Ed Sheeran, No. 6 Collaborations Project | Album Review 💿

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Grammy-winning pop singer/songwriter Ed Sheeran releases an enjoyable, if flawed, star-studded fourth studio album with ‘No. 6 Collaborations Project.’

Anytime that Ed Sheeran releases an album, it is DEFINITELY a big deal.  Sheeran returns in 2019, following a two-year-hiatus (Divide, 2017), with No. 6 Collaborations Project. Not only does No. 6 Collaborations Project serve the capacity as his fourth studio album, it also follows up his little-known 2011 EP, No. 5 Collaborations Project.  As the title suggests, this is a big pop album chocked-full of superstar collaborations.  That’s hurts the cohesiveness of the project – it feels more compilation than accomplished album – but, there are a number of enjoyable moments throughout the course of the LP.

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“Beautiful People”

“We don’t fit in well ‘cause we are just ourselves / I could use some help gettin’ out of this conversation…” No. 6 Collaborations Project commences respectably with ✓“Beautiful People”, a song about being socially uncomfortable, awkward – not fitting in with the crowd. Ed Sheeran blesses the track with clear, boyish vocals, showcasing a great tone and lovely falsetto.  He sings the first verse, the initial aforementioned excerpted pre-chorus, and the catchy chorus. There’s also a post-chorus (“That’s not who we are (we are, we are, we are) / We are not beautiful”).  As for guest Khalid, he sings the second verse and pre-chorus with his beautiful, distinct tone.  The production is solid, if not extraordinarily ear-catching. More oomph wouldn’t have hurt, but overall, it’s a success.

✓ “South of the Border” is a hella enjoyable follow-up, featuring Camila Cabello and Cardi B.  As title and personnel suggest, Ed Sheeran opts for a fun, Latin-tinged pop joint.  It is well organized in regard to form, and quite catchy from the start, especially the chorus. Cabello continues to ‘kill it’ in a featured role, exhibiting marvelous chemistry with Sheeran on the chorus/bridge sections.  As for Cardi B, she provides a welcome contrast to both vocalists, keeping it tasteful, sans the “Legs open, tongue out, Michael Jordan” line.

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“Cross Me”

“Cross Me” commences a bit off-putting with an intro by PnB Rock. The quality is a bit sketchy, thanks to the fact that the vocals are sampled from a freestyle.  Things improve with the arrival of Sheeran.  His singing sounds much higher quality, even if he fails to ‘flip the game.’  A portion of the intro becomes the pre-chorus, while also being mixed into the Sheeran-led chorus:

“If you cross her, then you cross me (Cross me)
And nobody’s comin’ close, yeah
And I think that you should know that
If you cross her
(Anything she needs, she can call me)
Then you cross me
(Don’t worry about her, that’s my seed, yup, that’s all me)
So come on, and let it go
Oh, I think that you should know.”

On the second verse, Grammy-winning rapper Chance the Rapper delivers a freshly-pressed verse that plays into the vibe of NOT crossing her… or him. He cleverly throws in ‘CrossFit,’ as well as the memorable declaration, “Gotta respect the HBIC.” “Take Me Back to London” keeps it totally British, pairing Sheeran with South London rapper Stormzy. Sheeran busts out his pop-rapping skills, while Stormzy charms with his British accent and delivers an agile flow.  The production is pretty sweet, set in a minor key, propelled by recurrent synth strings.

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“Best Part of Me”

“Baby, the best part of me is you / And lately, everything’s making sense, too / Oh, baby, I’m so in love with you.” Ed Sheeran excels with ballads, and ✓ “Best Part of Me” is no exception.  What stands out is the authenticity and the lyricism on this particular track.  Compared to other songs on No. 6 Collaborations Project, “Best Part of Me” gets higher songwriting marks. Sheeran is poetic and vulnerable, particularly moments like, “I go from thin to overweight day to day it fluctuates / My skin is inked, but faded, too.” On the pre-chorus, despite his flaws and insecurities, Sheeran asserts her love for him while also asking why she’s into such an imperfect guy.  The chorus (aforementioned) is the centerpiece. YEBBA continues the narrative on the second verse and pre-chorus, brilliantly providing the female perspective on this slow-paced, but meaningful gem.

What happens when you put Ed Sheeran and Justin Bieber together? Usually, a hit. Their latest collaboration, ✓ “I Don’t Care” once more can be likened to ‘money in the bank’. The premise of the up-tempo, major-key pop joint is pretty simple; neither Sheeran or Bieber are feeling the nightlife – parties, clubbing, and such – anymore.  Both simply want to be with their respective baes.  From the start, Sheeran asserts “I’m at a party I don’t wanna be at” (verse one), later confirming his social anxiety on the pre-chorus (“Don’t think I fit in at this party / Everyone’s got so much to say”).  It’s the same scenario for Bieber on the second verse and pre-chorus, but he’s willing to stay because “[She] make(s) it better like that.” On the chorus, sung by Sheeran, ‘it’s all good,’ thanks to the baes. “I Don’t Care” is a pleasant pop cut that’s not game changing in the least.

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“Antisocial”

“Don’t touch me, don’t touch me / Don’t touch me, I came to vibe, yeah.” Following two consecutive pop records, Ed Sheeran dips back into hip-hop.  He collaborates with the ubiquitous Travis Scott on single “Antisocial.” Again, Sheeran seems to touch upon social withdrawal, one of the few cohesive points of No. 6 Collaborations Project, previously mentioned on “Beautiful People” and the previous number, “I Don’t Care.” Sheeran sounds respectable on the urban-pop joint, which is tailor made for Scott’s ‘unique sensibilities.’  Sound supersedes substance – “It’s a Vibe” for sho though.

✓ “Remember the Name” thrives off its groove, infectiousness, and swagger.  Sheeran collabs with Eminem and 50 Cent.  This marks Sheeran’s second collaboration with Eminem, following “River” from Revival.  Does “Remember the Name” trump “River”? It’s not a fair comparison perhaps, but the answer is YES.  The best part of the record is the chorus, hands down – it easily gets stuck in one’s head.  “Feels” trades Em and 50 for Young Thug and J Hus.  Additionally, “Feels” adds some tropical, Jamaican influence, further amplified by J Hus’ second verse.  Young Thug is ‘true to self’ in his own idiosyncratic style on the first verse.  As for Sheeran, he only contributes the chorus on this brief number.

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“Put it All on Me”

No. 6 Collaborations Projects shifts back to pop and urban contemporary sensibilities with the pleasant “Put it All on Me.” Sheeran collaborates with “Boo’d Up” Grammy-winner Ella Mai with positive, not necessarily the most ‘memorable’ results.  Paulo Londra and Dave are the featured guests on the sleek follow-up “Nothing on You” which once more brings Latin music into the fold.  In addition to spicing things up, the production by FRED – the synths and the beat – is a major selling point.  As for the lead artist, well, he sounds pretty good himself, particularly on the chorus. Arguably, “I Don’t Want Your Money,” featuring Grammy-winning R&B artist H.E.R. is the best of the trio.  Sheeran is smooth, on his pop-rap/urban contemporary vibes, while H.E.R. sounds fabulous to the nth degree with her gorgeous, robust tone.

“1000 Nights” features some of the most unique production of No. 6 Collaborations, thanks once more to FRED who co-produces alongside Boi-1da and Jahaan Sweet. Of course, did anybody expect to hear Ed Sheeran collaborating with Meek Mill or A Boogie Wit da Hoodie? The answer is a resounding no. Another surprising collaboration (Skrillex) occurs on the penultimate cut, “Way to Break My Heart.” Both songs are inoffensive but aren’t the crème de la crème of the LP.  ✓ “Blow” changes that of course.

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“Blow”

“Locked, loaded, shoot my shot tonight / … Pull my trigger, let me blow your mind.” Wow, that’s some sexual innuendo to the max there. Closing joint “Blow” gives Ed Sheeran an uncharacteristic rock record, pairing him with Chris Stapleton and Bruno Mars, with generally positive results. It’s nice to hear Sheeran exhibit vocal grit on the first verse, for example, while  Stapleton is ‘turned up’ as always on the second verse.  On Mars’ third verse, there are some sweet vocal harmonies, playing to the urban-pop style he’s generally known for. Also, the chorus, partially excerpted above, is energetic, fun, and certainly unforgettable. Sure, the songwriting isn’t deep and sounds potentially ‘overstimulated,’ while the chorus feels cliché, but all in all, it’s an attention-grabbing, crowd-pleaser worthy of spins that certainly doesn’t ‘blow’.

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Final Thoughts 

All in all, Ed Sheeran releases an enjoyable, if flawed, star-studded fourth studio album with No. 6 Collaborations Project. As aforementioned, this is a big pop album chocked-full of superstar collaborations, which ultimately, hurts cohesiveness. Also, there’s lots of styles throughout, which also affects cohesiveness. Even as it feels more compilation than accomplished album, and even if the 50-minute duration could’ve been trimmed to, say, 40-minutes, No. 6 Collaborations Project has plenty to like, even if only for a season.

✓ Gems: “Beautiful People,” “South of the Border,” “Best Part of Me,” “I Don’t Care,” “Remember the Name” & “Blow”

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Ed Sheeran • No. 6 Collaborations Project • Atlantic • Release: 7.12.19

Photo Credit: Atlantic

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