The smitten singer can’t get her mind off of a special guy (“Beautiful”) and puts stock in long-term love (“Always Will”). Even when things don’t go her way, Tweet vows not to “Complain.”
In breathless anticipation of a sexual rendezvous, a girl says, “You keep me thirsty, lickin’ my lips/I’m hungry for you to please my hips” (“My Place”). She asks a stranger for his number and his sign, interested in a casual romp (“Give me just one night”) on “Make Ur Move.” That song and others include profanities. On “Motel,” the artist repeatedly tells her two-timing boyfriend to “Go to h—,” yet she unapologetically plays the cheat on “Call Me” (“Call me real late at night when my man’s asleep”). An apparent ode to self-gratification, “Oops (Oh My)” finds the singer disrobing, admiring what she sees in the mirror and touching herself. It’s more of the same on the extra-descriptive “Sexual Healing (Oops Pt. 2).” Guest artist Bilal declares his lust for a female “Best Friend” with whom he has become physically preoccupied. Alcohol flows on “Boogie 2nite” and “Drunk.” The latter also relies on marijuana and driving under the influence to quell pain, concluding, “I’d rather feel pumped than to drown in my tears.” Elsewhere, Tweet relieves stress by “Smoking Cigarettes.”
Charlene Keys got her start performing in church, and her parents are part of the gospel music industry. So what happened? Hard to say, but her velvety R&B celebrates immoral sexuality and substance abuse. Don’t let this foul bird perch on your teen’s windowsill.
