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\t\tEditor\u2019s picks<\/p>\n<\/h2>\n<\/section>\n
\n\t\u201cCome Back\u201d and \u201cStranger\u201d are standout Prince-style jams, dance-floor bangers with funk bass and sax solos that go off the deep end, somewhere in between early Quarterflash and Christopher Cross. She also pulls off slow jams like \u201cActs of Service,\u201d where Doja reveals, \u201cI just deleted Raya, that must mean that I\u2019m your provider.\u201d\u00a0 In the falsetto ballad \u201cAll Mine,\u201d she drops another strictly-for-the-hardcore Eighties reference when she says \u201cGrab him and take him\u201d \u2014 a quote from Grace Jones, when she played a Bond villain in A View to a Kill<\/em>.<\/p>\n\n\tJack Antonoff is executive producer here, doing nine of the tracks, and this concept is right in his sweet spot, given that he\u2019s a hardcore Eighties geek \u2014 as any Swiftie can tell you, he and Taylor knew they were destined to work together the first time they bonded over the snare drum sound in Fine Young Cannibals\u2019 \u201cShe Drives Me Crazy.\u201d Also, given that Doja dropped Vie<\/em> a week away from The Life of a Showgirl<\/em>, you have to give it up for her extremely Swiftian song titles: \u201cGorgeous,\u201d \u201cStranger,\u201d \u201cLipstain\u201d\u00a0(great title, that), \u201cAll Mine,\u201d Take Me Dancing.\u201d That\u2019s half the lyrics of \u201cNew Romantics\u201d right there.<\/p>\n\n\tSo the production is impeccable, getting the period details right and exact, down to the last slap-bass throb, while also sounding fresh and up to date. The weak spot on Vie<\/em> is the songwriting, since few of these tunes have a dynamic hook that you can imagine crowding the competition for a Top 40 rotation slot between Madonna and Gregory Abbott. Most of the songs work the same formula \u2014 featherweight pop tunes with brief rap interludes \u2014 so they tend to blend together even when they\u2019re quality filler.<\/p>\n\n\n
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\n\t\u201cAaahh Men!\u201d is an uptempo highlight, with Doja lamenting that she can\u2019t live with \u2018em but can\u2019t live without \u2018em, asking herself \u201cAm I gay or am I just angry\u201d while saying, \u201cI feel shame because you\u2019re such a pain \/ But my DNA wants your D in me.\u201d Yet she holds out hope with her ideal of romantic bliss, promising, \u201cYou act right, you\u2019ll get a movie, limo\/Two chains, dinner, and a smooch down below\/And all new fans yelling \u2018You my hero!\u2019\u201d She\u2019s playing remarkably nice with the boys here, as in \u201cMake It Up,\u201d where she reveals, \u201cDid you hear about it? I\u2019m a submissive top.\u201d \u201cSilly! Fun!\u201d lives up to the title, with the Eighties synths and vocal chants straight from the Saturday-morning cartoons. \u201cLipstain\u201d is her sultry ode to leaving hickeys on a man as a way of claiming her turf. As she says, \u201cEvery girl\u2019s a queen but I\u2019m the boss\/We gotta mark our territory for them dogs, girl.\u201d She often sings in French all over the album, as if paying her respects to Prince\u2019s Euro-gigolo performance in Under the Cherry Moon<\/em>.\u00a0<\/p>\n\n\tDoja couldn\u2019t sound further from the rap bluster she displayed on Scarlet<\/em>. On Vie<\/em>, she veers closer to the high-gloss pop of her breakthrough albums Planet Her<\/em> and Hot Pink<\/em> \u2014 yes, the albums she later repudiated as \u201cmediocre pop\u201d done as a \u201ccash grab.\u201d (Nobody renounces her own hit albums faster.) But it\u2019s the sound of Doja Cat at her most playful and unpredictable.<\/p>\n<\/div>\n
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