“After writing the album,” he told Billboard, “I felt I’d given everything out, and I’m willing to keep doing that with my music for the rest of my life.” Here’s to seeing how he keeps pouring his heart out. “Money On My Mind”: “Money On My Mind” kicks off the album on a sprightly note, with a crisp, skittering backbeat and chopped-up backing exhalations. The first official single is a bit of a bait-and-switch: those kinds of synthesizers don’t set the tone for the record but reappear until the very end, and at first listen it’s easy to focus on the blaring chorus and miss the “I don’t have” that sneaks up beforehand. “Good Thing”: Beginning with swelling strings that spill into a muted guitar line like teardrops breaking (yes, it’s that dramatic), the second track is the real beginning of the end that “In the Lonely Hour” is all about. Here lie the first hints of trouble in Smith’s relationship, from a dream that he was mugged outside his beloved’s house to the worse realization that he dared think his love was reciprocated. “Stay With Me”: Smith wowed an audience likely seeing him for the first time with this stunning cut on “Saturday Night Live.” In it, he turns a desperate plea for a one-night stand to stay into an eloquent statement on being a sensitive man who knows what he wants, but has no illusions that he’ll get it. With judiciously placed tambourines, the song builds to a resounding gospel chorus that would give goosebumps to even the most hardened Don Juan.
“Leave Your Lover”: Asking for one night to keep going, begging the one he’s in love with to leave his lover - anyone who’s made those same mistakes knows the outcome usually doesn’t work out like a movie ending. #Sam smith in the lonely hour vinul movie# This is one of the few moments on the record where it’s apparent Smith has never been in a relationship otherwise he would realize such dramatic concessions (standing in the rain, willing to give up everything) don’t work if he’s just not that into you. “I’m Not the Only One”: The first turning point of the record, this is where Smith goes home, dries off, and picks himself back up.
“I can’t believe you let me down,” he says, disappointment dragging toward the bottom of his range before his voice raises to anger, accusing, “You say I’m crazy, because you don’t think I know what you’ve done.” The violins surging behind the breakdown are so high-pitched they practically sting. “I’ve Told You Now”: Smith is a master of contrasting volume and affect. Most of the songs on “In the Lonely Hour” escalate to the explosive emotional climax with restraint so subtle you can hear the guitarist’s fingers on the fret board. “What the hell,” Smith growls, before asking the one question we all ask ourselves when everything goes to shit: “Why?” Here, Smith goes off into his falsetto like a balloon gone awry before being pulled in just as it’s about to fly away. “Like I Can”: This song begins not unlike Adele’s rip-roaring salvo “Rolling In the Deep,” with insistent, whispered strumming that kindles deep indignation and frustration.
Smith’s insistence of his stronger feelings is fueled with a full band, another choir, and a barely perceptible sweeping sound in the background, like an ocean rising up behind him to swallow his lover’s inadequate partner.
#Sam smith in the lonely hour vinul full# “Life Support”: Most addicts relapse at some point, and this song is Smith recanting his anger at one of his most vulnerable points. Sleeping with the lights on, he grasps at self-sufficiency (“This is my choice”) even while saying he needs his “drug,” the person meant to fill the bed he built for two. Smith’s falsetto blurs words together until they eventually collapse against each other during the song’s breakdown, which mirrors his own.
“Not In That Way”: From this song’s opening guitar notes, it’s not hard to mistake it for a lost B-side to Otis Redding’s “I’ve Been Loving You Too Long.” It took Smith two-thirds of the record to arrive at this final conversation, where he admits the truth to himself and the one he loves. With just the simple melody and Smith’s reluctant honesty (“I hate to say I want you when you make it so clear you don’t want me”), “Not In That Way” is one of the record’s finest moments.