message over a serious issue. Following this is “Flip a Switch.” which is one of the weaker songs on the album with a weaker melody and production compared to the rest of the hits making it so I can’t see myself wanting to listen again. “Environmental Anxiety.” brings up a theme that comes out of the blue and disappears again immediately afterward. However, the song is a fun if somewhat messy categorization of the many problems facing the modern world. A rare turn outward in this personal debut album. After “Environmental Anxiety.” comes “Five Star Hotels.” which is another weaker entry on the album with an unusually forgettable chorus. The final two songs fit together in that they are both on the acoustic jazz end of Raye’s musical scale. However, “Worth It.” is on of the best songs on the record due to its infectious positive movement and catchy chorus and verse. “Buss It Down.” closes out the album on a high note although, once again, its gospel sound is a far cry from the electronic soundscape the album began with.
To conclude, it is evident that Raye is a top tier songwriter with the ability to come up with an endless number of catchy hooks and choruses that, when paired with the proper production, can become certified hits. My 21st Century Blues is at its best when it has a clear vision and style which makes the album cohesive and contained. Unfortunately, it does not always maintain one sole artistic vision through the LP. No matter where she goes from here, it is hard to imagine her next project is not equally as entertaining. Personally, I would love to see Raye explore a more jazzy and non-electronic sound for her next project, perhaps incorporating a big band and especially some brass.