Liam Payne, LP1 | Album Review

LP1, the debut album by One Direction standout Liam Payne has its fair share of moments, but don’t call it a game changing pop album.

Post-One Direction, all members of the boy band have ventured on their own.  For Zayn, well, he ‘cut class early’ you might say with Mind of Mine in 2016.  After him, albums eventually arrived from Harry Styles (Harry Styles, 2017) and Niall Horan (Flicker).  That left only two members taking their sweet time to drop an album – Louis Tomlinson (Walls arrives in 2020) and the artist at hand, Liam Payne. Payne dropped an EP in 2018, but his full-length debut, LP1 wouldn’t arrive until December 2019.  Was LP1 worth the wait? It has its fair share of moments, but don’t call it ‘the second coming.’

“Stack it Up” 

With ✓ “Stack it Up”, the ‘formula’ is in play.  Urban-pop singer serves up respectable vocals – CHECK. Said urban-pop singer drops some gimmicky lyrics – also CHECK.  Throughout the course of the record, Liam Payne spells out certain words, such as “D-I-E,” as well as exhibiting ‘swagger’ with some acronyms and abbreviations, such as “VIP” and “ID.”  Furthermore, the chorus adds some repetition, specifically on the pronoun, “I.” As far as the subject matter, the opener is basic.  Honestly, the title is loud and clear about the drippy nature of this cut. A Boogie Wit da Hoodie arrives as the featured guest, serving up a blend of un-pitched and pitched rhymes. Ultimately, “Stack it Up” is short and pleasant enough, but no game changer.

On “Remember,” Liam Payne moves beyond drip to matters of the heart – it was only a matter of time.  “You gave me so much to remember / You got me stuck inside my mind,” he sings on the memorable chorus, later adding, “Everything’s a reminder (Everything, oh) / How can I forget someone who gave me so much to remember?” In regard to sound, it’s idiomatic of contemporary pop, with guitar and synths co-existing seamlessly.  Payne serves up a respectable vocal, delivering a balanced performance, never over-singing.  Matters of the heart remain potent on the brief “Heart Meet Break,” which addresses the devastation of heartbreak – “No matter what I try, there’ll always be an empty space / Where I can never make ‘em stay.”

“Hips Don’t Lie” 

“Stack it Up” was drippy, while “Remember” and “Heart Meet Break” dealt with ended relationships. ✓ “Hips Don’t Lie” moves beyond exes, and the emotional aspect of relationships, focusing on sex.  The title of this sleek, rhythmic, urban pop cut essentially reveals its cards.  Still, if there was any doubt, Liam Payne clears it up throughout the record, as he is, well, definitely horny. “The way you’re movin’ side to side / You don’t even need to speak,” he sings on the pre-chorus, continuing, “I hope your hips don’t lie / Unless they’re lying with me.”  And if that wasn’t open enough, he makes it crystal clear on the chorus – “Right in my bed-ed-ed, in my bed-ed-ed.”

The sleekness of LP1 continues on “Tell Your Friends.” From physical pleasure, Payne shifts to his adoration of his ‘one and only.’  “Oh, you’re the only one, only one I think about,” he sings on the chorus, continuing, “If you want to give ‘em something to talk about / Say it loud, tell ‘em, say it out loud / Oh, tell ‘em I’m the one, I’m the only one you can’t be without.” It’s not a game changing record, but it’s quite pleasant. Follow up “Say It All” (co-produced by Ryan Tedder, Stargate, Tim Blacksmith, and Danny D) benefits from another respectable vocal from Payne, appealing, pleasant production work, and another memorable chorus.  Again, the game remains unchanged, but Payne does well for himself.

“Rude Hours” 

In “Say It All,” Liam Payne uttered a bit of profanity – specifically “shit” during the first verse.  He’s more risqué on the rhythmic urban contemporary ✓ “Rude Hours,” which reignites his sexual side.  “Meet me in the parking lot / Yeah, might be a bad idea, I prob’ly do your ass in the car,” ‘Casanova’ sings on the first verse, later delivering the clever, double entendre, “Oh that’s what your body always does to me / Check in at the ‘Hard Rock’ Hotel, baby.” Of course, on the chorus, Payne ‘seals the deal,’ if you catch my drift.  Beyond the electrifying sex of “Rude Hours,” “Live Forever” (featuring Cheat Codes) returns to more thoughtful sentiments, specifically how potent meeting her and being in a relationship has changed him.

No worries – Liam still keeps it ‘fun’ after finding his true love.  The minor-key “Weekend” eschews explicitness, but still manages to muster up a sexy vibe.  After all, he asserts, “I come alive on the weekend.”  The most polarizing and shocking song of LP1 follows – “Both Ways.” Here, Payne’s girlfriend is portrayed as bisexual, hence, why “she like it both ways.” That said, Payne brings a whole new level of kinkiness with references to threesomes, where, unsurprisingly the other girl gets him involved:

“Lovin’ the way that she’s turning you on
Switching the lanes like a Bugatti Sport
Nothing but luck that she got me involved, yeah
Flipping that body, go head, I go tails
Sharing that body like it’s our last meal
One and a two and a three, that’s for real.”

“Strip That Down”

“You know I used to be in 1D (now I’m out, free).” Liberation! Life after participating in a boy band requires adjustments. In most cases, such adjustments include a more adult, sexier image.  On his debut single ✓  “Strip That Down” (featuring Quavo), Liam Payne left his boyish ways behind in favor of being a sexually mature man. Payne serves up suggestive lyrics, speaking to the sexual liberalism of young adults.

“So, put your hands on my body
And swing that round for me, baby (swing)
You know I love it when the music's loud
But c’mon, strip that down for me.”

“For You (Fifty Shades Freed)” is reprised as the lead single from Fifty Shades Freed, landing in the hands of Payne and Rita Ora. “For You” commences in a minor key, led by synth production. All in all, the sound is appealing.  Vocally, Ora takes first blood, with successful results (she ends up being the star of the record). As the song progresses, the groove asserts itself more, as does Ora vocally.  By the time Payne arrives for a short second verse, there’s more production, rhythm, and the cards have been revealed. While “For You (Fifty Shades Freed)” is a respectable collaboration, as well as another successful Fifty Shades franchise single, it’s arguably a smidge less memorable than the best.  In the context of LP1, give the song credit for being familiar.  Speaking of familiarity…

“Familiar”

Sexy Latin pop single ✓ “Familiar” paired Payne with an unlikely partner – Colombian reggaetón singer J Balvin.  Unlikely it may be, ultimately, “Familiar” ends up being a success. The reggaetón sound ends up working sufficiently for Payne while it is a natural fit for J Balvin.  The groove is infectious, the songwriting is simple and repetitive, while both musicians deliver respectable, well-rounded performances.

On “Polaroid”, Payne collaborates with Jonas Blue and Lennon Stella. First and foremost, the record features bright, optimistic-sounding production by Blue. This includes synths, guitar, and the beat itself.  Of course, there are also great vocal performances. Payne sounds incredibly clear on the first verse; his tone is superb. The lushness of the pre-chorus section – vocally and musically – is awesome.  It proves to be an exceptional build-up to the groovy chorus. Stella also appears on the chorus but gets her own solo moment on the second verse.  She also joins Payne on the second pre-chorus, as well as the chorus and bridge. The blend of both voices shines brightest on the bridge. “Polaroid” is an enjoyable, well-rounded single from Blue, Payne, and Stella.  The production and vocals definitely carry this ‘snapshot’ record.

“Get Low”

“Chained to a love / But that don’t mean much /… I’ve been drowning in you, lost in the rush / Faded, you stuck? I’ll help you up.” German DJ/music producer Zedd equipped his 2017 single, ✓ “Get Low”, with just the right ingredients to be successful.  Well produced, the beat drives throughout. Initially, particularly on the verse, the music is rather low key, but still has intensity.  This allows for Liam Payne to shine vocally, never inhibited by the production work.  With more steam, the production also cranks it up as well, but to quote the late, great Luther Vandross, “Never Too Much.” Payne is on his game throughout, clearly opting for a sexy persona.  While he’s suggestive, there’s still a hint of innocence – he never crosses any lines. All in all, “Get Low” is an entertaining, fun record.

“You be saying real, real nice, real nice things / When I’m touching you / You be getting real, real, real, real, real jealous / When it wasn’t you, oh…” On his second official single, “Bedroom Floor”, Liam Payne proves that falsetto can be a powerful thing.  “Bedroom Floor” features urban-electro-pop production and compels with its use of a four-on-the-floor beat and a steel drum (synth) that adds a tropical touch. He delivers clear vocals throughout, employing his middle register throughout the verse and most of the pre-chorus (aforementioned). That falsetto kicks in on the catchy, repetitive chorus:

“You said it was over
You said it was over
But your clothes say different on my bedroom floor…”

Payne concludes with a Christmas song (LP1 arrived December 6 after all), “All I Want (For Christmas).” What is it that he desires on this ballad? “Baby, all I want for Christmas / Is you and me to fix this.” Payne sings this Phil Cook-produced record beautifully and sincerely.

Final Thoughts 

All in all, LP1 is an enjoyable, well-rounded debut album by Liam Payne.  Throughout the course of the album, there are some solid songs, and Payne always sings well.  Are there outright, timeless pop hits on LP1? Eh, not necessarily.  The familiar songs released as advance singles still pack a punch, but one doesn’t leave LP1 experiencing any profound life change.

✓ Gems: “Stack it Up,” “Hips Don’t Lie,” “Rude Hours,”  “Strip That Down,” “Familiar” & “Get Low” 

Liam Payne • LP1 • Capitol • Release: 12.6.19

Photo Credit: Capitol