Before we start, I must say that it could have been love at first sight, and moreso at first song but I still cannot tell you that I love you. "Sorry Not Sorry," but there is no need to be apologetic in the approach when what follows is honest and predominantly constructive when it comes to criticism; quirky at times, but it's real and its me.
I am not calling it synesthesia, but am I the only person that sees purple? or is it the posthumous phenomena? Seeking traces of greatness and influence of an artist we love in artists still active. The purple one's reputation precedes, and leads me to believe he still wouldn't mind sexy dirty love now and then.
I haven't felt that saccharine infused perfection, and endorphin induced rush since that step into "La La Land," but this sugar in the microphone may come close. I may not have found a song to replace that pop-spunk attitude, but instead have heard and seen her grow into a confident young woman; there's nothing wrong with that. We have heard songs addressing her "Daddy Issues" before, but not in this manner or tone. This may not be a wake-up call to fathers absent from their daughters' lives or fathers dreading the inevitable; ready or not, your little girl will grow older, and not always "grow up." This is not calling the artist, or song, childish, but synchronized. It manages to capture the essence of a young teenager and a young woman at the same time, and that can be a little unsettling to think of one's sister or daughter "rolling with the frenches." The first few times I heard the title in the chorus I could have sworn that is what it was; odd, aware, but then it was rectified later.
The next song documents the struggle of friends on the fence, on the verge of a fling, or something greater, but the passion cannot be denied, and that horn sets the mood right. The struggle is not specific to an era or generation, and this song could track a scene in the teen drama of the year, or another vehicle, with or without teens, those in their twenties, thirties, or forties inside; we can go farther, but I should stop before I ramble.
It's best to refrain from investing your time and love in a "significant other" who makes you feel alone, and Demi seems to know, but she is not alone. I am not talking about the backing studio vocals which sounds on point, but it is the man whose protégé is known for writing songs that really vibe with the "Lonely."
If you concentrate hard enough you will realize that it is not a suite, but two separate songs. the pair did not bore me, they just seemed to end the record on a more submissive note. I'll be forgiving, as long as she is not the hitchhiker slipping in the car of her ex because I was rooting for that girl "...lookin' like revenge, feelin' like a ten," and continue to do so.
Still a lovatic, in love, with that indecision to profess it, eighty percent's not enough. I could play games with words and translate them into more critical frivolity, but I would rather not go overboard; I have reached the shore. There was also the vocal performance and production of "Cry Baby" that did not bring me to tears, but spoke to me, just not in a manner confident enough to resonate past the short term mem.
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