Ranking Every Song From "Harry's House" Based On Written Quality

I have been a fan of Harry Styles for almost a decade now. From his One Direction days through to his first solo album and now onto his third album. His self-titled first album showed songwriting promise. As part of One Direction, he had been part of songwriting in some of the latter albums, but it was never part of the intention behind the group.

I didn't like "Sign of the Times" at first, but as I have grown older, the song also grew on me. I think the single does show the beginning of a budding songwriter. His sophomore album, Fine Line, brought an impressive discography and showed that he was becoming more comfortable with songwriting. Still, it is an experimental album songwriting-wise. He's playing with metaphor, symbolism, and synesthesia as well as beginning to develop his own style.

With the release of his third album, Harry's House, this year, I truly feel Harry has found his songwriting legs. The album contains a cohesive theme both in the music and lyrics. As the title would suggest, there is a domestic aspect to the album with many of the songs taking place at home or having the intimate feel of a night in.

This is the only Harry Styles album I simply let play. No song to skip. It can both fade into the background (as it does as I write this) or provide a comforting word in my own domestic world.

As I have a habit of doing, I am going to examine each track on Harry's House and rank them based on their written quality. While the lyrics will be the largest factor in my ranking, it is impossible to look at music purely as words, and elements of the music and production may also play a role in my rankings.

Without further ado...

#13: Love Of My Life

Written by Tyler Johnson, Kid Harpoon, & Harry Styles

The last song on the album takes up the final rank on my list. There's nothing really wrong with this song, it just is sort of boring compared to the others. There is less overall depth. I do enjoy Harry's vocals and the production of this song (it is a great background song for writing).

According the Genius Annotation and an Apple Music interview, Harry wrote this song about his love for England, the place he was born and grew up. When looking at the lyrics, I can certainly see this.

Baby, you were the love of my life, woah/Maybe you don't know what's lost till you find it/It's not what I wantеd, to leave you behind/Don't know whеre you'll land when you fly/But, ​baby, you were the love of my life

The subject here is vague. He uses "baby" and "you". There are no gendered pronouns in the song indicating that the subject is both gender neutral and potentially not a person. Considering Harry Styles spends most of his time away from England, it understandable that he may lament having to leave.

The overall theme of the album is domesticity and feeling at home. Yet, this last song indicates that Harry is not home. "Harry's House" may reckon to creating one's home even far away from the place they consider home. It is a good ending song for the album, but does not carry as much depth as some of the other songs on the album.

#12: Cinema

Written by Sammy White & Harry Styles

I'm going to be honest, "Cinema" is my least favorite song on the album. It starts off strong and I do not think it's a bad song, and I do recognize it has merit which is why it's not last.

First, let's look at what I do like about the song, the chorus.

I just think you're cool/I dig your cinema/Do you think I'm cool, too?/Or am I too into you?

The chorus is simple and fun. It captures the small thoughts of insecurity and self awareness that come with a relationship. Based on Styles' comments on the song, this was meant to be fairly rhythmic and something you could run to. I think he easily achieved that while keeping the theme of the album in mind.

The use of the word "cinema" is the most interesting part of this song. To me, it would appear that the subject of the song is being referred to as having "cinema" because they are refined and captivating. The chorus may also touch on this with Harry asking if he is simply too into the subject.

This song is very sexually charged. That is not what I have a problem with, its more the execution that I do not like. Harry has done sexually charged songs in the past "Watermelon Sugar" and "Only Angel" are two prime examples. They also do it well.

If you're getting yourself wet for me/I guess you're all mine/When you're sleeping in this bed with me

This is anything but subtle. However, this is not the part I have a problem with. I actually do not mind the song until we get to the outro.

You got, you got/I bring the pop, you pop/You got, you got/I bring the pop/You got, you got the cinema/I bring the pop to the cinema, you pop/You got, you got the cinema/You got, you got the cinema/I bring the pop to the cinema/You pop when we get intimate

Okay, let's dig into this. First, I don't mind the cosanance and repetitiveness here. It's playing into the rhythmic concept behind the song. But, "You pop when we get intimate." Listen, Harry, I know you like your euphemsisms and metaphors, but what the fuck does this mean? I can think of at least five to six things he could mean. Also, it's just kinda gross?

Normally, Harry nails the subtle sexual aspect of songs, but this one just did not hit for me. Otherwise, the song is fine.

#11: Daydreaming

Written by Valerie Johnson, Tom Bahler, Quincy Jones, Louis Johnson, Alex Weir, Tyler Johnson, Kid Harpoon, & Harry Styles

Initially, this song appears simple, and it is. But, what makes it move up a few places for me is that has a certain universality that I think makes the song more timeless and nostalgic feel. As mentioned, the lyrics themselves are quite simple, but I do not think this song needs anything complicated.

Livin' in a daydream/She said, "Love me like you paid me"/You know I’ll be gone for so long/So give me all of your love, give me something to dream about

Harry references a song each from his two previous albums in this short snippet. "Kiwi" has a similar line to "love me like you paid me" and "Canyon Moon" has a similar line to "I'll be gone for so long." I think these two lines exemplify two familiar themes throughout Styles' work.

As seen in "Love Of My Life", Harry is often away from those he loves most because he works primarily in the United States, while his family and loved ones are mostly in England. He is always going somewhere. He cannot stay long. In his songs, this absence and distance comes through as a longing and contradicting melancholy.

"Love you like you paid me" I interpret as the speaker believeing he does not deserve the love he gives and is given. It is almost surprising to him. Considering this theme is also seen in other songs that do not use this specific line or reference, I think that this sense of amazement of the love, sex, and generosity offered is a theme we will continue to see in Harry's work.

#10: Grapejuice

Written by Tyler Johnson, Kid Harpoon, & Harry Styles

One of my recent favorite writing conventions in music is making something ordinary feel grand. This song is about wine and potentially a love for relaxing a glass of red wine at home. And fleeting romantic feelings, but we'll get there.

Based on the concept and themes of the album, this fits in perfectly with the feel. For myself, this may be equivalent to waking up with a hot cup of coffee to a rainy and misty fall morning. Of course, this song does have a deeper meaning.

Yesterday, it finally came, a sunny afternoon/I was on my way to buy some flowers for you/Thought that we could hide away in a corner of the heath/There's never been someone who's so perfect for me/But I got over it and I said/"Give me something old and red"/I pay for it more than I did back then

Here, the subject of the song decides that instead of buying flowers for their lover, they would rather stay in with a glass of wine. In a way, this is a happy song. The subject seems to realize he is forcing his feelings and decides to stop.

The line, "I pay for it more than I did back then" also has a surprising amount of depth. Taken literally, the wine is more expensive than before their relationship. It also refers to hangovers which tend to get worse with age. It may even refer to the action of falling in love.

Along with the hopeful parts of the song, there is a distinct sadness.

Sittin' in the garden, I'm a couple glasses in/I was tryna count up all the places we'vе been/You're always there, so don't ovеrthink/I'm so over whites and pinks

Here, we see the intersection of the happiness and melancholy. There is the recall of the simplicity of sharing a glass of wine with someone you love, something that obviously makes the subject happy. But, then there is the saddness of such things being in the past.

I also think the line, "I'm so over whites and pinks" may refer to their former lover not being a fan of red wine. Therefore, the subject has not had it since before the relationship. There's joy in having red wine again, but also a sort of reassurance that the red wine (and the end of the relationship) is what they want.

#9: Boyfriends

Written by Harry Styles, Tobias Jesso Jr., Kid Harpoon, & Tyler Johnson

Anyone who has or does date men can relate to this song. Sadly, I have seen the exact situation unfold for friends of mine. Now, relatability does not make a good song, but when reading the lyrics of this song, it has a poetic quality to it. Styles purposely intersplices short lines between long ones to create and break up the rhythm.

You/Love a fool who knows just how to get under your skin/You/You, you still open the door

More than the words contained in the lines above is said. Despite the almost objective judgment that the "You" subject in the song is dating a fool, she still opens the door for him. It shows how boyfriends take advantage of kindness and empathy displayed by their partners.

You/You lay with him as you stay in the daydream/You/Feel a fool, you're back at it again

Another mention of daydreams appears on this song. Obviously, daydreams are an important symbol and theme for the album. Here, it serves as a way to show that the woman is living in a daydream rather than reality causing them to stay with their abusive boyfriend.

Styles noted in an Apple Music interview that he wrote this song as both a criticism of himself and from observations from watching his sister and female friends date. I apperciate his honesty and openness in this song and it has a lot of hidden depth.

Finally, the last thing to discuss about "Boyfriends":

Hoo/Niaga ti ta kcab er'uoy, loof

The opening lines of the song are "Fool, you're back at it again. Ooh." Styles has included backwards words and phrases in his songs. Here, it feels like a way to subtly call out the woman in the song. The speaker understands that the woman is not a fool, but wants to call her one because from his outside perspective, he does not understand why she stays with him.

#8: Satellite

Written by Tyler Johnson, Kid Harpoon, & Harry Styles

My favorite parts of this song are the details. The chorus follows a basic structure and lyricism that gives the song more of a pop feel. But, the verses, they hide small nuggets of depth.

Then we drink the wall till we wanna talk

It's not "drink TO the wall" but "drink the wall" itself. I personally love this imagery and the odd personficiation and synthesia we see here. It gives the wall almost a fluid quality, yet, it is still impenetrable. Satellites are the main symbol and metaphor, which I think this fits well with. The sky and the air is a sort of wall that isn't totally solid, but still a barrier.

I'm in an L.A. mood

The album frequently references cities or countries. Here, the speaker uses L.A. as an adjective. To me, this portrays a sort of light, airy, and warm mood, but the object of the satellite's revolvement pushes them off.

The metaphor here isn't necessarily new, but I like the take of it in this song. It is on a much smaller scale. I have also frequently seen this song used to describe toxic relationships. However, in this song, it describes a relationship where the speaker can tell the woman is struggling and wants to be there for her, but she continues to push him away. Thus, beginning a satellite-like revolution where he continues to check in and worry and she pushes him away.

#7: As It Was

Written by Kid Harpoon, Tyler Johnson, & Harry Styles

The lead single from "Harry's House" at first seems fairly simple. But, like so many of the songs on this album, the song hides depth behind a veil of nostalgia and domesticity. I will admit that this song was just so-so for me at first. Considering this song is dead middle in this listing, there is still some truth in that initial feeling. However, I have grown to enjoy this song more.

First, I want to discuss the intro.

Come on, Harry, we wanna say goodnight to you

This is from a real voicemail left by his goddaughter who always calls to tell him goodnight. He missed it one day and she left this indignant and adorable voicemail. Note that this intro is omitted from the radio version, but is present in all other versions.

Opening the song with this creates the tone of the song. I do not think it holds much meaning except for connecting together the themes of the song. Now, let's get more into the meaning of the song.

Answer the phone/"Harry, you're no good alone/Why are you sitting at home on the floor?/What kind of pills are you on?"/Ringin' the bell/And nobody's coming to help/Your daddy lives by himself/He just wants to know that you're well

The first line of the second verse "Answer the phone" is exactly what Harry failed to do that day with his goddaughter which was not common or normal. Beyond the possible real life implications in the song, the poetic aspect also involves change.

I think every young adult has experienced concerned family members worrying about them after they move out. While often well meaning, it could involve prying that is simply not necessary such as potential drug use and relationships, both of which I experienced in college.

It can be difficult for people to adjust to change, especially parents and adult family members when a child grows up and begins making their own decisions. Of course, this song does negate the loneliness expressed through lines that imply the speaker is laying on the floor alone and may also be having issues adjusting to the change himself.

#6: Late Night Talking

Written by Harry Styles & Kid Harpoon

On my first listen, this was the song that caught my attention most. Partially for its upbeat music and tone and partially for its lyrics. The lyrics are simple, but create a quaint and content feeling.

Things haven't been quite the same/There's a haze on the horizon, babe/It's only been a couple of days and I miss you, mmm, yeah/When nothing really goes to plan/You stub your toe or break your camera/I'll do everything I can to help you through

The first verse and opening of the song perfectly exemplifies this tone. The speaker and (presumably) their lover are now apart and spend their late nights talking and catching up. To me, this tone reminds me of several aspects of childhood and the past: late night talks at slumber parties, missing your friends during the summer, and staying up late to text a new flame on a work or school night.

Additionally, as will be a theme in the remainder of these songs, Harry does a great job of following the number one rule of creative writing, "Show don't tell." For example, "You stub your toe or break your camera." These--for the most part--are trivial problems that you don't think about seeking consolance, especially in a lover who is fair away. However, the speaker is so desparate to speak to their lover that they will take and make any excuse to do so.

There may be a hidden innuendo hidden in this song as Harry likes to sometimes do (as discussed earlier). However, in my opinion, that is not present in this song. Rather, the implication itself serves as a way to create a bit of longing between the speaker and their lover.

#5: Keep Driving

Written by Mitch Rowland, Tyler Johnson, Kid Harpoon, & Harry Styles

It was difficult to place this song because I feel there is so much more to this song than even what I will discuss. To me, this song feels personal, yet, it's personal in a way we can all relate to. It is a cliche that we have all had the thought to keep driving when things are not going right. The idea of driving until you run out of gas or you find a place to start off has become nearly universal.

Thus, by adding non-cliche imagery and other devices to create a beautiful piece of art. You will find this in several mediums and artforms; taking the cliche and making it your own is a widely accepted way to create something literary and new.

Black-and-white film camera/Yellow sunglasses/Ash tray, swimming pool/Hot wax, jump off the roof

A small concern with how the engine sounds/We held darkness in withheld clouds/I would ask, "Should we just keep driving?"

The first stanza is made up almost purely of images and sensory details. It creates almost a retro scene and one that is certainly nostalgic. I can see my own summers of pointing a camera without knowing how the picture would turn out and watching my cousin's best friend jump from the roof of my aunt and uncle's house into the swimming pool. The fact that I can relate my own images and experiences to the line shows just how well written and thought out these details are.

The second stanza included in the excerpt is the first sign of trouble in the idyllic image of the past. While all elicit the senses, there is added depth in "withheld clouds." It's not quite personification and not quite a metaphor. When I think of this term, it makes me think of dark clouds coming on the horizon. When placed into the context of the song, the speaker and their companion seem to want to avoid these dark clouds and continue to outrun it, regardless of the concerning sound coming from the engine that threatens to allow the withheld cloud to catch them.

This song also gave us the iconic line:

Cocaine, side boob

While my friend and I joke about this line a lot, it does create the image of a 1990s mobster movie in my mind which furthers the nostalgic imagery of the sing. The images in the song are exceptionally well chosen that shows the true skill and mind of a poet.

After initially writing this section, a friend pointed out a perplexing line that made me reconsider my analysis of this song.

Choke her with a sea view

Following the previously quoted line, this could simply be part of creating the atmosphere and tone of the song. The song implies that the speaker and a loved one are avoiding or escaping something. Choking, here, likely is a sneaky metaphor hidden behind a both dark and sexual metaphor understadowing whatever it is they are driving away from.

#4: Music For A Sushi Restaurant

Written by Tyler Johnson, Mitch Rowland, Kid Harpoon, & Harry Styles

The opening song of the album was the song title I was most intrigued about. The literal story behind this song is that Harry and his manager sat in an Los Angeles sushi restaurant when one of his songs came on. One of them said that it seemed like odd music for a sushi restaurant. And, thus, Harry decided to make a more appropriate one.

For many, it may be surprising that this song ranks so high when it has seemingly nonsense lyrics, but there is technicality to the lyrics and hidden depth.

Green eyes, fried rice, I could cook an egg on you/Late night, game time, coffee on the stove, yeah (Oh)/You're sweet ice cream, but you could use a Flake or two/Blue bubblegum twisted 'round your tongue

The first line of this song--and album--is among the cleverest. It's a fun and inventive way to call your date hot. The rest of the lines go on to elicit nostalgia such as "coffee on the stove" and then become somewhat suggestive. The imagery chosen though falls in line with the nostalgic and domestic theme of the album: sweet ice cream, blue bubblegum, a Flake chocolate bar inserted into an ice cream cone.

If the stars were edible/And our hearts were never full/(Ba, ba-ba, ba-ba, ba-ba)/Could we live with just a taste?/Just a taste

Again, we have a fresh metaphor/analogy. These three lines portray the attraction and sense of urgency between the two, the starry night in which they enjoyed the sushi restaurant, and their potential for wanting to carry on the night.

#3: Matilda

Written by Amy Allen, Tyler Johnson, Kid Harpoon, & Harry Styles

Throughout this article, I've mentioned nostalgia and how it is one of the biggest themes on the album. For people belonging vaguely to Harry's generation, Matilda by Roald Dahl or the movie of the same name directed by Danny Devito are great sources of nostalgia.

Whether it be due to typical adolescent angst or real and true neglect and abuse, I believe we have all felt like Matilda for a moment. Or, perhaps, we have known someone similar to Matilda. This is the perspective the song takes.

You were riding your bike to the sound of "It's No Big Deal"/And you're trying to lift off the ground on those old two wheels/Nothing 'bout the way that you were treated ever seemed especially alarming till now/So you tie up your hair and you smile like it's no big deal

First off, beyond the obvious nostalgia to bike riding, there is a possible E.T. reference that also serves as a metaphor for the desire to escape one's life. The last two lines are reflection of the speaker and feel reminescent of when you find out something startingly or alarming about someone you went to school with or grew up with.

Also, placing "It's No Big Deal" in quotes is interesting. Some people have speculated that it's a reference to a song, which makes sense. However, I haven't found a song that really fits with the many other allusions made on the album or that or anything more than a stretch. To me, it is rather the chorus of the "Matilda" in this song. She says, "It's no big deal" so much that it has become it's own chorus in a song.

The epitolistary form of the song also lends some credence to the nostalgia and reflection. Even today, in the era of email and social media, we often write letters when trying to express complicated emotions or regrets.

#2: Daylight

Written by Tyler Johnson, Kid Harpoon, & Harry Styles

Daylight is what I consider the perfect pop song. It is upbeat and fun with a repetitive and easy to sing along to chorus. Yet, the lyrics do not lack ingenuity.

I'm on the roof/You're in your airplane seat/I was nose-bleedin'/Looking for life out there/Readin' your horoscope/You were just doing cocaine in my kitchen/You never listen/I hope you're missing me by now

The structure of the first verse is unique. It is almost call-and-response or even a pantoum using metaphors. What I mean by this is that every other line go together. For example, "I'm on the roof/I was nose-bleedin'", "You're in your airplane seat/Looking for life out there." This same structure continues with the next four lines, albiet in a looser form.

Additionally, certain images also go together "nose bleedin'/doing cocaine" is the most obvious one. However, "roof/airplane seat" both refer to being up high in some respect. Then, in a more metaphorical sense, "roof/airplane seat/nose bleedin'/cocaine" also all refer to being high in different ways. "Roof/airplane seat" refer to being physically high, "nose bleedin'" can refer to getting nose bleeds due to altitude changes as well as a side effect of doing certain drugs, and "nose bleedin'/cocaine" can both refer to a drug high.

If I was a bluebird, I would fly to you/You'd be the spoon/Dip you in honey so I could be sticking to you

As one of the most memorable images from the song (and album), the pre-chorus feels to me like a reference to the idiom "You catch more bees with honey." Of course, bees are not mentioned, but bluebirds. There could be several reasons for choosing a bluebird. Perhaps a reference to songbirds? The symbolism of bluebirds throughout literature and culture? Maybe it just fit better with the melody?

Regardless, bluebirds tend to be considered a happy symbol and omen. Thus, the overall expression of the pre-chorus is that the speaker does not want to be away from the subject, even if bluebirds are not typically out at night.

The overall meaning of the song is not a new one. I've heard other songs cursing the sunrise or daytime because it means they must now leave their lover. However, I feel like this took on a much different tone and plot structure than other similar songs. A great example of taking a cliche and twisting it to fit your style.

#1: Little Freak

Written by Kid Harpoon & Harry Styles

If you had asked me following my first listen through what song would be number one, I certainly would not have said "Little Freak". However, as I listened more and more, this slowly became a song that not only created vivid imagery, but felt vivid. It felt like a Saturday in a place you don't wholly belong, but also don't wholly not belong.

Little freak, Jezebel/You sit high atop the kitchen counter/Stay green a little while/You bring blue lights to dreams/Starry haze, crystal ball/Somehow, you've become some paranoia/A wet dream just dangling/But your gift is wasted on me

Within the first verse, there is already plenty to unpack. First, the name Jezebel has several meanings. Likely, it refers to the Jezebel of the Bible who has come to represent unpure, shameless, or otherwise morally corrupt. However, there almost appears to be a joking or sarcastic tone to calling the subject Jezebel. Additionally, the speaker has an obvious admiration and attraction to "Jezebel".

Next, "stay green" seems to be largely interpreted similarly to "stay gold". Basically, hold onto your innocence. This directly juxtaposes the "Jezebel" comment. Perhaps this woman is unaware of her own sensuality or attractiveness and thus this innocence itself almost unbelievable and makes her more intriguing.

My favorite line on the entire album is "A wet dream just dangling". This one line does a lot of work in describing the speaker's feelings and solidifying the themes of the song itself. Ultimately, the song is a "the one that got away" narrative. This is further supported later on in the song:

I disrespected you/Jumped in feet first and I landed too hard/A broken ankle, karma rules/You never saw my birthmark

The final line implies that their potential relationship never got as far as it potentially could've or as far as the speaker wanted it to. Additionally, the speaker takes responsibility for this. The speaker seems to regret objectifying and judging the woman. Perhaps this harkens back to "Jezebel" at the beginning.

Overall, it is a beautiful song that I could probably write an entire article on itself. While not as upbeat as other songs on the album, I believe it is one of the most listenable.

As I wrap up, I want to explore the recurrent themes of the album because it further deepens the concept behind the album. It also solidifies just how cohesive this album is, with each song fitting with and adding to the one before. Below are just some of the many recurrent themes.

Themes:

Locations: sushi restaurant (Music For A Sushi Restaurant); Hollywood, Bishopsgate (Late Night Talking); corner of the heath (Grapejuice); America (As It Was); New York (Daylight); America (Keep Driving); L.A. (Satellite); hotel, coordinates (Love Of My Life)

Stars/Astrology/Dreams: "if the stars were edible" (Music For A Sushi Restaurant); horoscope (Daylight); "starry haze, crystal ball" (Little Freak); "give me something to dream about" (Daydreaming); satellite (Satellite); daydream (Boyfriends)

Colors: green eyes (Music For A Sushi Restaurant); "give me something old and red" "I'm so over whites and pinks" (Grapejuice); bluebird (Daylight); "Stay green", blue lights (Little Freak); yellow sunglasses (Keep Driving)

Food: fried rice, egg, coffee, ice cream, Flake, blue bubblegum (Music For A Sushi Restaurant); honey (Daylight); "make your tea and your toast" (Matilda); pop (Cinema); maple syrup, pancakes, hash brown, egg yolk (Keep Driving)

Drinks/Alcohol: green tea (Music For A Sushi Restaurant); "bottle of rouge" "I'm so over whites and pinks", grape juice (Grapejuice); beer, "Red wine and a ginger ale" (Little Freak); "make your tea and your toast" (Matilda); pop (Cinema); coffee, wine glass (Keep Driving); "drink the wall" (Satellite); "secretly drinking" (Boyfriends)

Drugs: "what kind of pills are you on?" (As It Was); cocaine (Daylight); "no roof" (Cinema); "puff pass", edibles, cocaine (Keep Driving)