She & Him - Volume One
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Free Music Notes for Volume One
Free Music Review: She & Him bring back Phil Spector's girl group blue-eyed soul!
Hit: 4 Stars
I had never even heard of She & Him until walking into a music department of a Barnes & Noble recently and listening to samples on their listening stations. For those who are as unaware as I was, She & Him is the team-up of actress Zooey Deschanel pulling vocal duties and musician M. Ward playing guitar. I love Deschanel and the quirky characters she's prone to portraying, plus the album samples sounded good, so I figured I'd give their album, "Volume One," a try.
With the opening vocals of a 60's-type torch song on "Sentimental Heart," She & Him lay the strings and piano on thick as her voice carries us into a percussion crescendo with 60's girl group "ahhhhhh"s that ends as soon as you're truly getting into the song. However, never fear, there's more where that came from in the following song, "Why Don't You Let Me Stay Here?" This song has a rollicking piano with Deschanel using an oozing playful, flirty voice familiar to 50's and 60's bubblegum pop girl groups. Ward cuts in mid-way with a classic guitar riff and the song rounds out to be probably my favorite track on the album. The lyrics are simple and rhyme simply but it completely works for any fan of classic girl groups such as Phil Spector's the Teddy Bears or even a young Nancy Sinatra. Most of the songs on this album were written solely by Deschanel (with the exception of two cover songs and one co-written by actor Jason Schwartzman), showing great songwriting talent, and it's easy to see where her influence came from. It's the same songstress' whose sounds are paid homage to on this album. Namely the Teddy Bears, Nancy Sinatra, Dusty Springfield, Patsy Cline, Cat Power, Feist (think of her "1234" song), and Shirley Simms (of The Magnetic Fields). She could sound like every other young singer/songwriter female out there right now, but she chose to go a different route and already I'm thankful.
"This is Not a Test" starts off with acoustic guitar and is a mid-tempo upbeat jam with layered background vocals. It's a song about not giving up on anything even though sometimes it seems like it's the best thing to do. It's an O.K. song; the chorus is a simple one that is likely to get stuck in your head. Track number four is "Change is Hard" and it sounds like something straight out of an early Dusty Springfield album. The song speaks of an ex-girlfriend who's singing to her ex's newest girlfriend about how it was a mistake of dumping said boyfriend and her life changing as a result has been difficult. It's a bit better than its predecessor and next comes "I Thought I Saw Your Face Today." This song has Deschanel's voice accompanying a piano and strings again before the band kicks in and she sings about a love who she's trying to forget (maybe the lover from the previous song?). "Today" starts to drag out of that early two-song lull and before I know it, we're on our way to the next song.
"Take it Back" is pure torch song in the exact style of a jazz and blues tone that reflects Julie London or maybe even Dakota Staton. Deschanel's vocals really impress here and it's a slow ballad that even though would be good enough for a slow dance, you wouldn't want to slow dance with your sweetheart to this song with its content: it's a breakup song. Seeing a loving couple dance to this song would bring up the same kind of irony that I find when I see a couple slow-dancing to U2's "One." Not exactly a love song in the nicest sense. The following song picks up the tempo quite a bit with "I Was Made for You," a throwback to the sounds of famous girl groups like The Angels ("My Boyfriend's Back") and The Shangri-La's ("Leader of the Pack"). The background "ooooh-ah-ahhh"s and banging piano notes bring us back to the first two songs on the album and continue the tradition of 50's and 60's shine. It's a simple song about love at first sight and a great carefree song. Song eight is a cover of the Smokey Robinson hit "You Really Got a Hold on Me" and features Ward on background vocals as Deschanel slowly belts out the laid-back, lazy lead vocals (sounding like Cat Power's famous covers) that sound like you're in a smokey jazz bar. Most have panned this recording but I really like it (I've been a long-time fan of the song as well) and think it adds a lot of charm to the album.
"Black Hole" continues Cat Power- and Feist-sounding vocals with a happily melancholy tempo that only lasts a little over two minutes (most of the songs on this album are around this time frame) and is good enough for a small, short song. It sounds like a kitschy showtune but doesn't go on long enough to be an annoyance. Before you know it, the next song, "Got Me," starts with its classic country vocals and twangy guitar - coming off just like Patsy Cline. This song is a lot more lighthearted than most of Cline's popular love songs and it plays out with the heavy emphasis on the twangy slide guitar. I never liked country too much but this tune doesn't hurt in the least. The next track is a cover of The Beatles' "I Should Have Known Better" with Deschanel upping her voice an octave set to slide guitars that sound like they're coming from the tropic islands. It sounds like a rather odd rendition writing about it on paper and it sounds the same when you're listening to the song itself. The listener will either detest this version or like it. I'm in the latter category. I thought it was a nice, playful version that fit the lyrics appropriately and it's nice that it's different from most of the artists who simply struggle to sound just like The Beatles when covering them. The following song is "Sweet Darlin'" which was penned by Deschanel and former thespian-turned-musician Jason Schwartzman (Rushmore) who was a former member of Phantom Planet and now performs as Coconut Records (Nighttiming) (Deschanel did guest vocals for his debut album). The two of them pulled out all the stops for this finale, sounding the most like a Phil Spector-produced song as ever I heard one on this album with layered orchestra, band and a touch of maracas. This is easily my second favorite song on the album. The last track is a hidden bonus track of a short cover of the traditional "Swing Low, Sweet Chariot," with Deschanel singing a cappella in her soft, bluesy voice. It's alright but I don't notice it much to tell the truth. It doesn't have the most emotion to it and it's over by one minute and forty seconds.
Overall, She & Him's debut album is a nice, underrated hit and the fact that they named the album "Volume One" leads me to believe - and hope - that there will be a "Volume Two." Deschanel sure can sing and I can't wait to see what other songs she writes in the future. This album won't be to everyone's liking. My advice is that if you don't like any of the influences I listed in the second paragraph, then steer clear from this album. However, if you're curious, download a few and see if it's to your liking. Like any album you take a chance on and end up loving, I was really pleased to find this release that had hardly any press.
Free Music Review: California soul at 33 rpm
Hit: 5 Stars
Zooey Deschanel is definitely a child of California's better nature. On her and M. Ward's first record, she harks back to the golden era of the Golden State, somewhere between Sweetheart of the Rodeo and Heart Like a Wheel, when singer-songwriters from all corners of the US, Canada, and Britain were all in Cali making laid-back, radio-friendly records with a country bent. From the first listen, it's clear how steeped she is in her parents' record collection. (They were both active in Hollywood during that time, so I'm assuming it's their influence. NB - Her father Caleb did the cinematography for A Woman Under the Influence. +1000 Cali points.)
OK, so that might not be everyone's cup of tea. I've seen 1-star reviews on here deriding this record as pedestrian fluff, and fair game, I suppose. A lot of great records are pedestrian fluff by that reckoning. Carole King's Tapestry, for instance, divides a lot of music lovers. Is a record "Easy Listening" just because it's easy to listen to? Some people prefer mutton to lamb because they like to have something to chew on, and who am I to tell them that's wrong?
It's really about what you grew up with. Put on Simon & Garfunkel - Greatest Hits in a room full of people and you'll immediately separate the teary-eyed from the disinterested. That's the same kind of reaction this record seems to be generating. Maybe some people didn't really grow up with music, and their only touchstones are the Postal Service and the Shins, and so they're disappointed that this record doesn't strike any chords with them. But for those who love Gram Parsons, Loretta Lynn, Diana Ross, Kate and Anna McGarrigle, and - oh, let's say the Shangri-Las - then this record is sure to feel warm and familiar.
Part of that is the "sound". Nice touches abound, including choice backing vocals, strings, pedal steel, pianos, etc., but M. Ward's production thankfully doesn't sex it up too much, instead faithfully showcasing the lovely voice of Ms. Deschanel. She sings about as pretty as she looks (and about as smart as she talks), which will be obvious to anyone who has seen Elf or, more recently, her movie-stealing minor turn in The Assassination of Jesse James by the Coward Robert Ford. Her songwriting is also remarkable, partly because it's surprisingly good and partly because it's so very anachronistic. It sounds like she went around collecting songs with a time machine.
A few choice covers polish it off. "You Really Got a Hold On Me" carries on the very California tradition of covering or writing for soul musicians, as per Janis Joplin, Carole King, the Flying Burrito Bros, though it's mostly done in the same vein as M. Ward's weeping-willow cover of David Bowie's "Let's Dance". A lilting luau rendiditon of the Beatles' "I Should Have Known Better" would feel right at home on Ry Cooder's Chicken Skin Music. She curiously closes the record with the Negro spiritual "Swing Low, Sweet Chariot", a fairly innocuous choice which puts the record to bed.
Overall, this record is just an unexpected treat for fans of Ms. Deschanel. As for the criticism that's going around, like that her stage presence isn't great in youtube videos of her first ever live performances of her own songs, it seems a bit harsh. The "pedestrian fluff" argument also seems a bit off the mark, since to me that would mean doing the kind of Michelle Branch-style acoustic rock that most females with guitars seem doomed to play. On the contrary, Volume One is a smart, disarming record that manages to be sweet without being precious, smart without being self-conscious, and retro without oversimplifying or resorting to gimmicks. 5 stars sounds about right.
Free Music Review: Pleasant, but Forgettable
Hit: 3 Stars
Zooey Deschanel's performance of "Baby, It's Cold Outside" was a highlight of the ELF soundtrack. And after reading an article in Paste magazine, I was intrigued enough to pick up a copy of SHE & HIM. It is a pleasant enough album, but I doubt if it would have been released if it were not for her name recognition as an actress.
The album's biggest weakness is the relatively weak lyrics. They read like the musings of a high school freshman following the breakup with a boyfriend. As such there is a melancholy that permeates many of these songs. And while broken hearts can be the genesis of great songs, lines like "Piece of the puzzle you're my missing part" and "I'm alone on a bicylce for two" show that Deschanel has a ways to go in the lyrics department.
The album, however, is not all sadness and depression. M. Ward is definitely channeling a Sixties girl group vibe on the uptempo "I Was Made for You," and he does his best Phil Spector production work on "Sweet Darlin'," which owes much to the Ronettes "Be My Baby."
Deschanel's cover of the Miracles' classic "You Really Got a Hold on Me" is pleasant, but adds nothing to the original. The same cannot be said for the cover of the Beatles' "I Should Have Known Better." The tempo is slowed way down, and the pedal steel makes it over into a honky tonk weeper. The only other non-original is the bonus track: a 1:35 acapella treatment of the gospel standard "Swing Low, Sweet Chariot."
If you don't set you standards too high, this is an enjoyable if unremarkable album. [Running Time - 36:34]
Free Music Review: Pedestrian Pop
Hit: 1 Stars
Some one said "classic Indie," what were they smoking? This is "Pedestrian Pop." what makes this worse is if you watch her on you tube, right off you can see she has no stage presence. She is affraid of the mic and does not know how to use it. The album is below average and I could not imagine paying money to see her attempt to perform. Poor M. Ward, this does nothing for his reputation. I would be suprised if there is a Vol. 2; maybe there are enough bubble gum chewers out there that would buy it. She is beautiful and has a great personality, but is a B level musician.Free Music Review: Every bit fits just like the last piece of the puzzle.
Hit: 5 Stars
A fresh voice on a reminiscent sound of the 50's. So easy to fall in love with Zoeey Deschanel, and M. Ward is the perfect compliment. The vocals and instrumentals mesh so well together, originals as well as covers are wonderfully played out. Looking forward to Volume 2.