Written by Nynoshka Vazquez-Suazo
Charlie Puth’s self-titled album Charlie, which was released earlier this month, is a perfect presentation of his abilities and talent beyond the vocal points. Throughout the creation of the album, Puth documented the process and teased some of the tracks on his TikTok page. In an interview with Jimmy Fallon, he spoke about his TikTok journey with the album as a way to prove that everything has tonality, and everything can be made into music.
I must admit before this record, I loved Puth’s music, as it was very mainstream, he had a great voice, and he had done some amazing collaborations with some of my favorite artists. But that was the appeal of it the mainstream of it all. If it wasn’t on the radio, I probably would never listen to it otherwise. Until Charlie. This album is a masterclass for production and music composition, without invalidating the importance of lyrics, melodies, and harmonies. It plays with the balance of vulnerability, sincerity, and mainstream ability.
The entire album was produced by Charlie Puth himself. However, the album was written alongside his co-writer Jacob Kasher, also known for his contribution to Puth’s last album Voicenotes, which includes hit singles “Attention” and “How Long.” The album is 12 tracks, and speaks to different feeling, and situations when it comes to love and relationships. Interesting that his self-titled album is about his love life, and the way he explores it is just as important as what is being said.
The two singles on the album, “Lightswitch” and “Left and Right,” do exactly what a single’s supposed to do: grab your attention and make you want to listen to the album once it’s released. They are the ideal mainstream pop radio songs, which Charlie Puth has never failed to deliver before these singles. “Lightswitch,” the first single to release from the album, is that classic Charlie Puth pop we’ve seen in other singles such as “Girlfriend.” It’s catchy, makes you want to dance, and is the ideal song to blast with all the car windows down. The use of the actual sound of a light switch flicking adds that Charlie PuthikTok-flare, making it an effect you want to sing along with.
Its suggestive lyrics, “You turn me on like a light switch / When you’re movin’ your body around and around / You got me in a tight grip (yeah) / You know how to just make me want you, baby” add to the fun.
More specifically, “Left and Right,” which features Jungkook from BTS, appeals to not only Puth’s own fanbase but the BTS Army, which may be why it is the most streamed song on the entire album. Referring to the period after a break up where you still can’t get an ex out of your head, “Left and Right” also plays with the endless possibilities of production. As Charlie sings the lyrics, “I can feel you over here / I can feel you over here,” his voice alternates between being heard from the left side of the speaker (or your left earbud) to the right side. The effect adds a unique illusion and signature for the song, as well as an interesting echo aspect to his ad libs and harmonies, creating depth in what could’ve just seemingly been just another pop song. However, whilst it being a hit single, and featuring a member from one of my favorite K-pop groups, I strongly believe the song gets overshadowed by others on the album.
“When You’re Sad I’m Sad” is the only song on the album that’s stripped back to only Charlie and his piano, as he sings,
“Oh / You don’t understand a goodbye / ‘Cause it’s been over for a long time / You know how to make me fall for you just like that.”
The toxicity that can develop in a relationship, the dependability, and the merry-go-round of an on again-off again situation is perfectly depicted in his lyrics. To strip it down to just him and a piano makes perfect sense, as the comprehension of the situation makes it even sadder. He harmonizes with himself, bringing a depth that gives you chills with an almost choir-esque feel. The choice to stick to his falsetto tone throughout most of the song, almost as a sign of being trapped in something for the sake of the other person involved, really shines through. It is a song truly filled with emotion and impact, despite it being the least impressive production wise.
The definition of smiling through the pain is “Tears On My Piano.”
“I can’t get my mind off you (mind off you) / Baby, you’re responsible for all these tears on my piano (all these tears on my piano) / Can’t think of a melody (melody) that makes you come back to me / Got all these tears on my piano (all these tears on my piano).”
The lyrics depict one of the saddest scenarios in my opinion yet is hidden within an almost retro-pop style production, like something you’d hear in an early 2000s rom-com. The use of piano, with other contrasting instruments and production aspects layers a close-to-chaotic sound that surprisingly works really well together. This is not the only song on the album that paints a sad story with its lyrics, but has production that makes you think otherwise.
The underdogs of the album, my personal favorites (in no specific order) are “Charlie Be Quiet!,” “There’s A First Time For Everything,” and “Marks On My Neck.” “Charlie Be Quiet!” is the track I would’ve expected to be the single off this album. Not only because it ties into the album title, but the diversity it brings to the pop genre. It plays with elements of pop, punk-pop, and rock, creating an interesting dynamic for the album. Similarly, “There’s A First Time For Everything” plays with EDM aspects, and staccato lyrics. “Marks On My Neck” is a song that you’d expect to see a live band perform, its levels of volume and tempo add to the desire to hear it over and over again.
The order of the tracks, while each speaking on different stages of a relationship and the feelings that may come with that, is not in an order you’d experience them. Yet they are staggered, making it more relatable as feelings and thoughts whilst in love are never truly organized. The other songs not mentioned, are just as worthy of a listen as the rest. Each caters to different aspects of love.
This being the first album Charlie Puth released since his 2018 record Voicenotes, I was under the assumption that Puth had already established himself as a certain type of recording artist. However, this album goes to show that he has much more up his sleeve, breaking the mold his previous records had put him in. This album screams the realness of who Charlie Puth is, and bleeds the passion and real admiration he has for music.
