Album Review:  Katy Perry, Smile  (Capitol Records)

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That’s what makes a woman. There it is! Katheryn. So says Katy Perry at the end of Smile. And you can go dance all over again to this great Pop album. Tooled to perfection, shiny and new, runs like a Tesla and feels expensive. Party like it’s only a bad dream out there.

Katheryn Hudson was born and raised in Santa Barbara. Her parents were both Pentecostal pastors. Schooling was centered around Christian colleges. Developed a love of Gospel music.

Describes the Beach Boy’s Pet Sounds and the Beatles White Album as her constant touchstones informing her song-writing. Smile the uncompleted masterwork of Brian Wilson.

Perry’s voice is magnificent throughout this album. She effortlessly glides into the higher register and sustains. Gospel emotion on many of these tracks. Like Madonna’s Like a Prayer breaking out and infecting without restraint.

Opening song Never Really Over is a killer. Lots of space lets the vocal come front and centre. A bold opening and then a leap to the Gospel. At the higher register she manages a rapid wordplay Rap with a synth rhythm strobing along.

Just because it’s over doesn’t mean it’s really over/ And if I think it over maybe you’ll come over again.

A companion to Crimson and Clover. Over and over. Share a similar spiritual inspiration.

A similar rhythm drives Cry About It Later. A great blue-eyed Soul Pop voice. Gospel on the bridge. A Rock guitar solo follows. It is kept brief.

Teary Eyes is straight ahead Pop. All rhythm and frankly a bit manic and cocaine powered as Perry exhorts us to keep on dancing with those teary eyes.

Daughter Daisy was born just prior to Daisies being released as a single. The inspiration of the opening track returns on this one, and is another highlight. The vocals start low and measured and increases in power and emotion as the song surges and fades. Dance floor filler. When did we all stop believing in magic? / Why did we put all our hopes in a box in the attic?

Not the End of the World adds some Funk to the Pop and grooves relentlessly to an insistent rhythm supported by a textured keyboard. Enlisted into this one is Steam’s one-hit wonder Na Na Hey Hey Kiss Him Goodbye.

Smile is a return back to the Seventies as Soul moves into a hard Disco rhythm and some Hip-Hop strutting vocals. This Material Girl likes to be on top. Tryin’ to stay alive like I’m the Bee Gees/ A Mona Lisa masterpiece/ I’m so thankful / Scratch that baby I’m grateful.

Champagne Problems continues along this line with a hard close-to-Funk Chic-Disco bass. Unapologetic and high maintenance.

Harleys in Hawaii is unashamedly rich, white and privileged. A Rap-Pop-Disco workout with hooks and hip shakes, Baby! Then the motorcycle revs and Perry raises the song to the Gospel ceiling. A Black Rapper dressed in white with shades and bling would have attitude. A white woman doing the same used be called Madonna.

Only Love is another standout. Perry summons her Gospel roots for inspiration and takes this Pop classic towards the sky. If I had one day left to live/ Let me leave this world with the hate behind me/ And take the love instead.

To finish, What Makes a Woman?  A gentle finger-picked acoustic guitar intro. A Folk Pop song. Sexy, funny and strong.

There it is. Classy and expensive. You may feel this is shallow in this time of strife. But let’s admit the medium is the message. Invites you in, plants a kiss. Grabs the hips and the heart. The head will follow. Try social distancing to that!

Rev Orange Peel             

Rev Orange Peel
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