Album review: Jason Reeves' lyrics full of forced rhyming
Courtney Tennill
Issue date: 12/4/08 Section: Features
Monet's paintings are beautiful-from 50 feet away. There should be a sign in every art museum before all his works that says, "Hey. Stop here. Get any closer and it's a hot mess."
Music is the same sometimes. Fergie has a great beat, and her music is fine if you're just cruising around or dancing to it. But when you listen closely and realize she spells tasty "t-a-s-t-e-y" to fit music, you realize something's wrong.
I had that feeling as I listened to The Magnificent Adventures of Heartache (and Other Frightening Tales) by Jason Reeves.
The album, which was originally only available online or at Reeves' shows, was recently released to a wider audience by Warner Bros. Records.
Reeves, who taught himself to play guitar and dropped out of college to pursue a career in music in California, was named a Top Indie Singer-Songwriter by iTunes in 2007.
I agree with iTunes about his singing. Oddly enough, it reminded me of Colbie Caillat-then I found out why. According to Warner Bros., Caillat was one of the first people he met in L.A. Now close friends, they're under the same label and have recorded several songs together.
His guitar playing is also impeccable. Even though most of the songs are indistinguishable as far as the general sound, it works for the album. He has a distinct, laid-back style and wouldn't sound right playing any other way.
For the most part, his album is the perfect soundtrack to a sunny drive through Richmond on a quiet Sunday afternoon.
The relaxed, comfortable beat, perfectly struck notes and smooth singing are impeccably blended.
And if that's all you're looking for-a lot of well-executed background elements-then Reeves is your guy. But just like with Fergie, you can't listen closely. Or you'll have to delete his music from your iPod.
A Warner Bros. press release said Reeves "paints beautifully sophisticated portraits of some of life's most vulnerable yet exhilarating moments."
I think Reeves probably tried to do that but failed. Nearly every song on the album feels like a tossed salad of cringe-worthy clichés, forced rhyming and lovesick babble.
Take "You in a Song," a pop-sounding love song. Here are the opening lyrics: "Tryin' to figure out which way I want this to go/Do I want it to be happy or sad or fast or slow?? /Tryin' to work it out, just what it is I feel/Do I wanna rock you, shock you, soothe you, or move you?'
These are not lyrics. Seventh-grade portfolios have better poetry. The rest of the songs follow suit.
And you know, I'm a girl. I listen to the occasional sappy love song and watch pretty much every chick flick that hits theatres.
But I can't stomach this. And if you have even the slightest appreciation for poetry and the English language, you won't be able to, either.
Music is the same sometimes. Fergie has a great beat, and her music is fine if you're just cruising around or dancing to it. But when you listen closely and realize she spells tasty "t-a-s-t-e-y" to fit music, you realize something's wrong.
I had that feeling as I listened to The Magnificent Adventures of Heartache (and Other Frightening Tales) by Jason Reeves.
The album, which was originally only available online or at Reeves' shows, was recently released to a wider audience by Warner Bros. Records.
Reeves, who taught himself to play guitar and dropped out of college to pursue a career in music in California, was named a Top Indie Singer-Songwriter by iTunes in 2007.
I agree with iTunes about his singing. Oddly enough, it reminded me of Colbie Caillat-then I found out why. According to Warner Bros., Caillat was one of the first people he met in L.A. Now close friends, they're under the same label and have recorded several songs together.
His guitar playing is also impeccable. Even though most of the songs are indistinguishable as far as the general sound, it works for the album. He has a distinct, laid-back style and wouldn't sound right playing any other way.
For the most part, his album is the perfect soundtrack to a sunny drive through Richmond on a quiet Sunday afternoon.
The relaxed, comfortable beat, perfectly struck notes and smooth singing are impeccably blended.
And if that's all you're looking for-a lot of well-executed background elements-then Reeves is your guy. But just like with Fergie, you can't listen closely. Or you'll have to delete his music from your iPod.
A Warner Bros. press release said Reeves "paints beautifully sophisticated portraits of some of life's most vulnerable yet exhilarating moments."
I think Reeves probably tried to do that but failed. Nearly every song on the album feels like a tossed salad of cringe-worthy clichés, forced rhyming and lovesick babble.
Take "You in a Song," a pop-sounding love song. Here are the opening lyrics: "Tryin' to figure out which way I want this to go/Do I want it to be happy or sad or fast or slow?? /Tryin' to work it out, just what it is I feel/Do I wanna rock you, shock you, soothe you, or move you?'
These are not lyrics. Seventh-grade portfolios have better poetry. The rest of the songs follow suit.
And you know, I'm a girl. I listen to the occasional sappy love song and watch pretty much every chick flick that hits theatres.
But I can't stomach this. And if you have even the slightest appreciation for poetry and the English language, you won't be able to, either.
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