Conventional wisdom in the music industry suggests that songwriters are far more in control of their creative and commercial trajectories than are singers that leverage a team of stellar songwriters to provide the sonic foundation for their musical careers. This might explain why boybands such as Take That (they were architects of their sonic destiny) managed to stage a comeback against all odds and make significant inroads with a second generation of fans while many of their boyband contemporaries largely clung on to a nostalgia factor to stay afloat commercially. The exceptions to this trend are the singers that are master interpreters of lyrics and a songwriter’s vision. They also have the enviable ability to manifest this vision through a distinct and inimitable vocal aesthetic. This group of singers is a precious rarity. One of its most noteworthy members is Belinda Carlisle – the former lead singer of all-girl rock band and recent Rock and Roll Hall of Fame inductees The Go-Go’s. While the Go-Go’s enjoyed tremendous success in the US, Belinda’s stratospheric rise to global fame was a by-product of a hit-heavy (noteworthy examples include “Circle in the sand”, “Heaven is a place on earth”, and “Leave A Light On”) solo career that started in the mid-80s and that carried her comfortably through the mid-90s. Despite a momentary return with the infectious single “Sun” in 2013, it appeared that Belinda was preparing for retirement. Fortunately, her decision to gracefully exit the world of pop music was stalled by what can only be described as divine intervention – in the form of a chance encounter between her son James and legendary songwriter Diane Warren. The potency of the elixir that is Belinda’s voice undoubtedly helped her circumvent the dark cloud of ageism that plagues the music industry (especially the pop music realm) and put her in the co-pilot seat with hitmaker Dianne Warren to create a new 5-track EP titled “Kismet” – Belinda Carlisle’s first collection of solo songs in over 24 years in the vein of what propelled her to stardom. As Belinda indicated in an interview with the “Rock Solid” podcast host Pat Francis, the fact that these songs were given to her as opposed to being offered to a youngster riding high on the charts today continues to be a source of wonder for her. The musically myopic might even question the commercial wisdom of that decision. One listen of “Kismet” helps crystallize the notion that Diane Warren was NOT being charitable and that she has an impeccable sense of judgment knowing exactly who can truly brings these songs to life. Listeners and fans are privileged beneficiaries of her foresight. Belinda Carlisle was undoubtedly the right singer for these songs.
The EP’s first single and stylistic red herring “Big Big Love” (which saw the light of day in March 2023) is a multi-pronged surprise. First, Belinda eschews the power-pop template of her biggest hits in favor of an up-tempo synth-driven sound with a spring in its step. The first song that came to mind when I heard this was “The Drum” by Australian singer-songwriter Josef Salvat – although “The Drum” feels minimalist in its production aesthetic relative to “Big Big Love”. Second, it is NOT the larger-than-life ballad of the sort that songwriter Diane Warren has become known for over time – with the noteworthy examples being “I don’t want to miss a thing” by Aerosmith and “How do I live” performed by both Leann Rimes and Trisha Yearwood. It is a reminder that the litmus test for great songwriting is a song’s ability to translate across different musical styles or sonic treatment. Third, the song radiates with an innocence and optimism of the sort that typically erode as the life of a veteran singer and songwriter progresses. There is not an iota of being jaded in the lyrics of this song.
Stylistic deviation of the sort that was showcased on “Big Big Love” can be polarizing and might have got fans speculating about what this meant for the overall musical direction of “Kismet”. The first verse of the EP’s second track “If you go” (the first song presented to Belinda by Diane Warren for this project) might convince listeners that Belinda’s new incarnation is one rooted in a synth-driven sound. It is only when the sing-out-loud chorus begins that we see an unapologetic return to a power-pop sound that many of us have associated Belinda with. It evokes an inexplicable joy that stems from familiarity and a lingering pleasant memory of a distant musical past. The effective use of background female harmonies as embellishments on the line “If you go” in the song’s chorus are reminiscent of those in the single “Little Black Book” from Belinda’s 1991 album “Live Your Life Be Free”. The overall spirit of longing and fear of loss in the song is similar to that of Belinda’s hit single “Leave A Light On”.
The EP moves into down-tempo ballad territory on the next two tracks with the Adult Alternative tinged “Deeper into you”. The vocal delivery on this song is most reminiscent of the Belinda fans remember and love. I am on the fence as to whether this would work as a single on radio. Perhaps, in the year 2004-2008 when the Adult Alternative genre was being defined by bands such as Snow Patrol, One Republic, and for a brief moment Take That (fans might find musical parallels between their hit single “Greatest Day” and this song). “I couldn’t do that to me” (track four on the EP) is where the collection loses a little steam. Fortunately, that loss is quickly compensated for by the EP’s closer “Sanity”.
“Sanity” opens with a burst of exquisite cinematic orchestration and is buoyed by fierce strokes of string arrangements through the entire length of the song as Belinda sings an ode to an anchoring force (i.e. sanity) in her life that has become conspicuous by its absence.
Never thought you’d slip away
When I needed you the most
Never thought I’d see the day
You disappeared just like a ghost
With the lines above, one cannot help but wonder whether Belinda channeled periods of her life characterized by turbulence (especially her longstanding attachment to substance abuse) into her vocal delivery.
Since this blog is part a 24/7 online radio broadcast, I cannot help but evaluate this EP based on the radio-friendliness of its songs. It is safe to say that there are at least three singles on this EP – which is VERY respectable for a 5-track EP. Some of these songs would make great additions to the upcoming leg of Belinda’s US concert tour. I would also be delighted to see Belinda do similar projects with both Rick Nowels and Gregg Alexander – two songwriters that she has worked with in the past. Everything about what made Belinda Carlisle the popstar we love is there on this EP. German-Israeli producer Mati Gavriel (who has worked with pop music heavyweights such as Debbie Harry, Dolly Parton, and The Pentatonix) has created a soundscape that allows Belinda to have one foot in the past and one foot firmly in the present.
This EP is yet another reminder that Belinda ought to postpone any ideas about retirement indefinitely since she still has it. Her multiple decades away from conventional pop/rock albums (her 2007 album “Voila” and 2017 album “Wilder Shores” are sonic experiments that deviate significantly from the template that was the catalyst for Belinda’s ubiquity in mainstream pop culture) have not eroded her ability to deliver a sonic punch just like she did when she first rose to prominence.
Last, but not least, the title of this EP could NOT be more apt. “Kismet” is an Arabic word that translates to fate or destiny. In Hindi (the national language of India), it is pronounced “Kismath”. In fact, the use of this word in Hindi is quite common when people in India reflect on the twists and turns that characterize their reality. The sentence that finds its way in these reflections is “Yeh meri kismath hai” (which translates to “this is my fate”). It is fitting that Belinda would name her EP with a word commonly used in a country (i.e. India) that she has a longstanding relationship with (there is great video footage on youtube of her driving an auto rickshaw across India dressed in a salwar kameez to create awareness for Animal People Alliance). The word also symbolizes the serendiptous reunion with Diane Warren after over three decades since they last worked together on the hit singles “I Get Weak” and the achingly beautiful “World without you”. Fans and listeners have benefited the most from this manifestation of “Kismet”. One can only hope that “Kismet” is the start of a new beginning as opposed to being the swan song of Belinda Carlisle.
STAR RATING: 4 out of 5 stars
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In case you did not pick up on this earlier, the blog you are reading is affiliated with Radio Creme Brulee – an online radio station that features an eclectic mix of current pop and rock music from both sides of the Atlantic alongside hits, forgotten gems, and rarities from the last three decades. Alongside newer artists, we also play plenty of newer music by bands that rose to prominence in the 80s,90s, and the 00s. Noteworthy examples include Simply Red, Wet Wet Wet, Coldplay, Kylie Minogue, Dubstar, Tears For Fears, Duran Duran, Belinda Carlisle, Camouflage, Spandau Ballet, INXS, Depeche Mode, Suede, The Corrs, Jamiroquai, Johnny Hates Jazz, Simple Minds, and Culture Club.
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She is still breathtakingly heart-achingly incredibly beautiful. I have loved her since “Our Lips are Sealed.” … Her raw utterly devastating delivery of the repeating final chorus of “World Without You” slays even to this day. If she ever reads this..I just want her to know her artistry has added real value to this gay man’s life and I will love her for always.
@Joel: Thank you so much for the comment. I am the primary DJ for the radio broadcast tied to this blog. Belinda Carisle is hands down a one-of-a-kind ethereal beauty. Admittedly, The Go-Go’s is a little before my time but Belinda Carlisle had my attention since the release of “Leave A Light On” – and yes, the vocal delivery on “World without you” continues to leave a lump in the heart of this straight man (i.e. me!). I hope there is more to come from her after this EP. She’s clearly been away for far too long. Given the bias of ageism that works against artists that rose to prominence in yesteryear, their tenacity in the recording studio to put out new material even nowadays is beyond admirable. “Big Big Love” has been getting high-rotation airplay on our 24/7 global online radio broadcast since it saw the light of day – and we’re adding “If you go” next. Never imagined that in 2023, two songs by Belinda Carlisle would be on high-rotation on radio. Thank you once again for the comment and I truly hope she reads your comment.
Great article, Pranav! Really whets my appetite for the ep.
I like everything she’s ever done, from the Go-Go’s through solo stuff and collabs. Have you heard her cover of the Sex Pistols’ Submission with Radiator? My fave solo album by her is Real. But I also like the later stuff like Voila and Wilder Shores.
So nice to hear Big Big Love on RCB. Can’t wait to hear the whole ep!
@Cary: Thanks so much for the comment. Belinda is certifiably awesome and this EP definitely has its moments. I hope she does similar projects with Rick Nowels and Gregg Alexander (she worked with him before he developed his trademark style). On another note, are you still having trouble accessing the station or is everything working as expected?
@Cary: My apologies. I did NOT see the second part of your comment. I have actually not heard that Sex Pistols cover. Will check it out today. Super intrigued to say the least! “Real” is an unconventional choice for a favorite album. I need to give “Voila” another proper listen. I think I might have been biased against “Wilder Shores” since I was really hoping for a conventional pop album from her at the time she released that one. Glad you managed to catch “Big Big Love” on RCB. We added “If u go” from the new EP to high-rotation yesterday.
Amazing article and superbly exciting review on ‘Kismet’. Eternally grateful for the divine intervention to have these extraordinary forces of nature take fans and listeners on a new timeless voyage across inspiring, uplifting and evocative soundscapes.
‘Leave A Light On’, ‘Summer Rain’, ‘Do You Feel Like I Feel’, ‘You’re Nothing Without Me’, ‘It’s Too Real’, ‘Lay Down Your Arms’, along with the rest of the songs of their respective albums, are great part of the soundtrack of my high school and college years, memorable road trips, exciting experiences in México, formative seasons in Minnesota and, still currently, life in California.
In the vast sea of amazing singers, great songs and excellent music, like a big big wave, Belinda’s voice has the enduring power to carry souls, uplift spirits and energize hearts with the perfect balance of thrills, gentleness, freshness and longing to ever connect Heaven and Earth.
@Alex: First, a HUGE thank you for that incredibly thoughtful comment. I especially liked the bit you wove in the extent to which Belinda’s songs formed a key part of the sonic backdrop to life’s defining and memorable experiences. It makes it almost impossible to dissociate those songs from the experiences. So glad you mentioned “Leave A Light On” first. That was the song that kickstarted my (I am the primary DJ for the global radio broadcast connected to this blog/site) love affair with Belinda’s music. I am also glad you enjoyed the review. It feels so strange to be reviewing something by Belinda Carlisle in 2023 – but I ain’t complaining!
@Alex and Pranav: Leave a Light On is also my fave solo track, and I too really love the Live Your Life and Real albums. (It’s almost unfair to compare any of her solo output to the high-water mark of Heaven.)
And like @Joel, I’ve been a fan since Our Lips Are Sealed (I think I had the double A-side single c/w We Got the Beat before the first Go-Go’s album even came out! (I was a foetus at the time, lol)
PS: I listen to RCB on my laptop (with or without VPN) and on my hub, without too much trouble. And I’ve come to accept that I now have to suffer through ads much of the time, but it’s a small price to pay for such a refreshingly eclectic playlist. Every day, I hear something(s) that I wouldn’t even know of otherwise. Viva RCB!
Considering we’ve been in a musical dead zone for too many decades to count and it’ll go on ’til the world ends, it’s great news Belinda is coming back with some proper music. Could never describe the old ‘World Without You’ as heart breaking or beautiful, it was a weak single compared to a few other choices left on the breakthrough album, which it actual fact, while good, was soon smothered by the better albums of hers that followed, right up until she seemed to retire in 1996. I heard she was a yoga teacher since, and it’s a pity all the vile Swifts, Perrys, Oras, Knowles, Rhiannas, Adeles and so forth can’t sod off and so the same, then we might have to hear them OR see them constantly trying to pretend to be actual pop stars and have music talent as opposed to being just manufactured barbie sluts. And the so-called boys are no better! So hooray for Belinda. She couldn’t be back quick enough, especially as Kim Wilde continues to drag her heels about any new music. “Here Come The Aliens” was 5 years ago, soon 6, and nothing new song-wise since ‘You’re My Karma’ with vocal irritant and smug Aspaul. But, Bel, happy to have you back, and “Runaway Horses” remains your classic album, and most fans, and even Belinda herself totally agree! And album so fine I felt sorry for the 4 left on it NOT released as singles, and to say that of someone who isn’t Kim Wilde, ABBA, Bangles, Duran Duran or Sandra, I can’t think of any higher praise.
Of course the version of ‘(We Want) The Same Thing’ on the album was a nasty, ugly mess threatening to disrobe the album from its top place, but then the perfect pop/rock single was created, even if it took almost a year following the album’s release to be made! The title track needed an edit too, but that’s what the singles collection for, so I play that one. So one very cool album to stand with Stevie Nick’s best solo one from the same year of 1989. The last year before music went to hell. Thanks hag Madonna, S/A/W and c/rap for that.
@Mark: I don’t know if I necessarily agree with us being in a completely musical dead zone but I do echo the view that the glory years of pop/rock music are probably long gone and that’s largely a function of independent tastemakers having their curatorial autonomy taken away by their conglomerate owned management AND a broken incentive system for musicians that is rooted in a myopic emphasis on stardom over artistry (and potential for longevity). I think that is the core issue at hand. I personally love “World without you” by Belinda Carlisle and I think this is where our differing personal preference come into play. Belinda Carlisle did not go into complete retirement after 1996. She dropped a 2-3 great singles (“I won’t say I’m in love” is BEYOND fantastic!) after that. She also did a French album of covers called “Voila”. She also dropped a one-off single called “Sun” in 2013 and this was very much in the vein of her trademark pop/rock template that made her famous. She also did an album called “Wilder shores” – which was a selection of pop interpretations of chants – which is a very unconventional thing to do. So the new EP “Kismet” is very much more a traditional Belinda offering. As for Kim Wilde. I guess it has been a while since “Here comes the aliens” was released, but I feel for artists like Kim Wilde. For veteran artists, it seems like their new material largely goes unnoticed and so I don’t blame them for thinking the effort is not worthwhile. I think they are in an impossible position – one that is FAR from desirable.