Inside The Credits 014: Paul Epworth
Enigmatic Portrait of Worth: Making An Album With My Favorite Paul Epworth Songs
Let’s try something different. I’ve now written 13 ITC pieces, with some variations in style, but generally with some sort of narrative format. The dope thing about having your own platform is sometimes you can decide you are due for some fun. If you have been a paid subscriber (thank you) you’ve had the opportunity to read about my 12 track albums of my favorite songs from each month. I would like to expand that idea here.
Paul Epworth’s career is nothing short of illustrious. He has so many credits for important artists over the last two decades (including full albums and potent singles) that it almost feels overwhelming to go through them all. What I discovered as I perused through his credited catalog is that he has enough songs, which I so significantly revere, that I could put together an album’s worth of them without even having to listen. But I’m going to listen because I want to sequence my favorites into a playlisted-album for your listening pleasure.
There are 15 total tracks that Epworth either has a Producer or Composer credit on that I’d be remiss to not include. Again, if you’ve read my monthly album of favorite songs breakdowns, you’ll know I’m partial to 12 track albums. But Epworth has 3 too many heaters for me to shorten it to that ideal length. I will now not only give context for the instrumental proficiency Epworth exudes, but also explain my sequencing choices. I will also contextualize a career's worth of music that has moved me in the most ideal way I could think to listen to it.
Album Title: Enigmatic Portrait of Worth
Track 1: “Like Eating Glass” by Bloc Party Produced by Bloc Party & Paul Epworth
There is no other way to start this album then with the actual album opener from Epworth’s first body of work he Executive Produced that reached me deeply. Previous to Bloc Party’s 2005 debut Silent Alarm, Epworth had produced only one other full album for the English Post Punk band The Futureheads. That album seems like it was a proving ground for Bloc Party’s breakout success. It sounds like it’s in a similar sonic range with a bit less dynamism. “Like Eating Glass” is as perfect an album opener. It slightly creeps in as opposed to the immediate vivacity of Bloc Party’s later album cuts, but still lifts the ear with a glossy rhythm. The pulsing bassline lifts the track through its verses, hooks, and instrumental solos into a hazy prism wrapping around lead singer Kele Okereke’s expression of distaste. The sonic layering here is also a great introduction to Epworth. While the core of the song has clear classic rock instrumental elements, at any moment you can hear a random noise or background vocal enter the soundscape with a specific purpose. His superpower is balancing detail and emotion.
Track 2: “Weightless” by Arlo Parks Produced by Paul Epworth
It’s almost scary how sweetly Bloc Party’s 2005 album opener flows into my favorite song of 2023. As I wrote in an end of the year IG caption, “Weightless” is a sonic wingardium leviosa of yearning impatience. Shouts Hermione. Parks is one of the best lyricists of a generation. Yet, Epworth somehow made a pure Pop song with her that features her tone and his composition more than her wordplay, while still letting her words breathe. It works so well as a second track because it actually is “Like Eating Glass” without the male angst, yet still builds momentum. The synths and drums on this song sound like what jumping in a perfectly cool ocean after laying out sunbathing for a half hour in 85 degree heat feels like. A Paul Epworth masterclass.
Track 3: “Helicopter” by Bloc Party Produced by Bloc Party & Paul Epworth
I had to put this Guitar Hero favorite as the third track. The most recognizable Bloc Party song is my fifth favorite from their debut, but it still has the perfect amount of verve to really launch the album I’ve made in this slot. The best part of the song is when it cuts out to just guitar for repeated sets of engine revving strums before going back into the full chaos. The song still makes me wanna dance around aimlessly and sporadically.
Track 4: “Heavy In Your Arms” by Florence + the Machine Produced by Paul Epworth
So…overall I can’t say I am the hugest Florence + the Machine fan. It’s one of those things where I completely get the appeal but it’s just not something I’d ever choose to listen to. This momentous song is the sheer exception. Funny enough, what really gave me an appreciation for the song was seeing someone do a routine to it for a final in one of my college dance classes I had to take for my Musical Theater degree (you may laugh now). I remember asking what the song was and thinking maybe I actually loved Florence + the Machine, but then went back and listened to the full album and realized it was just this joint. Epworth produced for the band in each of their eras but this still feels like the crowning achievement to me. He balances their medieval energy with something more Grunge and Pop which becomes rapturously anthemic. It changes the tone slightly here at track four while still setting up suspense for a real shift.
Track 5: “Ali Bomaye” by The Game feat. 2 Chainz & Rick Ross Produced by Black Metaphor Composed By Paul Epworth & 6 others
My second favorite The Game era was his 2012 Jesus Piece album. It’s a cathedral of slaps punctuated by a barrage of well placed features so it almost feels like a compilation. While there are other great songs on it, “Pray” feat. J. Cole & JMSN, “Name Me King” feat. Pusha T, and “See No Evil” feat. Kendrick Lamar & Tank, this track reigns above all. The instrumental happens to expertly sample a Florence + the Machine song, “Seven Devils” produced by Paul Epworth, which creates its king entering the ring vibe. Epworth is naturally credited as a Composer on the track. This Muhammad Ali reverence banger sits in a cool energy shift on this album coming slickly off the other Florence track listed.
Track 6: “Positive Tension” by Bloc Party Produced by Bloc Party & Paul Epworth
A goofy Kevin Hart skit at the end of the last track transitions weirdly perfectly into the most playful Bloc Party song on this album. A bouncy bass line slides into snarky lyrics proclaiming “you're just as boring as everyone else” along with other playful jabs until you hit atmospheric transitions and an eventual exhilarating guitar solo. Towards the end you get the bass line back, accompanied by a strange West Side Story “play it cool boy” lyrical reference. A peculiarly satisfying track feels just right after an unexpected sole Hip Hop interlude.
Track 7: “Blades” by Arlo Parks Produced by Paul Epworth
After that odd yet crucial section of this project, we organically glide back into an Arlo Parks synthy wonderland. “Blades” was the second single of her second album produced by Epworth and while it isn’t quite as luminous as “Weightless,” it comes pretty damn close. This two step inducing number adds some disco undertones beneath a perfect crush filled croon from Parks. This song makes you want to grab the one you yearn for and kiss them on the dance floor.
Track 8: “The Price of Gasoline” by Bloc Party Produced by Bloc Party & Paul Epworth
The beginning clap sounds keep this next Bloc Party number on the dance floor, but shift the vibe to a concert venue with a twisting and grooving crowd. The song makes you feel like you’re getting lost within a rhythm and a smoke machine. There is also no more stank face inducing bass line in Bloc Party’s catalog making this track a perfect middle to an Arlo Parks euphoric sandwich.
Track 9: “Devotion” by Arlo Parks Produced by Baird & Romil Hemnani Composed by Paul Epworth & 3 others
The lone closing clap sounds on the last track fade out and then shift into a fading in sound which sweetly floats into light electric guitar strums and background shaker hits. Parks’ vulnerable opening verse moves into a fully open bass pushed hook and declaration of submission into love. It's purely blissful. The song has a much punchier second half which feels like an ignition meant for a festival field.
Track 10: “Luno” by Bloc Party Produced by Bloc Party & Paul Epworth
After the last song’s closing jolt of energy this last Bloc Party entry on this album feels essential. Maybe the most driving track by the band exists here. I mentioned a festival field in my description of the last song. Well, every time I listen to this song it reminds me of when I actually heard it while on a festival field during Baltimore’s Virgin Festival in 2008 at Pimlico Race Course. This song was so memorable because when played live it made the crowd feel like we were all releasing our euphoria within the collision of the drums. I had to close out the Bloc Party feel of this album with a bang.
Track 11: “Unstoppable” by Lianne La Havas Produced by Paul Epworth
There is a static ending of the last track which feels like the end of an album section so this song represents a welcome transfer into new energy. It creeps in with layered whispery vocals and a glimmery variety of sounds. Then suddenly it drops into a Jazz/R&B pocket which allows one of the truly great voices of last 15 years to thrive. This lead single to Lianne La Havas’ 2015 second album is the only song Epworth ever produced for her. It is a spatial wonder which holds an expression of belief within sonic warmth.
Track 12: “Too Good” by Arlo Parks Produced by Paul Epworth
Next we transition out of the last track’s belief riddled sentiment into this Arlo Parks song filled with creeping doubt even amidst something promising. Epworth crafted springy textures here to bring a lighthearted nature to this expression from Parks. This is the first entry from her debut opus Collapsed in Sunbeams which was my favorite album from 2021. Epworth only worked on two songs from that project (the other is coming up), but established a clear chemistry with Parks that led to even more expansion with “Weightless,” “Blades,” and “Devotion.”
Track 13: “He Won’t Go” by Adele Produced by Rick Rubin Composed by Paul Epworth & Adele
Ok so…Paul Epworth produced “Rolling in the Deep” and just composed this song. I love Adele’s 21; it’s far and away her best project. “Rolling in the Deep,” however, was better to me as a part of the album rather than as a single. “He Won’t Go” is arguably my favorite Adele song ever tied with “Turning Tables.” Every part of this track from the percussion sequencing to the sticky melodies to the yearning expression of commitment is just pure rapture. It goes great after the last two tracks as the solidifying element of a three song sequence representing the full spectrum of a relationship.
Track 14: “Mad” by Hope Tala Produced by Paul Epworth
The drums of “He Won’t Go” somehow feel adjacent to this more Latin rhythm here. It doesn’t make sense until you listen to the songs back to back and was my favorite discovery sequencing this album. It is such a nice entry of fun right before the album closer. Yet, this song also still topically makes sense as an expression of relationship anxiety. Tala and Epworth need to make more music because the cohesion of their styles here is damn near flawless.
Track 15: “Portra 400” by Arlo Parks Produced by Paul Epworth
One of my favorite album closing tracks I’ve ever heard has to close out this album. Parks’ almost Juice Wrld-esque hook lyrics juxtaposed against Epworth’s vintage scrapbook textured drums, bass, and keys feels like skipping through Bushwick on a Saturday afternoon. The rhythm sounds essential coming off of Tala’s bounce and cements the depth of Epworth’s range. Now is the time to listen to the album via the links below, hope it’s worthy of your ears :)
Enigmatic Portrait of Worth (Inside The Credits 014: Paul Epworth)- The Playlists