English singer-songwriter Maisie Peters released the deluxe version of her album “The Good Witch” Oct. 27, featuring six new tracks that have continued her pattern of creating powerful and heartbreaking songs.
Peters had been teasing the deluxe tracks for weeks leading up to her official announcement Oct. 13, with snippets of the tracks on her social media accounts and posts on X, formerly known as Twitter, encouraging fans to ask her questions about the new songs.
“The Good Witch” album showed listeners that Peters could make her mark on the music industry as one of the lyrical greats, and her deluxe tracks were the perfect addition to her perfect pop album.
The stand-out track “Holy Revival” was a powerful mix of clever lyrics and upbeat backing music that made such a relatable song extremely catchy. The song has both spoken and sung lyrics, something Peters is able to do really well and has done in numerous songs before. Yet, the spoken lyrics in this track deserve an applause of their own.
Another track that’s done beautifully is “Yoko,” the song that immediately follows “Holy Revival” on the tracklist. This is a complete juxtaposition of the sound of “Holy Revival.” “Yoko” is a heartbreaking ballad about the end of a relationship between two people who saw things differently. She uses a strong metaphor about her ex not understanding that Yoko Ono did not break up The Beatles.
Her play on words and use of metaphors sets this song apart from the rest of the deluxe tracks, and the rest of the entire album. She sings delicately and the soft strum of the guitar behind her vocals complements her voice well.
“The Song” is another track that deserves time in the spotlight. It’s one of the catchiest songs on the album without following the same formula that many pop songs follow. During the bridge of the song, she changes up the tempo and lowers her register before heading right back into the steady, danceable beat.
The song “Truth Is” starts slow and the intro is quite dull, but Peters saves the song with the beat during the chorus which picks up the slack from the slower lyrics, which display raw and honest lyrics about her giving her all in a relationship. The track still doesn’t stand out compared to the others on the album.
She concludes the album with the song “The Last One,” a clever play on words for the title and position on the album. The song has a steady beat and a slower melody until the chorus, which hooks you in with a fast-paced beat and catchy lyrics.
Unfortunately, one of the deluxe songs falls short compared to the rest. “Guy On A Horse” had the potential to be a fun, feminist song like her song “You’re Just A Boy (And I’m Kinda The Man)” from the album but failed to live up to that fate.
While some of the lyrics had great potential, most of them were monotonous and repetitive. The instrumentals for the song felt overproduced and were too loud compared to her vocals, so they took over the song without giving Peters the chance to let her voice shine.
Despite that, the deluxe tracks for “The Good Witch” were an excellent addition to the album, allowing Peters to showcase her astonishing lyrical ability and continue to give her fans the catchy, beautiful pop songs that she has proved time and time again, she is able to make.
