At any given moment, odds are that I have a song stuck in my head. Sometimes, it’s just random — a song I find catchy or have been listening to around the clock that’s creeping into my brain during the few occasions that I’m not actually listening to it. But other times, I subconsciously create a soundtrack that reflects what is going on in my life. By this point in the semester, it’s practically a given that we’re all itching for fall break, and the moment Monday hit, there was only one song that popped into my head: “The Sweet Escape” by Gwen Stefani and Akon. Lyrically, it could afford to be more relevant to my current situation, but the title wholly encompasses my desire to blow this popsicle stand and take a break from the grind. “The Sweet Escape” has persisted in my mind ever since as a constant reminder that break is near, and what better way to celebrate than to review Stefani’s 2006 album by the same name?
The Sweet Escape begins with what is perhaps its most unexpected track, “Wind It Up.” The first seconds of the record are filled with Stefani yodeling a part of “The Lonely Goatherd” from The Sound of Music, one of Stefani’s favorite musicals. At first listen, it’s disconcerting and sounds more like a warped military march overlaid with the Mason Ramsey’s Walmart rendition of “Lovesick Blues” than anything else; that being said, I can appreciate the courageous effort to interweave Stefani’s distinct style with fragments of a classic musical. You can’t blame a girl for trying. Next is the star of the show: the album’s title track. Akon opens with iconic “woo-hoos” and “yee-hoos” that lead into some of Stefani’s best vocals in her solo career (No Doubt’s “Don’t Speak” and “Just A Girl” hold special places in my heart and are in a different category altogether). Here, Stefani apologizes for a fight she had with her significant other and longs for the perfect relationship with no arguments. Although “The Sweet Escape” is immensely catchy and it’s easy to get swept up in the melody, a closer look at the lyrics makes it clear that this song is definitely not fluff; “I must apologize for acting stank and treating you this way / ‘Cause I’ve been acting like sour milk all on the floor / It’s your fault, you didn’t shut the refrigerator / Maybe that’s the reason I’ve been acting so cold,” she sings. In “Orange County Girl,” Stefani reminisces on life before fame. In terms of content, the song had the potential to be great, but it falls short sonically. The backing track sounds so discordant with her voice to the point where it’s almost jarring.
Back in 2006, Mark Pytlik reviewed The Sweet Escape for Pitchfork, where he argued that “With the exception of the spazzy, Akon-produced doo-wop track "The Sweet Escape" and the Keane-penned "Early Winter" — which proves that Stefani still has the ability to elevate an otherwise ordinary rock song to another level — everything else here has the vague whiff of tossed-off album fattener.” One thing is for certain: Pytlik couldn’t be more correct in labeling “Early Winter” an album standout on par with “The Sweet Escape.” Written by Keane pianist Tim Rice-Oxley, this track connects the changing seasons to the end of a relationship. Both Stefani’s vocals and the instrumentals manage to hit the ideal but elusive combination of upbeat and melancholy. “Now That You Got It” is a turn to hip-hop that sees Stefani warning her boy to treat her right against a severe staccato and siren sounds. While “The Sweet Escape” and “Early Winter” are the highlights of this record, a case can definitely be made for the synth-infused “4 In The Morning,” where Stefani demonstrates just how much she wants to make her teetering relationship work. Stefani experiments with her vocals on “4 In The Morning” in a way that evokes her best work with No Doubt.
Pharrell produced many of the songs on The Sweet Escape, but we actually hear him a bit on “Yummy.” It’s a lyric-focused track with a simplistic backing track that does the entire song a disservice. I don’t believe anyone but Gwen Stefani could pull off this kind of song — she’s just the right amount of playful and sassy — and it's her execution that prevents this song from being a complete flop. “Fluorescent” basically screams “Gwen Stefani” in its moody sound but disappoints with its lyrics. I love a good double meaning and Stefani serves it with “Breakin’ Up,” albeit a tad repetitive. “Don’t Get It Twisted” involves some reggae influences and sees Stefani working through some complicated thoughts regarding her unexpected pregnancy. “U Started It” is a fun, nostalgic addition to the album. It may be simple in comparison to the rest of the album, but The Sweet Escape needed something smoother and unostentatious, and The Neptunes delivered with the production on this song. The record closes with “Wonderful Life,” which includes contributions on the guitar from Depeche Mode’s Martin Gore. Stefani dedicated this song to her late high school boyfriend who really admired Depeche Mode: “...the amazing thing about that song was that that guy was the first person to turn me on to Depeche Mode and the Cure. So I got one of his heroes to play on that song.”
Despite the album’s dips, there’s a lot to love about The Sweet Escape. Nevertheless, no escape is sweeter to me than the imminent one from this campus. See you later, Cornell!
Test Spins is a weekly throwback column reviewing and recommending classic and underrated albums from the past. It runs every Friday.
Sydney Levinton is a junior in the College of Arts and Sciences. She can be reached at slevinton@cornellsun.com.
Sydney Levinton is a member of the Class of 2027 in the College of Arts and Sciences. She is the Arts and Culture Editor on the 143rd Editorial Board. She can be reached at slevinton@cornellsun.com.
