I'm completely underwhelmed by this coming week's releases. But a new blog was promised and the album I had hoped to review is currently on lend to someone else.
You know, music fans are fickle. If a singer puts out too many albums that sound similar, we complain about how they only know four chords and we're over them. If they change too much, we immediately whine that we like the old stuff better. We're a tough crowd to please. That probably explains why there are so many one-hit-wonders and so many bands we're all embarrassed to admit ever liking. We all have a shoebox of CDs we only pull out when we're alone. We all lament about certain bands' second albums-They changed so much and it sucked. But there are also plenty of bands that have evolved over time and whom we adore for it. The difference, no doubt, is that the change wasn't made for the sake of making a change but for the fact that life had changed. So, how do you explain a band that hasn't changed at all, then? Is their life not at all different than it was when they recorded last year's album? What about the year before that? Or are they just afraid that changing things up a bit will cause some fans to turn away? I guess what I'm asking is this...
Are you a chicken, Jack Johnson, or is your life really so stagnant that your music couldn't possibly have evolved since your debut album in 2001?
I popped in 'To the Sea' an hour ago and expected something great. Instead I got recycled "Sleep Through the Static." To be fair, I was also entirely disappointed by Tift Merritt's new album, too, so maybe I'm just in a funk. But, it all sounds exactly the same. The only song that even remotely warmed my soul was "The Upsetter." I'm pretty sure that it's only because I like the drums.
Here's my plan: I'm going to post this (for the sake of posting) and then take the album to my car. If my opinion changes, and I hope it does, I'll do a second look blog post in a couple days.
For now: Here's my really simple review...
If you like Jack Johnson and absolutely love everything he's done so far then I have no doubt in my mind that you'll love this album. ...Because it sounds exactly like everything he's ever done.
Audiophiles' Red-headed Step-child
Saturday, May 29, 2010
Sunday, May 23, 2010
Four Boys, Four Weeks, Four Shows pt. 1
Mumford & Sons (and The Middle East) Live
I still have to take deep breaths every now and then. When I think about the last two days and the possible third day on Monday, I get a little overwhelmed with excitement, tiredness & a hint of Jameson. Here's the thing: Great bands turn me into a squirming 13 year old girl (though, my lungs aren't as awesome as hers). Honestly, I think it would have been hard for me to NOT enjoy this show-I'd been looking forward to it for far too long and I sincerely love Mumford & Sons music. Still, I think I saw an amazing show and I met some awesome, AWESOME guys. Here's a little about my adventure.
First stop, Cleveland. I drove four hours to get to the show and after a quick detour to the Rock & Roll Hall of Fame, I drove through a faintly sketchy neighborhood to get to a little place called, "Beachland Ballroom." Ballroom is both truthful and yet it's still an overstatement. You do, actually, stand in something very similar to a Ballroom. But with the metal trashcans near the speakers and the bar back behind the stage (sort of), the typical "Ballroom"-esque qualities are definitely lacking. Still, it was cool and the drinks were cheap. Getting a drink was the best thing I could ever do. I'm a very solitary person, but I love the crowds at a concert. I don't, however, enjoy talking to them. One drink was enough to loosen me up enough to talk to the insanely tall girl in front of me. That worked out to my advantage because she let me in front of her and then I was only behind one person. The semi-low stage afforded for people pop their butts up and sit down before the show started. Once things began all the girls in the front threw their purses on the edge of the stage and they stayed their for most of the show. One thing I knew, right away, was this was going to be far different from my days at arena shows. I was also pretty sure that it was going to be better.
The line-up was supposed to be The Middle East & Mumford & Sons. As an added bonus, they decided to throw Adam (from a band called Albatross, that I WILL do research on later) up on stage first and make him sing for us. No one knew any of his songs, but most of the crowd was already too drunk to not have a good time. He did a pretty decent job and if he was nervous, it didn't show. What he lacked in equipment (he was borrowing the boys' guitar and pedals), he made up for in stage presence. He had a sweet personality and was entirely gracious that so many drunk people wouldn't boo him off the stage. And, how could we? He was great! I wish he had an album. Someone make it happen.
Next came The Middle East. I had very little idea what to expect. In the weeks leading up to the show, I kept telling myself to check them out on youtube and get familiar with their songs. Time got away from me and it wasn't until the night before that I listened to a single song. I thought I liked it, though, so I was hopeful. They didn't let me down-They were great. The Middle East seems so different (both musically and personally) than any of the bands I've seen lately. They're all at once calm and yet amped to be onstage for us. The only bad part of their set was the crowd. At this point, preparing (read: drinking) had reached peak levels and most people stood around and chatted through The Middle East's set. The only time anyone shut up was when they leaned over to toss a glass beer bottle into the metal trash cans. Still, the seven members soldiered on and played a fun show. There was a guest appearance by some of the M&S boys and that simmered everyone down for a song. It was a short set, but I knew I liked them. (Sadly, I'd already used my cash for a t-shirt)
The long awaited and most-sought after Mumford & Sons took the stage next. With a tired/drunk silliness, Marcus tried to get the crowd excited a bit by mentioning LeBron James. The best comment came from a drunk guy on the left who bellowed for a change of subject. That earned a smirk from the lead man and a grin from Winston. The music was, of course, amazing. But I'm pretty sure that even more than that, the crowd was won over by the silliness of the boys in front of us, who shifted between twenty-somethings throwing back beers to twelve-year-olds with mischievous grins. It was hard to watch them and not end up with a major crush on each of them. The set was awesome and the crowd was rowdy, just like the band. It made for a fun night. I can vaguely remember walking out the back door and texting my best friend to tell him it was the best night I'd ever had.
But that show seems more like a frat party in comparison to the Columbus Show...
The Wexner center is a little intimidating. Upon walking around and then up to the main entrance (I may have accidentally parked on the wrong side of the OSU campus), I became overwhelmed with the sudden sense that this crowd was going to be much, much larger than the night before. I was stressed and excited. It was great to see my most favorite band earning such a huge following. It was a bummer to think I might have missed out on more of the smaller, intimate gigs. Like always, I worried for nothing. A jog over to their trailer and a nosing about as Tom (who is some sort of tour manager/merch sales guy) chatted with a security guard informed me the gig had sold out to about 550 people. That was only 50 more than the night before. I let out a huge sigh. ...And then flirted mercilessly with their pink-cheeked friend as he tried to get the t-shirts organized. I'm pretty sure he thought I was stalking him, but I think he deserved the ego boost.
So, the Wex set up a "black box theater" which I'm now going to try to explain in the most nontechnical terms EVER. Some stage-tech guy is going to read this some day and cringe. Basically, in the main auditorium there was a huge stage and tons of seats. M&S fans aren't the seat sort of people. So, on the left side of the massive stage, they built a smaller stage. They dropped the front curtains down (on the smaller stage's left side) and created a curtained off room. The crowd then stood on the massive stage, in front of the smaller stage. I had the best of intentions of taking pictures of the set-up, but the place filled up fast. This time, I was a girl with her purse on the stage. The best part about actually being on the stage (aside from the great noise we made when we all started stomping our feet) was the overhead rigging that afforded the hanging of (what have now been dubbed as...) Little Lion Man Lights. (See the video at the bottom to get an idea of the lights I'm talking about) Talk about ambiance! It definitely changed the mood. Then again, so did the lack of bar.
This time the Middle East's show was insanely different. The crowd was a 180 degree turn-around from the night before. With no liquor and an obvious sense of respect, the crowd simmered down and listened to a band that most of them had never heard before. Seven friends, from a small down in Northern Australia sang their hearts out for us on that stage. At one point, one of the two lead-singer thanked the crowd for being so quiet. I'm pretty sure that most of the audience thought he was being sarcastic. The front row, though, filled with five girls who had been with them the night before, knew they meant it. It was a complete turn around. Even with minor technical difficulties, the show was ten times more fun and engaging this time. The only girl in the band, Bree, has an absolutely beautiful voice. As much as I love to hear the guys, I really enjoyed the songs where they let her sing more. They've got an interesting dynamic that is one part awkwardness and two parts laid-back that easily turns the crowd into a staring, nodding cult. They're beautiful. I adore them. And you can tell them I said so. Maybe some day they won't have to clear their own gear off the stage.
Of course, up next was Mumford & Sons. I'm going to try to put the show in words because...that's why I'm here. But I'm fairly certain that nothing I'm about to say can do justice to their Columbus show. Granted, two of the girls I met up with swore one of their east-coast shows was better-I only know what I've seen. What I saw, was a Saturday night concert that kicked my arse. First, I'd like to suggest the following, in case they ever read this: Give Benji a shot before he goes on stage! TheWex was dry, so the boys weren't drinking. That meant Ben, the guy at the keys, was a lot quieter. There definitely needed to be more headbanging on my left. Second, as funny as they were the night before, they topped it tonight. Once they caught on that screaming "O-H" would make everyone scream back, "I-O" they had a lot of fun with that. They make you laugh pretty easily and try pretty hard to win over a crowd that's already mostly huge fans. I'll gladly take the ass-kissing, though, because it's much better than the bands that look out over and past the crowd and never really at anyone.
Here's the set list (written on my arm and completely different than the one I scored from Adam after the show): Sigh No More, Awake My Soul, The Cave, White Blank Page, new song (I can't remember the name right now. BUT-Excellent), I Gave You All, Lover of the Light (this song isn't on the album, but you can find it on youtube. It's one of my favorites. Even people who don't know the song start to enjoy screaming "LOVER OF THE LIGHT!" at just the right time.), Thistle & Weeds, Timshell (so nice not to have drunk people screaming during the song this time), Roll Away Your Stone (The Middle East comes out for this one and dances around and pounds on extra drums. It's loud, wild and insanely awesome!), & Little Lion Man.
Then...they walked off stage. The Obligatory Tease, if you will. The most amazing thing happened, though. The crowded always starts doing the clapping thing, but this time, the crowd started to sing the "Ahhs" from Little Lion Man (It's toward the end of the song and, seriously, click the link already). Over and over, faster & faster, we sang to the guys back stage until they had to come back out, even if they weren't already planning. Apparently, it was the first time a crowd had ever done this and the band was pretty thankful. To thank the crowd, and because the group was a lot quieter and respectful, the guys did something they hadn't done in quite awhile-They did a number unplugged. The four members, Ben, Marcus, Winston & Ted stood in a line on the stage and sang out "Sister" to the crowd with no pick-ups or mics. They just belted it out, and it was..spectacularly heart-wrenchingly perfect. They closed with an old song called "Feel The Tide" which is hard to get your hands on but worth the effort, as it's really flippin' awesome. It was the perfect ending. I bought another t-shirt and said good-bye to the flustered Tom before going out back with my new friends.
The night lasted a wee bit longer. Some wandering the street was involved, in search of a frat party or a bar. A few, "Hey, Man! Awesome Show!"s were bellowed and always charmingly and graciously accepted. There were rounds bought, and talks of the music industry and show comparisons. There may have even been some ceaseless flirting (it's what AudioDaughter does best!). For all of which, I say "thanks." Last night was definitely the best night ever and one I won't soon forget.
...Until Chicago...or Bonnaroo...or Indiana.
Little Lion Man
I still have to take deep breaths every now and then. When I think about the last two days and the possible third day on Monday, I get a little overwhelmed with excitement, tiredness & a hint of Jameson. Here's the thing: Great bands turn me into a squirming 13 year old girl (though, my lungs aren't as awesome as hers). Honestly, I think it would have been hard for me to NOT enjoy this show-I'd been looking forward to it for far too long and I sincerely love Mumford & Sons music. Still, I think I saw an amazing show and I met some awesome, AWESOME guys. Here's a little about my adventure.
First stop, Cleveland. I drove four hours to get to the show and after a quick detour to the Rock & Roll Hall of Fame, I drove through a faintly sketchy neighborhood to get to a little place called, "Beachland Ballroom." Ballroom is both truthful and yet it's still an overstatement. You do, actually, stand in something very similar to a Ballroom. But with the metal trashcans near the speakers and the bar back behind the stage (sort of), the typical "Ballroom"-esque qualities are definitely lacking. Still, it was cool and the drinks were cheap. Getting a drink was the best thing I could ever do. I'm a very solitary person, but I love the crowds at a concert. I don't, however, enjoy talking to them. One drink was enough to loosen me up enough to talk to the insanely tall girl in front of me. That worked out to my advantage because she let me in front of her and then I was only behind one person. The semi-low stage afforded for people pop their butts up and sit down before the show started. Once things began all the girls in the front threw their purses on the edge of the stage and they stayed their for most of the show. One thing I knew, right away, was this was going to be far different from my days at arena shows. I was also pretty sure that it was going to be better.
The line-up was supposed to be The Middle East & Mumford & Sons. As an added bonus, they decided to throw Adam (from a band called Albatross, that I WILL do research on later) up on stage first and make him sing for us. No one knew any of his songs, but most of the crowd was already too drunk to not have a good time. He did a pretty decent job and if he was nervous, it didn't show. What he lacked in equipment (he was borrowing the boys' guitar and pedals), he made up for in stage presence. He had a sweet personality and was entirely gracious that so many drunk people wouldn't boo him off the stage. And, how could we? He was great! I wish he had an album. Someone make it happen.
Next came The Middle East. I had very little idea what to expect. In the weeks leading up to the show, I kept telling myself to check them out on youtube and get familiar with their songs. Time got away from me and it wasn't until the night before that I listened to a single song. I thought I liked it, though, so I was hopeful. They didn't let me down-They were great. The Middle East seems so different (both musically and personally) than any of the bands I've seen lately. They're all at once calm and yet amped to be onstage for us. The only bad part of their set was the crowd. At this point, preparing (read: drinking) had reached peak levels and most people stood around and chatted through The Middle East's set. The only time anyone shut up was when they leaned over to toss a glass beer bottle into the metal trash cans. Still, the seven members soldiered on and played a fun show. There was a guest appearance by some of the M&S boys and that simmered everyone down for a song. It was a short set, but I knew I liked them. (Sadly, I'd already used my cash for a t-shirt)
The long awaited and most-sought after Mumford & Sons took the stage next. With a tired/drunk silliness, Marcus tried to get the crowd excited a bit by mentioning LeBron James. The best comment came from a drunk guy on the left who bellowed for a change of subject. That earned a smirk from the lead man and a grin from Winston. The music was, of course, amazing. But I'm pretty sure that even more than that, the crowd was won over by the silliness of the boys in front of us, who shifted between twenty-somethings throwing back beers to twelve-year-olds with mischievous grins. It was hard to watch them and not end up with a major crush on each of them. The set was awesome and the crowd was rowdy, just like the band. It made for a fun night. I can vaguely remember walking out the back door and texting my best friend to tell him it was the best night I'd ever had.
But that show seems more like a frat party in comparison to the Columbus Show...
The Wexner center is a little intimidating. Upon walking around and then up to the main entrance (I may have accidentally parked on the wrong side of the OSU campus), I became overwhelmed with the sudden sense that this crowd was going to be much, much larger than the night before. I was stressed and excited. It was great to see my most favorite band earning such a huge following. It was a bummer to think I might have missed out on more of the smaller, intimate gigs. Like always, I worried for nothing. A jog over to their trailer and a nosing about as Tom (who is some sort of tour manager/merch sales guy) chatted with a security guard informed me the gig had sold out to about 550 people. That was only 50 more than the night before. I let out a huge sigh. ...And then flirted mercilessly with their pink-cheeked friend as he tried to get the t-shirts organized. I'm pretty sure he thought I was stalking him, but I think he deserved the ego boost.
So, the Wex set up a "black box theater" which I'm now going to try to explain in the most nontechnical terms EVER. Some stage-tech guy is going to read this some day and cringe. Basically, in the main auditorium there was a huge stage and tons of seats. M&S fans aren't the seat sort of people. So, on the left side of the massive stage, they built a smaller stage. They dropped the front curtains down (on the smaller stage's left side) and created a curtained off room. The crowd then stood on the massive stage, in front of the smaller stage. I had the best of intentions of taking pictures of the set-up, but the place filled up fast. This time, I was a girl with her purse on the stage. The best part about actually being on the stage (aside from the great noise we made when we all started stomping our feet) was the overhead rigging that afforded the hanging of (what have now been dubbed as...) Little Lion Man Lights. (See the video at the bottom to get an idea of the lights I'm talking about) Talk about ambiance! It definitely changed the mood. Then again, so did the lack of bar.
This time the Middle East's show was insanely different. The crowd was a 180 degree turn-around from the night before. With no liquor and an obvious sense of respect, the crowd simmered down and listened to a band that most of them had never heard before. Seven friends, from a small down in Northern Australia sang their hearts out for us on that stage. At one point, one of the two lead-singer thanked the crowd for being so quiet. I'm pretty sure that most of the audience thought he was being sarcastic. The front row, though, filled with five girls who had been with them the night before, knew they meant it. It was a complete turn around. Even with minor technical difficulties, the show was ten times more fun and engaging this time. The only girl in the band, Bree, has an absolutely beautiful voice. As much as I love to hear the guys, I really enjoyed the songs where they let her sing more. They've got an interesting dynamic that is one part awkwardness and two parts laid-back that easily turns the crowd into a staring, nodding cult. They're beautiful. I adore them. And you can tell them I said so. Maybe some day they won't have to clear their own gear off the stage.
Of course, up next was Mumford & Sons. I'm going to try to put the show in words because...that's why I'm here. But I'm fairly certain that nothing I'm about to say can do justice to their Columbus show. Granted, two of the girls I met up with swore one of their east-coast shows was better-I only know what I've seen. What I saw, was a Saturday night concert that kicked my arse. First, I'd like to suggest the following, in case they ever read this: Give Benji a shot before he goes on stage! TheWex was dry, so the boys weren't drinking. That meant Ben, the guy at the keys, was a lot quieter. There definitely needed to be more headbanging on my left. Second, as funny as they were the night before, they topped it tonight. Once they caught on that screaming "O-H" would make everyone scream back, "I-O" they had a lot of fun with that. They make you laugh pretty easily and try pretty hard to win over a crowd that's already mostly huge fans. I'll gladly take the ass-kissing, though, because it's much better than the bands that look out over and past the crowd and never really at anyone.
Here's the set list (written on my arm and completely different than the one I scored from Adam after the show): Sigh No More, Awake My Soul, The Cave, White Blank Page, new song (I can't remember the name right now. BUT-Excellent), I Gave You All, Lover of the Light (this song isn't on the album, but you can find it on youtube. It's one of my favorites. Even people who don't know the song start to enjoy screaming "LOVER OF THE LIGHT!" at just the right time.), Thistle & Weeds, Timshell (so nice not to have drunk people screaming during the song this time), Roll Away Your Stone (The Middle East comes out for this one and dances around and pounds on extra drums. It's loud, wild and insanely awesome!), & Little Lion Man.
Then...they walked off stage. The Obligatory Tease, if you will. The most amazing thing happened, though. The crowded always starts doing the clapping thing, but this time, the crowd started to sing the "Ahhs" from Little Lion Man (It's toward the end of the song and, seriously, click the link already). Over and over, faster & faster, we sang to the guys back stage until they had to come back out, even if they weren't already planning. Apparently, it was the first time a crowd had ever done this and the band was pretty thankful. To thank the crowd, and because the group was a lot quieter and respectful, the guys did something they hadn't done in quite awhile-They did a number unplugged. The four members, Ben, Marcus, Winston & Ted stood in a line on the stage and sang out "Sister" to the crowd with no pick-ups or mics. They just belted it out, and it was..spectacularly heart-wrenchingly perfect. They closed with an old song called "Feel The Tide" which is hard to get your hands on but worth the effort, as it's really flippin' awesome. It was the perfect ending. I bought another t-shirt and said good-bye to the flustered Tom before going out back with my new friends.
The night lasted a wee bit longer. Some wandering the street was involved, in search of a frat party or a bar. A few, "Hey, Man! Awesome Show!"s were bellowed and always charmingly and graciously accepted. There were rounds bought, and talks of the music industry and show comparisons. There may have even been some ceaseless flirting (it's what AudioDaughter does best!). For all of which, I say "thanks." Last night was definitely the best night ever and one I won't soon forget.
...Until Chicago...or Bonnaroo...or Indiana.
Little Lion Man
Wednesday, May 12, 2010
Adele-19
I hadn’t written my first official “review” yet because I was having a hard time deciding who I deemed worthy of being first. I felt like the first post could potentially say quite a bit about Audiodaughter. If I go with a classic album, I could end up only pulling people in who are obsessive about classics. I also didn’t want to do something too new and alienate people who are into the oldies but goodies. Didn’t want to go too folkie and hipster, either. Obviously, I finally made up my mind. As I write this, I’m watching Adele on ‘Unplugged’ on MTV’s channel, Paladia. (I discovered the station last week and have watched it pretty much nonstop.)
I first discovered Adele when her album played incessantly over the loud speakers at my place of employment. We have a five disc spinner and I’m there at least eight hours a day…so I usually hear each album at least twice a day. I tend to grow tired of even stuff I love long before it makes it into my bag. Adele, though-It seemed like every time ‘19’ whirred it’s way into the playing position, I had something new to discover about a song. The album goes from the most dire, sad songs to the most beautifully uplifting-All while Adele stays in this deep, soulful place. By ‘soulful,’ I don’t mean warbling or screaming sorrow (which seemed to be what so many artists consider to be “soulful,” now). I mean that the album transported me from my lovely, warm workplace to someplace I’d never been before, but long to see. ‘19’ took me to a dark, dank club in the dirty part of a large city. It sat me in the corner by the stage and made me shiver in the suffering cold draft. It was worth it, too. She’d yet to become very popular here and I felt like I had been the one to discover her…in that rundown club in my head. Of course, I hadn’t. The moderate radio play that she got here was nothing in comparison to what she’d been getting for months across the pond. Still, I bought multiple copies of ‘19’ last year…it became a staple for my hostess gifts, birthday presents and dinner party mixes. So, because she’s young, because my mother likes her as much as I do, and because I feel like everyone should love her as much as my family does…I bring you Adele…
Here are some high(er) spots (the whole album is an amazing high, but these are the best):
The album starts off with ‘Daydreamer.’ First, as you’ll soon know, I’m a sucker for an acoustic guitar. When this song first started with the soft, slow plucking of the guitar, I knew I’d end up hooked. For lack of a better word, the music behind her voice is so, so pretty. Next is the fact that the song sits pretty perfectly into what, I think, most single girls daydream about. There have been a million future husband songs written and performed. Some of them are good, some of them are lame. But they’re all set to horrible, uplifting music and the “perfection” other songs call for all seem so…trite. With lines line, “He can change the world with his hands behind his back” and “With eyes that make you melt,” Adele asks for things that are both mostly unrealistic but still exactly what we all really want. Sure, when he “lends his coat for shelter,” a girl will swoon. But what we really want? What we daydream about, is definitely more of a “jaw-dropper, looks good when he walks, is the subject of their talks,” sort of guy. If anyone knows Adele, tell her I said “Thanks.”
Next is “Best for Last.” Again, the music is my favorite part. It starts out with slow, low guitar, then the guitar speeds up, then, at the chorus, the piano comes in, speeds things up and makes things just a bit angrier. Just when you’re swishing your hips, the piano drops and you’re back to just the guitar and that steady, walking beat. All the while, her singing stays right on track with the guitar, word for pluck, word for pluck. Each syllable so rounded, so perfectly shaped to the note that you can’t help but believe every single word she spouts. And the chorus? She gets just as angry as her guitar-Without all the shouting some people prefer. The lyrics are also fun. Who doesn’t love a girl who can put a guy in his place? On one hand she’s telling him, you can’t hurt me because I’m going to hurt you-This never meant anything to me. (“You should know that you’re just a temporary fix.”) On the other, she’s still hurt. She’s put up her front, but she was still hoping for bliss. (“The meaner you treat me; more eager I am to persist with this heartbreak”) We all get caught up, even if we don’t mean to.
I’m going to wrap up with “Right as Rain.” Unlike the first two, this doesn’t start off with an acoustic guitar. This music is zippier and poppier-I can almost picture her on Great American Bandstand with this song. If I knew how to do the Mash Potato, I’d do it to this song. As far as the lyrics-Here’s the chorus:
Who wants to be right as rain?
It’s better when something is wrong
You get excitement in your bones
And everything you do’s a game
When night comes and you’re all alone
You can say I chose to be alone
Who wants to be right as rain?
It’s harder when you’re on top.
I could hear someone else doing those lyrics-Putting them so a steady, repetitive beat and whining the whole thing. Not Adele-I can hear her smiling. Or maybe it’s because it makes me smile?
That’s it for now. I’d review the whole album, but it’d be another month before this goes up. I’ve not done this before-So don’t judge too harshly. If there’s something you want to know. What could I say that would make you want to run out and buy the album? Tell me. Like another song that I left off? Share it.
Here’s an illegal link!
I first discovered Adele when her album played incessantly over the loud speakers at my place of employment. We have a five disc spinner and I’m there at least eight hours a day…so I usually hear each album at least twice a day. I tend to grow tired of even stuff I love long before it makes it into my bag. Adele, though-It seemed like every time ‘19’ whirred it’s way into the playing position, I had something new to discover about a song. The album goes from the most dire, sad songs to the most beautifully uplifting-All while Adele stays in this deep, soulful place. By ‘soulful,’ I don’t mean warbling or screaming sorrow (which seemed to be what so many artists consider to be “soulful,” now). I mean that the album transported me from my lovely, warm workplace to someplace I’d never been before, but long to see. ‘19’ took me to a dark, dank club in the dirty part of a large city. It sat me in the corner by the stage and made me shiver in the suffering cold draft. It was worth it, too. She’d yet to become very popular here and I felt like I had been the one to discover her…in that rundown club in my head. Of course, I hadn’t. The moderate radio play that she got here was nothing in comparison to what she’d been getting for months across the pond. Still, I bought multiple copies of ‘19’ last year…it became a staple for my hostess gifts, birthday presents and dinner party mixes. So, because she’s young, because my mother likes her as much as I do, and because I feel like everyone should love her as much as my family does…I bring you Adele…
Here are some high(er) spots (the whole album is an amazing high, but these are the best):
The album starts off with ‘Daydreamer.’ First, as you’ll soon know, I’m a sucker for an acoustic guitar. When this song first started with the soft, slow plucking of the guitar, I knew I’d end up hooked. For lack of a better word, the music behind her voice is so, so pretty. Next is the fact that the song sits pretty perfectly into what, I think, most single girls daydream about. There have been a million future husband songs written and performed. Some of them are good, some of them are lame. But they’re all set to horrible, uplifting music and the “perfection” other songs call for all seem so…trite. With lines line, “He can change the world with his hands behind his back” and “With eyes that make you melt,” Adele asks for things that are both mostly unrealistic but still exactly what we all really want. Sure, when he “lends his coat for shelter,” a girl will swoon. But what we really want? What we daydream about, is definitely more of a “jaw-dropper, looks good when he walks, is the subject of their talks,” sort of guy. If anyone knows Adele, tell her I said “Thanks.”
Next is “Best for Last.” Again, the music is my favorite part. It starts out with slow, low guitar, then the guitar speeds up, then, at the chorus, the piano comes in, speeds things up and makes things just a bit angrier. Just when you’re swishing your hips, the piano drops and you’re back to just the guitar and that steady, walking beat. All the while, her singing stays right on track with the guitar, word for pluck, word for pluck. Each syllable so rounded, so perfectly shaped to the note that you can’t help but believe every single word she spouts. And the chorus? She gets just as angry as her guitar-Without all the shouting some people prefer. The lyrics are also fun. Who doesn’t love a girl who can put a guy in his place? On one hand she’s telling him, you can’t hurt me because I’m going to hurt you-This never meant anything to me. (“You should know that you’re just a temporary fix.”) On the other, she’s still hurt. She’s put up her front, but she was still hoping for bliss. (“The meaner you treat me; more eager I am to persist with this heartbreak”) We all get caught up, even if we don’t mean to.
I’m going to wrap up with “Right as Rain.” Unlike the first two, this doesn’t start off with an acoustic guitar. This music is zippier and poppier-I can almost picture her on Great American Bandstand with this song. If I knew how to do the Mash Potato, I’d do it to this song. As far as the lyrics-Here’s the chorus:
Who wants to be right as rain?
It’s better when something is wrong
You get excitement in your bones
And everything you do’s a game
When night comes and you’re all alone
You can say I chose to be alone
Who wants to be right as rain?
It’s harder when you’re on top.
I could hear someone else doing those lyrics-Putting them so a steady, repetitive beat and whining the whole thing. Not Adele-I can hear her smiling. Or maybe it’s because it makes me smile?
That’s it for now. I’d review the whole album, but it’d be another month before this goes up. I’ve not done this before-So don’t judge too harshly. If there’s something you want to know. What could I say that would make you want to run out and buy the album? Tell me. Like another song that I left off? Share it.
Here’s an illegal link!
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