Revisited: Maisie Peters - The Good Witch

It's so good it may actually be witchcraft.

Despite being a pop listener to my core, I feel like I have a soft spot for rock, electronic, and pop. And that’s how I would describe Maisie Peters as an artist. Some of her tracks are very hard hitting and gets me to bang my head, while others are very emotional. And sometimes, it’s a mix of both. It’s a headbanger that makes you cry.

For me, The Good Witch is as close to a perfect album as can get. It’s an album I often play top to bottom without skips. It’s an album I don’t get sick of listening to. If that didn’t set the mood and potentially spoil this album early on, I’m not sure what is.

So without further ado, let’s dive into Maisie Peters’ The Good Witch.

The Good Witch

Starting off with the album title as the first track. The Good Witch is a soft introduction to the album. It starts off very basic with a piano and the main vocal. But the track gets progressively more aggressive. Yet, while the composition and instrumentation gets more aggressive, the lyrics are whimsical and fun, with a slightly dark undertone throughout the track.

One of my favorite lines of the track is Still bitter, still don’t play the black keys, followed by Maisie... playing the black keys. I also love the outro of the track. It blends well with the more whimsical radio-esk one-liners.

Coming Of Age

Like the airwaves of the bassline combined with this actually funky bassline is wild. It’s this type of whimsicality that made me fall in love with this album in the first place. Especially at the beginning of the track. That light and fluffy bassline contrasts well with the thick and deep kick drum and hi-hat.

Of course, you can’t miss the record scratch. But in the second verse, the hi-hat is stripped away in favor of a synth that’s a tad low in the mix. I’d wager if you were listening to this track in the car, you’d miss it due to road noise.

Overall, I think this track is very energetic and fun. It has a ton of replayability.

Watch

Watch is one of my favorite tracks on the album. It has a disco-electronic, rock vibe to it. The digital hi-hats, synths, and the call and response to this track are great. Add in the riff from the electric guitar and it’s a near perfect track.

It’s absolutely a hype track and it would be the first song I would recommend to anyone wanting to get into this album. It’s a song where if you were to ask me what music I listen to most often, Watch would give you a good idea as to what my favorite genres of music are.

Body Better

Coming off the high of Watch, you have Body Better. The thing that stood out the most on this track was the constant use of horns. I’d argue the horns are the driving factor of Body Better, outside of vocals, of course. Especially during the choruses of the track, the soundscape is wide. Meanwhile, in the verses, the soundscape is very intimate and narrow.

I think Body Better is the sister track to Watch. You get the same upbeat vibe to the track, but the lyrics to Body Better are a bit more depressing and heartbreaking. Lyrics such as Loving you was easy, that’s why it hurts now. The worst way to love somebody is to watch them love somebody else and it work out.

It’s a track that I’ve cried to in the past, for sure. But it’s also a track that I’ve absolutely jammed out to as well, depending on whether I’m listening to the instrumentation and composition, or the lyrics.

Want You Back

Coming off the high of the first few tracks of the album, we come to what I consider the first ballad.

What caught my attention with this track is the uncharacteristic bass. Typically, most tracks use a very dry and forward sounding bassline. Not for Want You Back. The complete opposite, in fact. There’s a ton of reverb with the bass, making it sort of difficult to hear with the overwhelming piano, which also has a ton of reverb added.

But what’s even more interesting is the low-level acoustic guitar that plays throughout the track. Especially during the choruses, where a second layer is added.

The overarching theme of this track is again, sad. Yeah, I know it didn’t last. And what was cheap to you to me, was all I had. The issue is, I know all of this and I, I still want you back.

The Band And I

As a native Seattleite, I have to acknowledge the first line of this track, We played heads-up in a car in Seattle.

But on a serious note, I remember researching the meaning of this track a while back. It’s fairly simple. It’s a track Maisie and her band recorded while touring. The ups and downs. The fun and not so fun.

It’s a track that most people won’t relate to and probably never will. But it gives a glimpse into what that experience is like, for both Maisie and her band.

Despite not being relatable, I think it’s a fun track to listen to in passing. But maybe that’s the Seattleite side of me talking.

You’re Just A Boy (And I’m Kinda A Man)

Another absolute banger (and it won’t be the last!). This track is so freaking good. Another track I would highly recommend if it’s your first time listening to Maisie.

In the best way possible, this track transports me back a few decades. It has that classic rock sound. That drum track with the cowbell, the electric guitar, and the pacing all give me vibes from that genre of music.

And my god, the chorus lets out so many good vibes. No matter what mood you’re in, the chorus to this track just puts a smile on my face. Every. Single. Time. (Also the switch up from an electric guitar to an acoustic one. Clever.)

The breakdown right before the choruses is fantastic, as well. Long time readers will know I love breakdowns.

You’re Just A Boy (And I’m Kinda A Man) is one of my favorite tracks on the album.

Lost The Breakup

Ah, the single. Yeah, it’s great, too. What else can I say? Maisie knows how to pick singles because Lost The Breakup is lovely.

Personally, Lost The Breakup encapsulates the vibe of the entire album. Somewhat sad, somewhat quirky songwriting combined with a very spacious, wide, and somewhat surprising composition.

Although, it is the first track to introduce a guitar (and synth?) solo. Lost The Breakup is an anthem track. It’s the, "I’m over the breakup. I’ve moved on, and in hindsight, I won and you lost."

Wendy

You know the drill. It’s the classic Peter Pan story, redone. It may be a cliche, but I absolutely love the instrumentation in this track. Overall, it’s fairly basic but adds a few ear candies throughout to keep it interesting. If I had to describe it, I would say it’s futuristic.

You could take me to Neverland baby. We could live off of magic and maybes. But I know the girl that you want and it scares me. Behind every lost boy there’s always a Wendy.It’s pretty straightforward. I think you’re my perfect match, but I know what you’re truly after and it’s not me at all, and that terrifies me.

Again, it’s futuristic. I think a better way to describe it is an upbeat ballad.

Run

Run is where Maisie’s songwriting really shines. She doesn’t miss a beat with the faster paced, rap-style songwriting on this track, especially during the chorus. It’s complimented well by the drums and the somewhat chaotic snare pattern.

This track is the antithesis to the rest of the album. While the majority of this album is about heartache and breakups, Run takes that idea and flips it on its head. With lines such as (RIP) Run. Run as fast as you can, take a quick sharp turn at the sight of a man and make it done. If a man says that he wants you in his life forever, run.

Maisie seemingly indicates that she’s fully aware of the red flags now. And if you see those flags, you should run.

Two Weeks Ago

Two Weeks Ago was the other single on this album. I’d argue this is the second "official" ballad on the album. Again, this brings down the mood and gets serious.

As the title of the track entails, Maisie is writing from a place of hurt. She’s hurting from the breakup and is recalling all of the stuff she wasn’t able to do. She wishes she could roll back and fix the relationship. God, I loved you babe. Did I tell you that? The song was true, now that’s all I have. I wish it was two weeks ago.

This song hits me harder this week than any other week as I’ve had some personal stuff come up. I’ve tried my hardest to get myself out of the, "If I could wind back time and would’ve tweaked that day slightly, things would be different" mindset. It’s trauma. It’s a hard place to be in.

BSC

BSC is a song I was really excited to listen to when Maisie announced her album. Mostly because I had no idea what BSC was or what it may have stood for. Now, I know it stands for Bat Shit Crazy, which is super fun.

The thing I absolutely love about this track is how it effectively starts mid-beat. It sounds like you could add another bar or two at the beginning of the track and it would still fit. But more than anything, I love how energetic it is. It never slows down and is another one of those classic Maisie anthems.

This song is just fun. From the different vocal aids (for example, the strings that come in for And I’m spiritual cleansing. Is I’m good at pretending.), the countdowns coming out of the choruses, and the upbeat drums. You also have the line, I kept it in, but it wrecked my organs. So pour the gin and call Graham Norton. I’m gonna throw you down the river. Your Mom can watch it over dinner.

One of my favorite lines comes from the chorus. You think I’m alright. But I’m actually bloody motherf—king batshit crazy. Again, this track is super fun to listen to. Keep an ear out for the bridge, specifically.

Therapy

Therapy is a track that comes right out of a 90s sitcom intro. Don’t lie. You hear it too. The plucked guitar with an acoustic guitar underneath. The beat of the drum. The soft bass. It’s a theme.

Lyrically, I am very happy for Maisie here. She’s finally admitting that she needs help and is going to therapy to solve it. As the saying goes, everyone can benefit from therapy. Especially, when her ex thought she’d never get there. Oh lord, I’m going back to therapy, therapy. You swore I would never be, never be.

But the line that absolutely got me was, I knew loving you was letting you leave. Some say the heart grows fonder and that you build a stronger relationship by letting them leave. Going as far as to say that if they really loved you, they’ll come back for you.

I’m not sure how true that is, but I do know one thing—therapy can be an absolute lifesaver for some (it was for me). I’m not sure where I’d be today if it weren’t for therapy.

I love the beginning of the final chorus, stripping everything away but the kick drum and hi-hat. It builds up and I’d say gives you a nice payoff. It also gives room to really listen in on her backing vocals, which is always a treat.

There It Goes

This song made me realize how many location references are in Maisie’s songwriting. It really sets the scene for lyrical listeners. She’s a great songwriter in that respect.

Again, I’m super happy for Maisie here. She’s on the upswing. I’m dating but just dating for sport. I’m getting coffees for free. And, I, I’m doing better. I made it to September. I can finally breathe.

This track brings me joy every time I hear it. You can definitely feel the smile on Maisie when she recorded her vocals. The stripped back bridge is a treat.

In terms of production, I really liked how thick and in your face the bass and kick drums are on this track. Very little sub-bass, with everything mostly sitting in the mid-bass. I also found that the backing vocals during the choruses were very intimate and close. And of course, it wouldn’t be a Maisie Peters track without the ghost of an acoustic guitar, very low in the mix.

History Of Man

It’s the final boss. Not only the final track of the album but the final ballad.

While I don’t relate to the track, I do understand it on some level. Feeling hopeless and as if every person you meet and get into a relationship with has no regard for your feelings, wellbeing, or mental health. You try and explain it to them, but they simply don’t understand. It hurts and you start to wonder if every person you meet will be this way, no matter how good they seem on the surface.

History Of Man ends the album beautifully. With a repeating note leading to a fade out. To me, it’s like letting a vinyl record end but not lifting the needle back up. Those last few seconds repeat over and over.

Conclusion

A very solid album. Lots of replayability. It has a great balance of ballads and anthems. Maisie’s songwriting really shines on this album and the production hits in a way that her freshman album did not for me.

The Good Witch is a great rock, pop, and electronic album. With how much I genuinely loved this album, I’m surprised I wasn’t able to play it a whole lot last year., especially since the album came out in the middle of the year.

Despite that, I absolutely love this album. I don’t really have anything negative to say about it. So much so that I accidentally got an extra copy of the album on vinyl and sent it to a dear friend who had never heard of Maisie before.

I understand that there’s a deluxe version of the album that came out a bit later. But I haven’t spent much time with the deluxe tracks. Therefore, I don’t have an opinion on those tracks just yet. I will get to them eventually! But for now, I’m going to continue to enjoy the main album.

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Note: This album review was done after listening to Maisie Peters - The Good Witch on Tidal with a Hi-Fi Plus subscription via Roon (24-bit, 48 kHz). Peter has listened to this album prior to this review on Qobuz with Hi-Res enabled via Roon (24-bit. 48 kHz), and on Apple Music with Lossless enabled (24-bit, 48 kHz).