It’s Not Me, It’s You is Lily Allen’s sophomore album. Though past hits such as “Smile” and “LDN” may resonate with crowds throughout the world, this album does not live up to her talent.
The album features an array of social and political messages concerning gay marriage, religion and obsessions with fame and drugs. Even with fresh perspectives and thoughts on these issues, the album as a whole dreadfully drags on.
“Everyone’s At It” and “The Fear” blast off the album as though it’s going to be an array of dance hits with personal disdain of new societal ideals. Both of these songs deal with society’s new idols: the first in the form of antidepressants, and the second in the form of fame.
Then, as it painfully progresses, the album contains lackluster love songs filled with disappointment or contempt. It’s Not Me, It’s You places blame on the man’s inability to perform (“Not Fair”), controlling behavior (“Back to the Start”) and obsession (“Never Gonna Happen”).
Not only does the theme shift, but the dance beats have hints of country influences in “Not Fair” and salsa influences in “Never Gonna Happen.” The sounds are not powerful enough to create hit singles or subtle enough to be passed off as another club hit.
Now, the listeners might assume preceding songs will be experimental with these country and dance beats, but Lily Allen makes sure to remind you not to assume. “22”, “I Could Say” and “Back to the Start” all have different tempos and different messages.
“22” deals with society’s standards of how a woman’s life should progress, while “I Could Say” deals with the release of an unhealthy relationship. “22” returns to the previous trippy rave beats but is lighter in tone and message.
Then, as a lasting note on this unsatisfactory album, Lily Allen takes on a soft jazz beat in the finale “He Wasn’t There”. For fans, it’s recommended not to waste money on buying the CD. Instead, it’s advisable to buy “Everyone’s At It,” “The Fear,” “22,” “Back to the Start,” and “He Wasn’t There.” These are the only decent songs on the CD. The political and social overtones are exemplified best in “Everyone’s At It” and “The Fear,” while most of the rest of the album is disastrous.
The album lacks an overall theme. It has no focus jumping from political, to social, to romantic and religious topics. This wouldn’t have been a problem, but the album should at least have a cohesive sound that shows progression. It was as if she needed to come out with an album under contractual obligations and just recorded an array of songs without vision, consideration for her fans or for her own career.
It was as if a seventh-grader with a heightened level of world affairs, relationships and intelligence created a mix CD. She manages to relinquish the foreigners’ beliefs that to become a star in America, you can make it with talent and luck. With this CD, she should wish for luck.