Gravity

Studio Album by released in 2010

Gravity review

Westlife’s hits are going find themselves in hit-parades’ upper lines once again

Westlife celebrated its tenth anniversary two years ago and released Where We Are which traditionally included covers and original material last year. The tradition was formed years ago, on the debut album, with the band performing not only someone else’s pop melodies but also some rock band’s pieces. Those were certainly mainly ballads that suit perfectly the band members’ sensual vocals. The quartet in which there are two lead vocalists is also known for its vocal harmonies defining it from many other boys-bands. The Irish have become one of the most popular music acts in Great Britain and can boast more than one hit. Yet this year the guys are facing quite a different task – today the British audience’s attention is fixed on the five-piece Take That’s returning. However, Westlife has nothing to worry about with its new creation Gravity which will definitely help the guys to draw the maximum of attention to them, and their hits are going to find themselves in hit-parades’ upper lines once again.

There are simply no failure compositions on Gravity

No doubt, the album Gravity has all the chances to become the best one in Westlife’s discography. The good news for the guys is that they finally have the luck to record the album with the renowned producer John Shanks who has worked with a great deal of music stars including such bands as Bon Jovi, Backstreet Boys and, in fact, Take That. Despite Westlife’s more than once expressing its eagerness to work with Shanks he had remained loyal to one boys-band only, which was Take That, but this year the latter has decided to collaborate with Stuart Price, and Shanks agreed to produce Gravity immediately. Besides, the guys find themselves in a perfect form and believe that being a four-piece is an ideal line-up for them, while Take That has been obviously lacking Robbie Williams. In addition to that, Gravity has been partially recorded in Los Angeles, and John Shanks has created such an impressive sounding that Westlife is definitely going to have some new fans in the USA. The band’s last big hit in that country was the song Swear It Again from the 2000’s album Coast To Coast, and taking into account the fact that there are simply no failure compositions on Gravity the situation will surely change now.

Much more epic numbers of a greater volume with orchestra arrangements

The songs on Gravity are way different from all Westlife’s previous material. They are much more epic numbers of a greater volume, with orchestra arrangements significantly enriching the emotional palette. Twelve best tracks have been selected out of sixteen with ten of them being the original material, which is also meaningful. The covers are Chances of the indie-band Athlete and The Reason of pop punk project Hoobastank. The album opens with Beautiful Tonight, a vibrating, dynamic melodic composition in which even the quartet’s familiar harmonies sound newly vigorous and matched. The first single Safe is an excellent ballad celebrating such values as loyal friendship and real love, both romantic and for people in general. Mid-tempo numbers I Will Reach You and Closer conquer with the sincere emotions against the background of piano arpeggios and chords. The guys have never sounded that moving and vulnerable as on the romantic ballad Tell Me It's Love: falsetto, a vivid chorus, lyrics which can make any girl’s heart melt at once and the accompaniment are united into a ready-made hit of the highest quality. The sullen track I Get Weak is built on piano a faultless bass beat, whereas No One's Gonna Sleep Tonight is another optimistic and very soulful danceable number. The album closes with one of the most emotional and beautiful ballads in the band’s entire repertoire Too Hard To Say Goodbye, refined with a gentle flute and mature lyrics. Thus, the album Gravity opens a completely new chapter in the story of Westlife, which has finally got the material of its dream recorded.