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: Good Debut
Hit: 4 Stars
She & Him, comprised of Zooey Deschanel and M. Ward, are a throwback to 50's pop, with a little bit of other sounds from other decades thrown into the mix. The reviews were abnormally positive, with Rolling Stone and Spin Magazine giving it three and a half stars out of five. It currently holds a 4 out of 5 rating on [...]. Their first album, Volume One, was released in 2008, and of all places I first heard it in American Eagle. I was a fan of Zooey Deschanel's acting, and I liked her song in Elf, so I seeked out the rest of her music, and stumbled upon this gem.
1. Sentimental Heart (2:36) - The opening track starts with Zooey singing sweetly about a boy breaking her "sentimental" heart. The lyrics here are mediocre, with the line "What can you do with a sentimental heart?" being repeated often. The chorus has background vocals, which one can assumed be sung by Zooey, that really add to the feel of the song, one that will carry through to the rest of the album. Towards the end, with about thirty seconds left, a symbol leads into Zooey "oohing" and "aahing".
2. Why Do You Let Me Stay Here? (2:31) - This song, like the one previous, has the definite 50's feel, but also throws in a bit of a country vibe. The guitars twang, provided by M. Ward, flows very well with Zooey's soft voice, leading to an awesome combination and an awesome track. This was also the only single off the album.
3. This Is Not A Test (3:31) - So far this is the slowest song on the album, but not quite a ballad. Zooey does some strange things with her voice on this track, thus leading herself to struggle a bit with the high notes, and going too deep with the low notes. It somehow works to her benefit, and while this song is definitely not the best, it's certainly not the worst, either. M. Ward provides background vocals.
4. Change Is Hard (3:03) - This song almost has a blues-y vibe going for it. Zooey's vocals lead one to a lounge-type setting, with Zooey up on stage, swaying back and forth in front of the microphone. Not exactly different from the previous songs, but one of the better. Zooey has a great sound on this track, and Ward's instruments are a great addition, as always. The lyrics, as the title does, suggest that "change is hard", and Zooey's composition relates to the majority's feeling about change... and that it's hard.
5. I Thought I Saw Your Face Today (2:50) - A laid-back song, the instruments seem to take a break and quiet down, leaving Zooey's singing to take the lead. Her voice is very sensual on the track, almost enticing the listener to her. A good song.
6. Take it Back (2:37) - The slowest song on the album has Zooey talking about having her lover take his love back, because she doesn't want, nor need, it anymore. There's an obvious emotional tone in Zooey's song, which leads to the assumption that this song was based on a personal experience that is still affecting her.
7. I Was Made For You (2:31) - Taking a break from the slower songs, Zooey and M. speed things up a little. The lyrics in this song are very basic and a little too sweet, honestly... yet it works very well. This song is a favorite in large part to the instrumentals. Zooey's voice attempts to riff a little too much, and it only works a few of the many times.
8. You Really Got A Hold On Me (3:59) - This song, popularized by The Beatles, was originally written in 1962 and performed by The Miracles. It's the longest track off the album, and one of the best. M. Ward's sings actual words for the first time, and it really blends well with Zooey's vocals, leading to a sweet semi-duet.
9. Black Hole (2:12) - After track 8, track 9 seems to be a different album, since the two have such different feels. Zooey spins lyrics out of her mouth while Ward continues the same few chords. A great song.
10. Got Me (2:46) - Like track 7, this song is a little too cheesy, but again, it works for sweet-natured Zooey. The chorus is a bit catchy, but overall the song is my least favorite on the album. It's also got a little of the country twang some of the previous songs had.
11. I Should Have Known Better (3:39) - Another Beatles cover, this song was written in 1964 by John Lennon and Paul McCartney for the album "A Hard Day's Night." The Beach Boys also did a fairly popular cover in 1965. The song is jazzed up for She & Him, with a little bit of other genres mixed in as well. Zooey Deschanel changes the lyrics so they fit gender. It seems M. Ward only sings on songs that are being covered, since he provides a lot of vocals here. The Beatle's version is better, but this one is good enough too.
12. Sweet Darlin' (2:41) - This song was written by Zooey Deschanel and actor Jason Schwartzman. It's the catchiest track off the album, and one of my favorites. The lyrics seem to pop and the beats get faster as the song goes on.
13. Swing Low, Sweet Chariot (1:37) - The shortest song on the album is also another cover. It's slow, soft, and honestly makes me a little sleepy. It's a traditional Negro spiritual song and was added to National Recording Registry in 2002. It's just Zooey on this track, and the reasons behind why she chose to sing it are unknown. It's one of the most covered songs in the history of the music industry, and Deschanel shortens it a little bit, but still leaves you filled.
Zooey Deschanel and M. Ward really made a fantastic debut album for the ages, and it's hard to believe that their music can be improved upon. It is, surprisingly, in their next album, aptly titled "Volume Two", which I will be reviewing soon.
Four out of Five Stars
[...]
Free Music Review: Out with the old and in with the...
Hit: 4 Stars
The age old idea that a singer can act and visa-versa has only further proven that a lot of talented people cannot do more than one thing well. You ever hear that phrase `keep your day job'; well it applies nicely to a lot of actors who attempt to cross over into the world of music.
It does not apply to Zooey Deschanel.
Collaborating with M.Ward, Deschanel channels her old soul into a collection of very satisfying and at times downright stunning tracks that prove some people can do everything well. Yes, Deschanel is most certainly one of my favorite young actresses working today, and her stunning good looks (my dream girl at the moment) and her impeccable vocals make her a triple threat. Bringing back a sound that seemingly died out with our parents, She and Him have made light folk pop music the way our kinfolk remember it.
I personally LOVE this type of music to begin with, so it was no wonder I fell head over heals for this album; but the truth of the matter is that this offering should hopefully gather new fans to an almost forgotten genre. The longest song is still under 4 minutes, so the songs here are the definition of short and sweet, incorporating everything from country to Motown, all the while maintaining a unique style belonging solely to She and Him. My only wish is that they could have tried to incorporate some sense of modern music here, as if to bring the sound to another level. They are very authentic and very respectful of the genre they adore, but I can't help but wonder how great this would have been with even a hinting of modern influence.
When I look at Zooey I can see that old soul caressed softly by the gentle hand of modern society. I wanted that same feel in her music. As you can see, I am a HUGE fan of this album and of her music, but I see a small area for improvement and so I felt the need to point that out. The album is so faithful to their influences that it sounds like a remastering of an old record.
I would have liked a little more distinction between eras.
One of my favorite tracks here is `Why Do You Let Me Stay Here?', which uses the breaks in Deschanel's voice brilliantly; and the bounce incorporated in the second half of the track is totally mood setting. `I Thought I Saw Your Face Today' is in stark contrast to the aforementioned; a much more restrained and delicate offering. Deschanel sounds simply `heaven-sent' here; her dreamy vocals crooning over each word. `Change Is Hard' really shows the range of classic influence here, sounding like something Dolly Parton would relish in, while `I Was Made For You' gives us a taste of The Supremes, complete with harmony singing backup singers. Both tracks are sweet, sweet perfection. `This Is Not A Test' has a catchy flow to it, especially once the chorus kicks in, and `Got Me' continues that classic country vibe, sounding like a lovers ballad straight out of the Honky-Tonk. `Black Hole' is a short little ditty that is catchy and has a nice spunk to it. `You Really Got A Hold On Me' is the longest, most laid back track on the album with a nice duet between Deschanel and Ward that shows off why they mesh so well with one another. Zooey sounds almost devilishly charming on `I Should Have Known Better', a hint of mischievous adoration in her voice. One of the most haunting tracks here is `Take it Back', which is probably my favorite song on the album. Zooey just drips with sincere yearning; I just love every single second of the song.
The album opens and closes with two very distinctive and definitive tracks; `Sentimental Heart' and `Sweet Darlin'', both tracks really reeling in the listener and letting them know right off bat just who She and Him are at heart. `Sweet Darlin'' is probably my favorite of the two (beings that, for me, the album really starts with `Why Do You Let Me Stay Here?'). It has such an infectious nature to it; absolutely love it. It's a great way to end this great album.
So, I love it, even though I do see an area of improvement. It is a great start and shows major potential for She and Him to become something truly extraordinary. I highly recommend this album, but be forewarned that it is very authentic and classic sounding. If they drop a few hints of modern musical influence they could really be one of the freshest and most influential acts of our generation.
They have what it takes, and I really, really hope they go there.
Free Music Review: ...And She Sings Too!
Hit: 4 Stars
Like most people, the first time that I had my suspicions about actress Zooey Deschanel being a talented vocalist came from that scene in Elf where she sings in the shower as Will Ferrell's character listens. Volume One is not a collection of Christmas Carrols, and Will Ferrell is not the "Him" mentioned in the band - that title goes to the somewhat reputable, M. Ward. Unsurprisingly, the "Him" is pretty deemphasized on the album, letting Zooey shine as a vocalist and a songwriter. The result is a surprisingly solid, moderately impressive debut from a woman that proves that she's more than just a dumb crossover act.
Most of Volume One is filled with songs that throwback to classic pop and country sounds, and all of them are at least partially written by Deschanel, herself. "I Thought I Saw Your Face Today" just makes me think of Zooey singing this song in a long dress through one of those old-timey radio microphones. Sweeping strings and subtle guitars emphasize the right moments, and carefree whistles really add a sense of playfulness that make the song feel more authentic. "Change Is Hard" conveys more of a classic country picture, like the obligatory scene in every music biopic where the artist plays in a radio studio over the air for the first time as stunned personnel look on in awe. Deschanel's lyrics are often a bit simplistic, but Ward, as producer, is able to utilize them in ways that mask their mediocrity.
That's never more apparent than on the album's standout track "Why Do You Let Me Stay Here?" Zooey sings, "Why do you let me stay here all by myself? Why don't you come and play here? I'm just sitting on the shelf." First off, rhyming "self" with "shelf" is one of the easiest and most-overused schemes in songwriting. It rarely makes any sense, as is the case here. I mean, who actually sits on a shelf? Small gripe, I know, but the point is that the lyric - which is pretty pivotal in the song - is barely a bother because the song itself is so fun and captivating. Ward's production, filled with dancing pianos, wonderfully-used guitars, and some of the best background vocals I've heard in ages, manages to wipe away any blemish that Zooey might have brought on herself.
But Volume One is never an album that tries to be overly complicated or impressive. As a side project for both artists, it more or less feels like they just set out to had fun. That feeling is conveyed pretty often too. Album opener, "Sentimental Heart" is just begging for you to add your own vocals, and "I Was Made For You" doesn't even come close to being a meaningful or memorable song. It's simply a way for the two musicians to have fun. Fans of Ward's vocal work may be a bit disappointed with the album, as this is really Zooey's chance to shine, but there are a few moments here and there (like on "You Really Gotta Hold On Me") where he peeks his head above the water and makes his presence clearly known.
Sadly, as I hinted above, Zooey's first musical endeavor is not near as quirky or interesting as the characters she often plays in the movies. There seems to be this trend in the indie music world for female musicians to pay tribute to , or imitate the classic artists who influenced them. Like Jenny Lewis' debut solo LP, Volume One isn't going to sound very original or inspired and as a result it isn't all that memorable either. Let's be honest, folks are going to pick up this album because it's Zooey Deschanel and they may even give it some solid spins for a few weeks, but it's lack of originality might just serve as it's downfall. Still, Zooey's voice is just as charming as ever, and her personality manages to seep its way into every song on Volume One. That alone is enough reason for me to give it a solid recommendation. Needless to say, if you found yourself falling in love with that scene in Elf, She & Him might just be worth checking out.
Key Tracks:
1. "Sentimental Heart"
2. "Why Do You Let Me Stay Here?"
3. "This Is Not a Test"
4. "I Thought I Saw Your Face Today"
5. "Black Hole"
7 out of 10 Stars
Free Music Review: It's not you who I sing for
Hit: 4 Stars
Zooey Deschanel.
Say the name and anyone who knows her will know why you bought this CD. Now that's not such a bad thing, I mean she's got a completely competent singing voice--once you get used to it. And, as about every reviewer before me has stated, even though this record also has M. Ward included, you could argue the fact that this is Zooey's CD.
I remember the first time I showed this to a friend of mine the first thing he said was, "Wow, this is like the happiest CD I've ever heard." And it's true! At least partially so. Zooey has a voice that is just so upbeat and the music is just as upbeat as Zooey is. However! Do not go in thinking you're going to get some groundbreaking new work. Quite the contrary really. Zooey's voice has such an old-school quality to it that it sounds right at home with the throwback sound of the music. You remember those old time country songs your parents--or grandparents--used to listen to? Take that as a starting point if you want to know what to expect.
If that scares you, don't let it. I am in no way shape or form a fan of the country of now, and the thought of old country does nothing but turn my stomach (sorry if I offend anyone with that statement). Yet, somehow, some way, I really enjoy this CD.
The songs are generally pretty short and to the point. The music is usually pretty upbeat aside from a few spots, specifically Take it back, where strings play a primary role. I Was Made For You is intensely catchy with some excellent drum work and a great sing-along quality to it. I Should Have Known Better is great because of the male-female dynamic it has going for it. And then you have the closer, Sweet Darlin'. Sweet Darlin' basically encompasses everything this CD is about, making it the perfect closer.
She & Him isn't for everyone. If you're the least bit weary about buying this, have no fear to listen to it first. Zooey's voice may turn you off, or it could be the throwback quality of the entire CD. Neither would surprise me. Given the chance, Volume One does have a lot of charm to it. It's something that's not being done anymore and it's successful in what it sets out to do. She & Him is a band you'll only want to listen to when you're in certain moods though.
Oh! The little bonus goodie, Swing Low Sweet Chariot, is incredible. Just so you know...