Danceable Diary of Womanhood
On Record, Tracey Thorn delivers nine disco bops featuring deeply personal lyrics. Each song on the album features music that is danceable but never falls into the trap of being basic; the music is excellently crafted throughout. Each track features lyrics that are clearly autobiographical, yet still deeply relatable. The lyrics deal with the complexities of womanhood from Thorn’s position of having experienced multiple waves of feminism. A pop figure since the ’80s, Thorn has long been established as a force in the music world and she wields her power with deft skill.
The opening track, “Queen,” jumpstarts the album with an irresistible beat and synth line. The lyrics “Am I Queen or am I still waiting?” illustrate Thorn’s feelings as a middle-aged woman grappling with her past experiences and their significance in her future. “Air” follows, which is a slightly calmer tune featuring a well-placed vocal harmony with artist Shura. Thorn discusses feeling rejected as a young woman who isn’t the most traditionally feminine. “Guitar” picks the tempo back up with a powerfully driving beat and anthemic chorus. Ostensibly an ode to the boy that introduced her to playing the guitar, she quickly realizes her true passion was felt for the instrument and that the boy was merely “a catalyst.”
“Smoke” plays almost like an old-country folk song set to a beat reminiscent of a Casio keyboard preset and a simple piano. She tells the story of her family, the journey of her recent ancestors to her home of London and her current outlook on life in the changing city. She laments the inevitable drive of gentrification in London, crooning “all the road paved with gold, bought and sold, bought and sold.” “Sister” is the standout track of the album, a nearly nine-minute feminist anthem featuring the rhythm section of the all-female Warpaint and backup vocals from Corinne Bailey Rae. Thorn proudly proclaims that she fights “like a girl” and muses that women are still presently fighting “the same shit” that she’s been fighting for decades.
“Go” is a bittersweet ballad expressing the complexities of loving and raising children to release them into their independence. She acknowledges that “this is what it all was for”— the pain and effort of motherhood having the bittersweet goal of letting those children go. Continuing with the theme of motherhood, “Babies” features a manic beat that Thorn skillfully tempers with her powerful vocals. Beginning as a tribute to reproductive choice, “Babies” is ultimately an ode to motherhood. The driving line of the song, “I didn’t want my babies until I wanted babies, and when I wanted babies nothing else would do but babies,” illustrates the nuance of feminist reproductive thought. Thorn expresses gratitude for being able to honor her personal path to motherhood.
“Face” is a vulnerable admission of stalking an ex on the internet. Thorn ruminates on the tempting ease of checking up on an ex now that they are so easily brought into our “living room” through the Internet. The music is deliberate and slower than the previous track, and Thorn lets her voice explore her emotions. On the next and final track, Thorn resumes the dance party with the disco banger “Dancefloor.” A joyful dedication to one of life’s great pleasures, “Dancefloor” is a brilliantly cathartic end to the intimate album.
With Record, Tracey Thorn shows that she’s just as capable as ever at creating bangers. The album manages to be danceable, with perfectly executed electronic vibes, while also packing in thoughtful lyrics and allowing her stunning vocals to shine. Boldly exhibiting her confidence as well as her vulnerability, Thorn delivers a delicious disco album.
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