Fun Stuff

Creating an album is a monumental task. At its best, it’s captivating and engrossing, flowing seamlessly from track to track. At its worst, an artist can lose the listener in a cacophony of disparate tracks. While starting an album can be a challenge, closing an album is arguably even harder. If an artist doesn’t end on a good note, they risk ruining everything they’ve worked so tirelessly to create.

Looking back on the last three months, we reflect on our successes and failures — on the assignments we aced, on the growth that came from our struggles. In a school year so innately shaped by the pandemic, it might not have always been easy, but now the end is just within reach. The only thing left is to stick the landing.

As we close out the semester and say goodbye to On The Record’s fall 2021 masthead, we usher in the next with a collection of album closers centred on saying farewell.

Sit back, plug in your headphones and take comfort in knowing you’ve made it.

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“Don’t Let Me Go Yet” by Tim Baker

Debut albums are always interesting. They give a raw look at a band, and give listeners a first taste of what they have to offer. When an album is a musician’s first as a solo artist, listeners can find a lot of answers, hidden meanings and clues within the songs.

Former lead singer of indie-rock band Hey Rosetta! and St. John’s, N.L., native Tim Baker released his solo debut album, Forever Overhead, in 2019. Although the entire album shows Baker’s vulnerability, “Don’t Let Me Go Yet,” is when Baker’s identity as a solo artist is fully realized. The song’s seamless fade-in and fade-out gives the listener the impression that the music continues existing long after it’s over, reflecting Baker’s career transition.

The strong presence of a saxophone throughout the song and the addition of Baker closing the song by yelling, “Don’t let me go yet!” reflects his fight against the trope of the successful front man turned flopping solo artist. Instead, Baker proclaims that, while he may be on his own now, he’s not going to see himself or his musical talents diminish anytime soon.

Contributed by Ambika Sharma

“Lord I Know” by Kid Cudi

I’ve always felt a good album closer is one that leaves a lasting impression on the listener. I appreciate when a closing song makes me yearn for more — to loop the album again or head further into their discography. To say I replayed Kid Cudi’s Man on the Moon III: The Chosen many times is a true understatement.

The album, released in December 2020, is partly an exploration of the rapper’s journey with anxiety and depression, and the acknowledgment of his resilience through it all. I found myself extremely thankful for this album when it was released; at the time, I was in the midst of one of the worst periods of anxiety I’ve ever experienced. But Cudi’s album is hopeful and empowering, almost like it was made for those working on healing. 

It closes with “Lord I Know,” a conclusive tribute to the album’s themes and a song that pushes Cudi’s resilience to the forefront. The lyrics that stand out most are in the pre-chorus, where the rapper punctuates the line “Baby, I’m a warrior” with repetition and crescendo. Throughout the song, he discusses how he feels blessed in life, and how he’s, “chilling onward on my mission, on my journey and my quest.” He’s still working through his battles but things are better for him now. 

One of the best things about this song is the very end, when Cudi’s young daughter, Vada Wamwene Mescudi, closes the album by whispering the words, “To be continued,” gearing up fans up for the future of the acclaimed rapper’s career. Perhaps those words are also a reminder that healing from turmoil is an often long, continuous journey. Either way, it makes me hopeful for what’s to come.

Contributed by Nadia Brophy

“All Too Well (10 Minute Version) (Taylor’s Version)” by Taylor Swift

Despite the fact that “All Too Well (10 Minute Version) (Taylor’s Version)” was released two weeks ago on Red (Taylor’s Version), it has quickly become arguably the best album closer in Taylor Swift’s entire discography. Her fans seem to agree, considering it made history as the longest number 1 song on Billboard’s Hot 100 list, previously held by Don McLean’s eight-minute hit, “American Pie.”

Swift has been working through her discography to re-record her older songs, a result of a highly publicized legal battle with her original record label. She included the original version of “All Too Well” on the re-released Red (Taylor’s Version), along with a new 30-song track list. But the 10-minute version acts as the finale, and features new unheard lyrics that tug at your heart strings.

The highly anticipated extended version, now paired with a short film, is about love, romance and heartbreak. The line, “You kept me like a secret, but I kept you like an oath,” paints a picture that throws you right into the heart of a one-sided relationship. But the kicker is the line, “And I was never good at telling jokes, but the punch line goes / ’I’ll get older, but your lovers stay my age.’” It’s a gasp-worthy line for those in the know.

For anyone who’s been in a relationship before, the lyrics hit hard, leaving you to wonder how anyone could’ve put your exact feelings so eloquently into a song. And for those who don’t resonate with the words, lucky you!

Making “Swifties” wait until the end of the album for this masterpiece was a bold move on Swift’s part, but a strategic one. It’s the perfect way to complete the re-recorded album — with a beautiful yet tear-jerking bow on top.

Contributed by Simone Gavros

“Sun Don’t Go Down on That” by Dustin Lynch

This song is the last track from Dustin Lynch’s 2017 album Current Mood and it is by far one of my favourite country songs. It has that melody that makes you feel “some type of way” as many people describe things lately. The song is a look into a relationship Lynch had with a woman about a decade ago. Pining after that summer he spent with his love, he sings, “that summer’s burning my mind,” emphasizing how memories from that time still linger.

Interspersed with sounds of a California beach, the song carries an oceany vibe that makes you feel as if you just experienced a really great summer with someone you love. Through the song, he compares his feelings for this love with those of summer — with hazy days of carefree bliss. Ultimately, it’s a segue into looking towards a positive future, hoping to feel that same way again with someone new.

Contributed by Claudia Latino

“Get Free” by Lana Del Rey

The closing track of her fifth studio album, Lust for Life, Lana Del Rey’s “Get Free” is a surprisingly positive song compared to the rest of her discography. 

The song is about leaving her old self behind and turning a new leaf in the way she pursues relationships. She borrows the same chord progressions from Radiohead’s “Creep,” which is melodically enchanting and familiar, and allows the listener to focus on her words. Del Rey sings about having a choice in life: to lean into the life that others expect her to live and be miserable, or to choose her own path that will make her happier. She sings, “I never really noticed that I had to decide / to play someone’s game or live my own life / and now I do / I want to move out of the black and into the blue.” 

Del Rey acknowledges that the past has been difficult, but she looks towards the future with a positive mindset. This can be translated to our end-of-semester-feelings. For some of us, it was difficult and long, feeling as though we had to push through darker days in order to come to the end. But as we near, we should look at the winter break and next semester optimistically. It’s the perfect album closer, and the perfect song to cap off the semester.

Contributed by Julia Paolercio

“Snakeskin” by Rina Sawayama

In 2020, Japanese-British singer Rina Sawayama made a tweet about her ineligibility to qualify for British music awards, despite living in the U.K. for 25 years. Unbeknownst to her when she made the tweet, it would start a movement that would end in the British Phonographic Industry changing their nomination criteria. She had only released her debut studio album three months prior to this, but just one listen through and you’ll see she’s not one to shy away from speaking her mind.

Her self-titled album Sawayama is one of introspection. The tracklist is like a story of her life, looking at experiences from childhood to adulthood that have shaped her ideas of family and self-identity. This all comes to a head in the album’s closer, “Snakeskin.” The track starts with Sawayama’s haunting vocals and a piano, which gradually starts to descend into chaos as the bass line and tempo both pick up. Then, just as quickly as it starts, everything comes to a halt as just the piano and a distorted recording of a conversation Sawayama had with her mother remain, bringing the album’s underlying theme of family full circle. 

The emotional swells that play out musically are a perfect reflection of the lyrics, with Sawayama reflecting on the personal history and issues she’s shared, and how she will go about reclaiming it as a form of strength. Just like a real snake’s skin, this closing track is all about shedding your insecurities and moving forward with your life, leaving this album’s farewell on a note of hope and determination.

Contributed by Severina Chu

“Martha Sways” by Andy Shauf

When Toronto-based musician Andy Shauf released his 2016 album The Party, he solidified himself as one of the best storytellers in Canadian music. Consisting of songs that take place over the course of a party, the album is full of lifelike characters and palpable emotion.

Over various snapshots throughout the night — like twisting your ankle in front of your friends, or being laughed at after telling your best friend you have feelings for them — Shauf invites the listener into a world that feels lived-in. When he sings about Sherry and Jeremy’s tumultuous relationship on “Quite Like You,” it feels like he’s singing about two old friends. In so few words, Shauf creates human stories that feel fully fleshed out, demonstrating his effortless grasp on lyrical storytelling. 

Capping off the album and the party with it, “Martha Sways” puts the listener into an intimate dance between the protagonist and a girl they just met. The song starts gently, with Shauf’s quiet vocals enveloping the swaying couple. A warm acoustic guitar softly but steadily propels the story, as the song’s protagonist juggles between feeling the emotional weight of a failed relationship and their newfound comfort with Martha. The two continue dancing and drinking — the emotions ballooning as the song erupts into an arrangement of beautifully orchestrated strings.

Near the end of the song, Shauf starts repeating the chorus, building in intensity — until Martha suddenly pulls the protagonist back to the present. The singer’s soft voice and steady guitar return, ending with: “Martha spins / And I catch her hand / She smiles and laughs / Bringing me back.”

Contributed by David Warner

According to multiple online sources, Nov. 12 is National Chicken Soup for the Soul Day. While the origins of the holiday are unclear, it’s meant to be an opportunity to celebrate the self; a day to take a step back and reflect on where you’ve been and where you’re going.

Chicken Soup for the Soul started in 1993 as a book containing a collection of inspirational true stories meant to warm your soul. It was a cultural hit, quickly turning into a bestselling series. It eventually amassed over 250 separate volumes. These days, the company has grown into a media conglomerate, even producing its own line of dog food.

Despite its murky origins, this day gives us a chance to reflect on the positive parts of our lives — the things that uplift us and remind us that, no matter how hard it might get, there’s always hope.

Whether or not you’ve read the series, take a moment to reflect on the positive things in life while you listen to this collection of soul-warming songs.

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“Happy” by Marina

“Happy” is a song of nourishment for me, with all the warmth and comfort of chicken soup. But it’s also an acknowledgement of the reason you needed that soup to begin with: you weren’t doing so well.

The lyrics reflect a journey towards happiness — a story of personal growth riddled with painful realizations, ultimately arriving at a place of being content and empowered by one’s progress. It’s not a happy song though; while it’s hopeful and inspirational, it’s also tinged with the sadness and loneliness that was part of the journey there. It’s a celebration of all the introspection, yearning and messy moments that make the eventual happiness even sweeter. 

The visceral pain felt in this song, as well as the simple yet hard-hitting, emotive lyrics make the destination of happiness feel earned. Simple and stripped back piano instrumentation allows Marina’s vocals to soar, and centring the vulnerable moments that recount the growing pains she’s faced allows for even more of an impact. 

It’s fitting that “Happy” is the opening track on Marina’s album Froot, a record she described as “celebrating being happy.” It’s also the last album where she’d be known as Marina and the Diamonds, before changing her stage name to better reflect her identity and to make her, well, happy. 

Contributed by Annemarie Cutruzzola

“Marsha” by Current Swell

When I think of Chicken Soup for the Soul Day — or chicken soup in general — the first thing that comes to mind is comfort. For me, the epitome of that is Current Swell’s “Marsha.”

The first track on the Victoria indie-rock group’s 2017 album, When to Talk and When to Listen, reminds listeners that you’re never too old to take a pause in life — or to talk to your mother. It’s a song that has been a source of comfort for me since I first heard it.

The song is a ballad that expresses the inner dialogue that the band’s frontman, Scott Stanton, has with his mother, Marsha, who died. Through this heartfelt narrative, the song shows that, as much as you can grow and move on from experiences, reflecting and returning to the things that comfort you is also very important.

For me, nurturing my soul is all about comfort, and there is no better comfort I get than by listening to the song — or talking to my own mother who, quite literally, still makes me chicken soup.

Contributed by Ambika Sharma

“Refuge of the Roads” by Joni Mitchell

In the mid 1970s, Joni Mitchell was facing a time of personal crisis. Newfound substance abuse, the end of a relationship — with an affair or two for good measure — and a growing dissatisfaction towards the music industry all contributed to the stress that mounted in her life. In a desperate attempt to escape, she chose to run away, driving across North America in search of a reprieve.

The result of this soul search was Hejira — an album about self-reflection and finding herself. Mitchell’s abilities as a musician are in full force on the album, as she effortlessly exhibits the lyrical and musical prowess that had come to define her career. This time around, she largely ditched the folk sensibilities of her early career, hiring a backing band of jazz musicians and occasionally swapping out her acoustic guitar for a lush, swirling electric.

The album’s closing track, “Refuge of the Roads,” serves to sum up her experience; she sings about travelling around the Gulf of Mexico, of stopping at a forest and reconvening with nature, of realizing that her problems are small amidst the vastness of the universe. All the while, Jaco Pastorius’s fretless bass floats between musical passages, carrying off back down the road into the great beyond, bringing Mitchell and the listener with it.

Contributed by David Warner

“Wild World” by Cat Stevens

When we think of comfort, it is often the essence of what home feels like. We are able to be grounded and remind ourselves that we all have a starting point, and that life is full of anticipation for what comes next. 

Even though Cat Stevens’ “Wild World” was released in 1970, 30 years before I was born, I find a strong connection to the song. Every time it comes up in my playlist shuffle, whether I’m at work, studying or riding on the subway, I take a moment to immerse myself in the melody and lyrics. The comfort that the gentle tune brings is enough to have me close my eyes and take a deep breath — a simple reminder that the world is a vast expanse with an infinite amount of opportunities to offer. 

The lyrics represent a longing for a better future, and to be aware of what’s out there. Stevens described this song as the “sadness of leaving and the anticipation of what lies beyond.” Despite these melancholic undertones, I find a simple beauty in how uplifting the entirety of the song is. 

Contributed by Bree Duwyn

“Dancing in the Moonlight” by King Harvest

I challenge you to close your eyes and listen to this song without swaying your shoulders and smiling. It’s almost impossible not to get up and dance to a song about everyone getting together and dancing under the moonlit sky. 

While the song envisions a joyful celebration of life, the story behind the lyrics paints a very different picture. Originally written in 1969 by songwriter and keyboard player Sherman Kelly, the song was sparked by a near-death attack during his visit to Saint Croix, an island in the Caribbean. A beautiful night on the beach with his girlfriend took a turn for the worse when they were viciously attacked by a gang of men who are believed to have eventually perpetrated the notorious Fountain Valley massacre in 1972. 

But his injuries did not prevent him from writing music. During his recovery, he began crafting the verses of “Dancing in the Moonlight.” Kelly’s brother, Wells, brought the song to King Harvest, who decided to record it with a more keyboard-driven melody. The song became a hit. 

In an interview with The Vinyl Dialogues Blog, Kelly said that while he was writing this song, he used the opportunity to create an alternate reality. “It was just me imagining a better world than the one I had just experienced in Saint Croix,” he said.

That’s what this song does for me — it brings me to an alternate reality, one where I am under a moonlit sky with my favourite people by my side, celebrating life.

Contributed by Stephanie Leonardelli

“Run Away with Me” by Carly Rae Jepsen

A potentially bold claim, but I will die on the hill that Carly Rae Jepsen has produced some of the best pop music to come out of the 2010s. If we’re talking about comfort, the song I always go back to is “Run Away With Me.” Some songs comfort me with their uplifting lyrics, but this song comforts me with the sounds of nostalgia and free-spirited fun. It’s hard to pinpoint exactly what it is — maybe it’s the retro saxophone and synth in the track or the well-timed chants of “run away with me!” during the chorus — but something about this song just feels so familiar.

The music video for “Run Away With Me” shows Jepsen travelling through Paris, Tokyo and New York. She has a constant smile on her face as she explores, looking like she’s having fun without a care in the world. Maybe it’s the effects of the past year, but nothing screams comfort to me more than the thought of travelling and living my life to the fullest. This song curbs my built-up wanderlust and reminds me that it’s OK to let go of my worries, which is the exact comfort I need in the chaos of everyday life.

Contributed by Severina Chu

Halloween is the one time of year when we can embrace our inner monsters. As the leaves continue changing and our sweaters get thicker, we grab our fun-sized candy by the handful, put on our favourite horror movies and ditch our street clothes for our best costumes. 

Horror during this season has traditionally been seen as an escape from reality, a break from the normal flow of daily life. It’s a season to reflect on our deepest, darkest secrets, the ones that threaten to eat us alive from the inside out — literally. 

Grab your pumpkins, get your best carving knife and settle in with some spooky songs to set the mood for the season.

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“Cimmerian Shade,” by Sufjan Stevens & Angelo De Augustine

Leave it to Sufjan Stevens and Angelo De Augustine — two musicians renowned for their sensitivity and emotional vulnerability — to write a touching song about The Silence of the Lambs serial killer, Buffalo Bill.

Taken from their collaborative album A Beginner’s Mind, comprising songs written about  movies, the musicians attempt to give a sympathetic view of a monster. The result is a surprisingly touching track, juxtaposing the gruesome nature of the character with traditional folk guitar and delicate falsettos as the two sing, “I just want you to love me / I just wanted to love myself.”

Contributed by David Warner

“The Legend of Jennifer,” by Tramp Stamps

Jennifer’s Body has seen a renaissance in recent years, with audiences praising the film for its embrace of female empowerment. Tramp Stamps’s song is an ode to a movie once overlooked by the general audience, with lyrics that transport you back to 2009 and envelop you in the arms of a possessed teenager. 

Right from the beginning of the song, the Nashville-based punk trio hits you with a powerful drumbeat that smashes your eardrums, propelling the listener through a retelling of the movie with the lyrics channelling different scenes from the film: A flash of Megan Fox eating someone’s heart out of their chest, the musician’s attempt to sacrifice her and Fox’s jaw-dropping sex appeal. 

Contributed by Elena De Luigi

“Paranoia,” by Neoni

Sisters Caitlin and Sidney Powell give you paranoia with this ghostly tune that’s sure to make you get up and dance. Under the name Neoni, the Nashville-based duo writes alt-pop songs while demonstrating a prowess for infectious melodies influenced by everything from electronic to rock. 

With their single “Paranoia,” released earlier this year, they remind you to “check under your bed” and beware of the “phantom in your foyer,” before pushing you into a bass-heavy drop accompanied by quick violin strings. Despite its ghastly content, the song is a perfect addition to your Halloween playlist.

Contributed by Tess Stuber

“Freak Out,” by Wintersleep 

While almost any song from the Nova Scotian indie-rock group will prepare you for spooky season, the band’s song, “Freak Out” makes you feel like you’re being chased by ghosts. From their 2016 album, The Great Detachment, the tune dives into the supernatural world of ghosts, spirits and — quite literally — freaking out. 

Intensified by a fast-paced heavy rock beat that will make your heart race, the song also features ghost-like background vocals in the form of “hoo hoos,” adding to the spooky effect and making it perfect for the season. 

Contributed by Ambika Sharma

“Thriller / Heads Will Roll,” by Glee Cast

Nothing feels as quintessentially spooky as the cast of Glee dolled up in 2011’s best zombie makeup, dragging their undead limbs across McKinley High’s football field. In true Glee fashion, this Halloween favourite blends together Michael Jackson’s timeless “Thriller” with “Heads Will Roll” by Yeah Yeah Yeahs. From the moment you hear Santana (played by the late Naya Rivera) abruptly belt “off with your head!” you can’t help but throw your arms up and join the ghoulish cast in arguably the best mash-up on the show.

This nostalgic tune, which my roommate refers to as a song she listened to “religiously as a kid,” will take you back to your elementary school Halloween dance, where the gym lights were out and the DJ was hyping up a sea of 12-year-olds. If you’re musing for a song to get the party started at your next Halloween bash, cue this one up — it’s sure to triumph.

Contributed by Sara Romano

“I Who Bend the Tall Grasses,” by Lingua Ignota

This track is not for everyone, but if you’re brave enough to give it a chance and really listen —  you’ll probably still hate it.

The second track from Lingua Ignota’s aptly titled album, Sinner Get Ready, the vocalist begs, in brutal detail, for her god to murder someone on her behalf. If the premise wasn’t already chilling enough, the accompanying instrumentation evokes the sound of a funeral dirge, with a deep organ and clangy bells — all while sounding like it was composed and performed in the fiery pits of hell.

It’s a powerful track, and one that’s sure to set the mood for anyone looking for something sombre this Halloween.

Contributed by David Cassels

Returning from reading week is always a challenge. No matter what you do or how diligently you try to plan your week off, it’s over before you know it. Although Zoom has allowed some of us to extend our stay at home, for others it means another emotional goodbye to the ones we love.

To help ease the transition back to classes, here’s a collection of songs that reflect on time and the moments that have passed us by.

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“I Thought That I Could Get Away with It,” by Joseph Shabason

Opening the playlist is a sombre ambient track by Canadian saxophonist Joseph Shabason. Released in 2018, the artist’s album Anne is an exploration of his mother’s struggles with Parkinson’s disease. Interspersed between moody, synthesized choral chords and floaty saxophone licks are clips from interviews with Shabason’s mother as she reflects on her life and on the choices she’s made. It’s beautiful and haunting, and a reminder that sometimes we need to let go and let life take its course.

“What Am I Going to Do (With Everything I Know),” by The Weather Station

Over the years, Toronto-based artist Tamara Lindeman —  widely known asThe Weather Station — has proven to be one of the most talented songwriters in Canadian music. Continuing a tradition from great Canadian artists like Joni Mitchell and Gordon Lightfoot, Lindeman demonstrates a prowess for writing confessional lyrics woven around skillful instrumentation.

The song, which is from her 2014 EP called What Am I Going to Do with Everything I Know, is a reflection on time, growth and moving on. Lindeman’s soft vocals carry you along, entwined with the delicately picked guitar and smooth slide guitar, inviting you into a space that feels personal and sacred.

“Chicago,” by Sufjan Stevens

Taken from one of two albums in his fabled (and notoriously failed) “50 States Project,” Stevens’s ode to the windy city is a triumphant song about marching forward into the unknown. Steady drums propel the song forward, backed by lush violins and punchy brass instruments as Stevens sings about new love, driving to a new city and selling all of his clothes.

As things continue to change around us, the future may feel uncertain, but as Stevens reminds us: “All things go … all things grow.”

“A Long Way Past the Past,” by Fleet Foxes

For many, Fleet Foxes’ 2020 album, Shore, was a much-needed reprieve from the stress of pandemic life. After a three-year hiatus, frontman Robin Pecknold pulled back on the heady experimentation found on the band’s last album, 2017’s Crack-Up, and instead leaned into more pop-oriented sensibilities.

Pecknold’s signature harmonies are laced throughout the track and backed by an intricate array of instrumentation, ranging from modulated guitar to a fleet of brass instruments. He reminds us that we don’t always have to have all the answers as we fumble our way through the pandemic, singing, “That’s that, we’re a long way from the past / I’ll be better off in a year or in two.”

“All My Friends,” LCD Soundsystem

With four critically acclaimed albums full of hit songs, perhaps one tops them all. Released in 2007 on their sophomore album Sound of Silver, “All My Friends” is a song about looking back on the time you think you’ve wasted and realizing it was actually meaningful. 

A steady staccato piano melody lays the foundation for the song, gradually building its intensity as the rest of the band joins in. No one says it greater than singer James Murphy when he sings, “I wouldn’t trade one stupid decision for another five years of life.” 

Perhaps these are the words to remember as we reflect back on our week away from school and prepare for exams to come.