| We hope you enjoy your visit. We welcome all guests and sincerely hope you will join us and experience what being a member of our home offers! This includes full access to all of our boards and exclusives, plus full access to our vast media library. Once you become a member, you log in to Connections and all of our features are yours to explore and enjoy. PLEASE READ: WHEN YOU REQUEST MEMBERSHIP, THIS DOES NOT AUTOMATICALLY GIVE YOU ACCESS TO THE BOARD. MEMBERSHIP REQUIRES ADMIN APPROVAL, WHICH IS NOT IMMEDIATE. YOU WILL STILL GET THE "YOU DO NOT HAVE ACCESS" MESSAGE UNTIL AN ADMIN HAS APPROVED YOUR APPLICATION. WE ATTEMPT TO APPROVE APPLICATIONS AS QUICKLY AS POSSIBLE AFTER THEY ARE VALIDATED. Thank you. |
| Soul, Funk and Whomp Sent Spinning; Critics call in on "Taylor Hicks" CD | |
|---|---|
| Topic Started: Jan 31 2008, 12:53 PM (122 Views) | |
| Taymanfan | Jan 31 2008, 12:53 PM Post #1 |
|
posted at the Whomp Swamp by mouser Soul, Funk and Whomp Sent Spinning Source: Associated Press/San Francisco Chronicle Date Published: December 13, 2006 Music Review: Taylor Hicks' Debut By Solvej Schou Taylor Hicks, "Taylor Hicks" (Arista) Why did Taylor Hicks win "American Idol"? Well, it wasn't just his soulful voice or Clooney-esque silver hair. It was his unbridled, passionate delivery and goofy charm (plus those spastic dance moves, of course). Hicks still has that amazing voice — somewhere between gruffness and sweetness. But the quirky appeal and fiery performance style that led him to be the unlikely king of this year's "Idol" unfortunately is in rare supply in his overproduced, self-titled debut. Hicks, an Alabama-bred crooner with a penchant for soul, attempts to cover the hallowed ground of his forefathers: legends like Ray Charles and musicians such as Ry Cooder, Michael McDonald and Joe Cocker. Does he succeed? Yes ... and no. Sleekly produced in L.A. by Matt Serletic (Santana, Willie Nelson), Hicks' album plays on typical themes entrenched in the soul-blues tradition: heartache, journeying, more love loss. He pays homage to Charles on such songs as the funky "Heaven Knows," which samples a riff from Charles'"What I'd Say." Other tunes range from the horn-fueled thrust of "The Runaround" to such cheese-pop as "Dream Myself Awake," written by matchbox twenty's Rob Thomas, and the disco-funk theme "Give Me Tonight," with its slap bass line and Hicks' overt reference to gettin' jiggy. Some of it is catchy, certainly. But there's less grit to be found here. Where is the pizzaz that drove Hicks to snatch that "Idol" crown? One wishes for the raw emotion of his heroes. Perhaps the best song on the album is one that he wrote — "Soul Thing": "The road can be your friend, or the devil in disguise," he sings. That track, with its ecstatic whoops, comes closest to the uninhibited soul that Hicks does so well. Edited by san, Feb 2 2008, 07:08 PM.
|
 |
|
| Taymanfan | Jan 31 2008, 12:54 PM Post #2 |
|
Blend Music December 14, 2006 By Brian Williams Let me start this off the right way…ahem…Disclaimer: This review was done subjectively and on the basis that I only watched seasons 1 and 5. I’m not a diehard fan of Taylor Hicks, Chris Daughtry, Katherine Mcphee, or any other Idol/Contestant current or otherwise. I know their respective fans are insanely supportive of their Idols, so I don’t need any Soul Patrol soldiers or Daughtry’s Derelicts or any similar group coming after me for any comments I make. These are just my opinions, folks, nothing more. That being said, here we go… In my review of Chris Daughtry’s debut, I stated the reasons why I liked him and why I wanted him to lose American Idol 5. Along those same lines, I wanted Hicks to win. Why? He deserved it, plain and simple. Not that his voice is stronger than Daughtry’s (it’s not) or that he lights up a TV screen the way that K. McPhee does in her cleavage-baring yellow dress (he doesn’t). What he had were balls—to be himself, to buck convention and to go after his target audience. So, does the Hicks’ self-titled debut match the hype and hope surrounding it? Yep, for the most part. But the thing is that when it’s good, it’s good … and when it’s bland, oh boy is it bland. It’s safe to say Hicks ends up batting a solid 8 for 12 as far as the track numbering goes, with the bouncy horns and backing choir vocals of “Heaven Knows” being what most fans are expecting. “Give Me Tonight” and its funkified pulse add some nice flavor to the mix, minus the fact that Hicks gets a little upstaged by his female counterpart. Despite that, it’s one of the stronger songs and again shows that old school Michael McDonald influence. On the other side of the spectrum, the Ray Charles-like vibe of “The Right Place,” the album’s closer, showcases those soul-powered pipes that made Hicks the Idol winner. But what about the blandness? “Soul Thing,” I guess Hicks’ attempt to give his Patrol an anthem to rally around, sounds about as moving as a 7th grade love poem. “Gonna Move” takes it up a notch but again falls flat, coming off as contrived and uninteresting. “The Maze,” about the usual wandering-around-like-a-lost-puppy-without-you type theme, gets lumped into that same bland category. “Places I’ve Been,” however, immediately comes to the rescue as Hicks’ voice sounds full of conviction, something missing from “Maze” and some of the other material. What I’m trying to say, more or less, is the same thing I said about the few other Idol albums I’ve heard—the first ones are a test for the artist and are strictly for the label. I didn’t care for Chris Daughtry’s or for Kelly Clarkson’s. Lucky for KC, she went with her gut for album #2 and came up with some genuinely well-crafted pop-rock hooks. Here’s to Daughtry following suit. Taylor Hicks’ debut stands above the rest as far as Idol first timers go, but still suffers from some filler issues that keep it from really blowing the other contestants out of the water. I even give him extra points for managing to get Justin Timberlake’s panties in a bunch just by being good. Equally good is that Hicks still knows his audience, and as long as he sticks with what brought him to the dance in the first place, we’ll probably be watching him get inducted into the Rock and Roll Hall of Fame after a long and fruitful career. -------------------------------------------------- Source: Winnipeg Sun Date Published: December 15, 2006 CD Reviews: Taylor Hicks By Darry Sterdan 3.5 stars out of 5 Taylor Hicks: Taylor Hicks Arista | Sony BMG He’s 30 years old. He’s got grey hair. His hero is Ray Charles. And he’s a seasoned musician and songwriter with two albums under his belt. Clearly, Taylor Hicks is not your average American Idol. So it only follows that the Season 5 winner’s self-titled major-label debut is far from your average Idol disc. Or your average contemporary pop album, for that matter. This dozen-song set is nothing short of a throwback: An old-fashioned southern pop-rock album cut with one producer, no superstar guests, and live studio musicians playing real instruments — including punchy horns, slide guitars, harmonica and the same Hammond organ used on Born to be Wild. Even better: Most of its songs were either written or inspired by Motown, Stax and Atlantic records legends like Smoky Robinson, Marvin Gaye and Brother Ray. The Runaround is a hooky piece of horn-flecked ’80s soul-pop that bops to a modified, martial-style Bo Diddley beat and kinda reminds us of Billy Joel. Dream Myself Awake is a midtempo, arena-sized pop-rocker that totally sounds like Rob Thomas — partly because that’s who wrote it, and partly because this CD was produced by Matt Serletic, who has worked with Thomas, Santana and the like. The Right Place is a fragile, gospel-tinged piano ballad that sounds a bit like Randy Newman, but was actually written by Bryan Adams and Jim Vallance for Charles. Heaven Knows grooves to the left-hand piano line from What’d I Say and a bit of Smoky Robinson’s Ain’t That Peculiar. Despite their stylistic variety, all those tunes — and most of the rest — go pretty well with Hicks’ raspy yet remarkably versatile voice, which can hit the pure high notes and growl in the gutter with equal success. There are a few missteps — the disc sags in the middle under the weight of a few too many unmemorable ballads, and his cover of Gaye’s Wherever I Lay My Hat has a little too much Rod Stewart in its DNA. But that’s a small price to pay for the most real and honest Idol album to date — and the first one clearly aimed at people whose musical tastes and CD collections go back further than Britney’s first CD. |
|
|
|
| Taymanfan | Jan 31 2008, 12:55 PM Post #3 |
|
Source: Bullz-Eye.com Date Published: December 15, 2006 CD Review: Taylor Hicks By Mike Farley 4 stars out of 5 Taylor Hicks: Taylor Hicks Label: Arista/19 Released: 2006 Yes, he is 30 years old and has gray hair. But now that America has shown Simon Cowell and the rest of the narrow-minded suits of the music industry that appearance isn’t everything by voting Taylor Hicks as its fifth “American Idol,” Hicks is ready to get on with the rest of his career. His self-titled debut serves as a reminder of why we voted for him in the first place. The dude sings his ass off, and delivers his songs with an enthusiastic, emotional punch. And he does it with a soulful, bluesy flair that brings to mind guys like Michael McDonald, Huey Lewis, Joe Cocker; or even the late, great Ray Charles. Right off the bat, Hicks and his label get points right off the bat for not including the awful song, “Do I Make You Proud?” that was released as a single soon after he won the competition. Instead, Hicks had a ton of say in the song selection (I know this because he told me in an interview) and he went with songs that gave him the best chance for success, including two that he released as an unsigned artist pre-“Idol.” This album is loaded with hooky pop songs, all tailored (no pun intended) for the soulful style of Mr. Hicks. And while tracks like “Runaround” and “Heaven Knows” are solid, it’s later on where Hicks flexes his muscles and delivers some of the best material. “Give Me Tonight” is a funky number that brings to mind ‘80s soulsters like Billy Ocean and Jeffrey Osborne, and “The Maze” has a chorus reminiscent of ‘60 pop music – and one that might just give you goose bumps. “Places I’ve Been” is a beautiful and reflective ballad on which Hicks really wails, and though the two previously released tracks that he wrote are not bad, the best songs on here are the ones the pros wrote. Witness the brilliant closer, “The Right Place,” written by rocker Bryan Adams and originally intended for Ray Charles. Taylor Hicks has had a whirlwind year, but today is the beginning of the rest of his life. And dude is at the age where he has been around the block a few times, and knows he has to continue working hard to stay on top. But for the moment, Hicks’ major label debut is a work of art that could launch him into long, fine career. ---------------------------------------------------------- Source: Carrol County Times Date Published: December 17, 2006 Hicks hits all the right notes on debut album By Shiela A. Stone "Wooooo!" The exclamation heard 'round the world is one of the many endearing qualities of Taylor Hicks. The almost 30-year-old Alabama native that won America's hearts and "American Idol" proved to be a phenomenon. On the heels of his "American Idol" victory, Hicks released his debut, self-titled album Tuesday. His 12-track album features two songs that Hicks wrote himself, "Soul Thing" and "The Deal." In addition to showcasing his writing skills and soulful voice, Hicks' album boasts songs written by known artists such as Rob Thomas, Marvin Gaye and Bryan Adams. One of my favorite songs on the album is track three, "Heaven Knows." The song, showing writing credit to the legendary Ray Charles, features a familiar beat, one that takes you back to the days of soul. The intro may sound familiar to Charles' fans, as it is a clip from his hit "What You'd Say." Even as Hicks' screamed enthusiastically "Soul Patrol!" on national television, anyone listening could already hear the smooth sound of success. Reminiscent of classic blues, soul and classic melodies, this album could be one of a veteran artist, not one fresh out of the limelight of "Idol." Labeled by some as "Gray Charles," Hicks voice and personality come through as someone who is wise beyond his years and aged to [near] perfection at the mild age of 29. The range of Hicks' voice is amazing; hitting notes both low and high, he is also able to find the happy medium; in addition to his broad range, the trademark roughness and gravel-like voice gives some of the tunes a feeling of funk. The entire album is threaded with a sooth, yet upbeat feeling. With well-played instrumentals, his voice is evenly placed. Neither one overbears the other. ------------------------------------ Source: The New York Times Date Published: December 18, 2006 Critics’ Choice- New CDs: Taylor Hicks By Nate Chinen TAYLOR HICKS “Taylor Hicks” (Arista/19 Recordings) Like any underdog assuming elected office, Taylor Hicks finds himself on complicated footing with the release of his major-label debut. Mr. Hicks won “American Idol” this year at the hands (or text-messaging fingers) of a clear constituency: the Soul Patrol, a largely female fan army drawn to his throwback style, his gangly moves and, most of all, his uncorked exuberance. “Taylor Hicks” presents a much more calculated package. A potpourri of power pop and blue-eyed soul produced by Matt Serletic, the album feels like a product of some dutiful triangulation. Naturally Mr. Hicks acknowledges influences like Ray Charles and Marvin Gaye (and implicitly Michael McDonald). But his stated predilection for old-school soul doesn’t find an outlet, except maybe on “Soul Thing,” one of two likeably lightweight originals repurposed from his last, self-released album. By contrast too much of the new stuff is competent and faceless; it might have been called radio-friendly in another time. But Mr. Hicks wields his best asset skillfully, even — or perhaps, especially — when he’s straining against broad, balladic anthems like “Just to Feel That Way.” And his decision to perform a tune called “Gonna Move” by Paul Pena carries the sly implication that Mr. Hicks knows he can do better. “Came to a school in the big city,” he sings in one verse of that song. “Looked around at the lights and I thought they were pretty.” That sounds like the journey of a certain “Idol” winner from Birmingham, Ala. (And no, it’s not Ruben Studdard.) In the next few lines Mr. Hicks realizes that “their rules wouldn’t let me sing my song,” and strikes out on his own. Is it a coded metaphor? Will Mr. Hicks really cast off his “Idol” affiliation in search of himself? The Soul Patrol will be watching, and waiting, to find out. |
|
|
|
| Taymanfan | Jan 31 2008, 12:55 PM Post #4 |
|
Source: The Dallas Morning News Date Published: December 19, 2006 CD review: Taylor Hicks By Lorrie Irby Jackson TAYLOR HICKS “Taylor Hicks” (Arista/19/S Records) THE RIGHT PLACE: Taylor Hicks was seen as out-of-place, quirky and even amusing, but not as pop music material when he first auditioned for American Idol. Still, the Alabama-born, self-taught singer and musician made the smarmy Simon Cowell eat his own words when he became the first white man and the fifth Southerner to take the competition's top spot. Those who championed his raspy, blues-flecked vocals and down-home approach will appreciate that those qualities were preserved on this polished collection of blue-eyed soul and pop. TAYLOR-MADE: Thankfully, there's no awkward posturing or wannabe-rocker attempts on his major-label debut. Grammy-winning producer Matt Serletic (Santana, Matchbox 20, Aerosmith) allows Mr. Hicks to be himself, with nods to Motown-era soul (the earnest "Wherever I Lay My Hat," co-penned by Marvin Gaye), Ray Charles ("Heaven Knows") and even Steve Winwood in the brassy, rollicking opening number, "The Runaround." He also retooled "Soul Thing" and "The Deal" from his second independent release, Under the Radar. BOTTOM LINE: "Give Me Tonight" is strained and obvious, and "Dream Myself Awake" doesn't quite fit, but this debut is sure to keep Mr. Cowell impressed and Mr. Hicks' devoted Soul Patrol shouting his praise. --------------------------------------- Source: USA Today Date Published: December 19, 2006 Idol Chatter: Taylor track by track By Ken Barnes Before I dive into this, I must bestow major props, big style points, kudos, compliments and whatever other terms the thesaurus might dredge up to Taylor for a crowning achievement: He is the first Idol who did not include his Idol coronation song on the following album. I'm hopeful that decision illustrates the kind of mold-breaking potential that a lot of fans envisioned Taylor possessing. Plus it's always nice to reduce the cheese factor. OK, on to the track-by-track examination: The Runaround: The vocal sounds good, as it does throughout the album -- the production brings out the warmth of his voice, and the soulful qualities are evident without -- at least most of the time -- Taylor sounding like an overcompensating white soul singer wannabe. It's a very enjoyable album from a vocal standpoint. Too bad about the song, though -- it reminded me of any number of unpleasant '70s soul/pop hybrids. He needs to dial back that Doobies influence; nothing good can come of it. Unimpressive opener. Dream Myself Awake: Much better, a strong song from Rob Thomas that sounds as if it were designed for Taylor. There's a trace of soul in the vocal, as there should be, but this is good modern pop -- and since Taylor's career options would be limited if he turned himself into a one-man soul revival, it's reassuring to hear how well he handles this type of tune. Heaven Knows: This is the one where they grafted the keyboard riff from Ray Charles' What'd I Say onto the musical skeleton of the Smokey Robinson-co-written Marvin Gaye hit Ain't That Peculiar and then wrote a new song on top of it. Well-intentioned tribute, certainly, but since the originals are such great songs, I would much rather have heard Taylor sing Ain't That Peculiar with the Charles riff melded in and not bother with the new song, of which the chorus in particular is a comparative letdown. Gonna Move: A bluesy song by Paul Pena (more famous for Steve Miller's Jet Airliner) and previously covered by blues singer/guitarist Susan Tedeschi. One of Taylor's best vocals, and a showcase for his harmonica as well, this comes off as a solid Southern funk tune, vaguely reminiscent of Tony Joe White. It wears out its welcome around the 3:30 mark, but all in all a nice job. Wherever I Lay My Hat: Because I crave this song (both in the Marvin Gaye original and the Paul Young cover), I wanted this to be great. It's not, but it's very good, leaning toward the '80s-ish sound of the Young version, executed quite well, just lacking an indefinable touch of inspiration, maybe. Give Me Tonight: A Taylor co-write, this is one of the album's stronger tracks, a deft mixture of soul, funk and pop ingredients with an attractively jittery feel. Just to Feel That Way: Leans strongly to the pop side, and again I find myself gravitating toward it, very cool tune, sung skillfully. The Maze: Bit of a comedown from the last five songs, nothing really wrong with it but nothing particularly distinctive or interesting either, just an ordinary, forgettable pop tune. Places I've Been: Although Taylor did manage to lose the Idol cheese number, he could not escape the statutory requirement to include a Diane Warren song. His singing saves it from deluxe cheese platter status, but this ballad is an instant bringdown: lush, tedious, cliched, dull. Answer to the question "What song doesn't belong on the album?" Soul Thing: This is the remake from his earlier album, which I haven't heard but would like to someday. In any case, I hope to high heaven that it was better in the original version, because this rendition is ruined by the distracting background vocal bopping along in the background -- a terrible idea. The chorus reveals the ghost of a decent song (Taylor wrote it), but not in this version. (It's also the one song where he noticeably oversings, hamming it up to an irritating degree.) The Deal: Another original number, and thankfully much better, a convincing soul-styled tune sung admirably. The Right Place: This is the one written by Bryan Adams and his frequent partner Jim Vallance for Ray Charles, who never got a chance to record it (or reject it). The song was clearly tailored for Charles, as is this version, I guess you could say. Taylor pays homage to his idol, and it's a respectful -- and respectable -- performance. Overall, I'm impressed. The important thing the album needed to establish was that Taylor was more than a talent-show novelty, and -- artistically -- it accomplishes that mission. He handles a variety of styles well and aside from the regrettable Warren ballad and the even more regrettable Soul Thing, everything is at least competent, with several high points that are much more than that. I'd give it three stars, but whereas the three stars I rated Fantasia at would fall on the low side of the spectrum, this is a more solid rating (the difference, say, between a B- for Fantasia and a B for Taylor if we were giving out letter grades, which sometimes I wish we were). Now to see how it performs on the sales chart ... |
|
|
|
| Taymanfan | Jan 31 2008, 12:56 PM Post #5 |
|
Source: Billboard Magazine Date Published: December 20, 2006 Young Jeezy, Hicks Enter Atop The Billboard 200 By Jonathan Cohen Atlanta rapper Young Jeezy debuts at No. 1 on The Billboard 200 with his second Def Jam album, "The Inspiration," The set sold 352,000 copies in the United States, according to Nielsen SoundScan, more than doubling the 172,000-unit first week for his 2005 debut, "Let's Get It: Thug Motivation." First single "I Luv It" is top 30 on both the Billboard Hot 100 and the Hot R&B/Hip-Hop Songs charts. At No. 2 on The Billboard 200 is 2006 "American Idol" winner Taylor Hicks, whose self-titled Arista debut sold 298,000 in its first week. That's a drop-off from 2005 winner Carrie Underwood's debut week with "Some Hearts," which sold 315,000. That album leaps 10-6 in its 57th week on the chart on a 58% increase to 199,000. In a week where every non-debuting album in the top 10 enjoys a sales increase, the Disney soundtrack to "Hannah Montana" inches up 4-3 on an 18% increase to 274,000, while the "NOW! 23" compilation rises 5-4 on a 27% jump to 235,000. Josh Groban's "Awake" (143/Reprise) is up 11-5 on an 83% increase to 222,000, while Daughtry's self-titled RCA debut holds at No. 7 despite a 17% increase to 181,000. Both Groban and Underwood enjoyed a boost from a Dec. 11 appearance on "The Oprah Winfrey Show." The Beatles' "Love" (Apple Corps Ltd./Capitol) also remains at No. 8 on a 17% boost to 178,000, followed by Mary J. Blige's "Reflections (A Retrospective)" (Geffen), which is new at No. 9. The set sold 171,000 units, good enough to debut behind Young Jeezy's "The Inspiration" at No. 2 on Top R&B/Hip-Hop Albums. Il Divo's "Siempre" (Columbia) slides 6-10 on a miniscule sales increase to 167,000. Last week's No. 1, Ciara's "The Evolution" (LaFace/Zomba), plummets to No. 11 on a 51.5% drop to 164,000, while last week's No. 2, the Eminem-reared compilation "Eminem Presents: The Re-Up" (Shady/Interscope), slips to No. 13 on a 51% decline to 151,000. Gwen Stefani's "The Sweet Escape" (Interscope), which opened at No. 3 last week, drops significantly (No. 14, 149,000). ---------------------------------------------- Source: PopMatters.com Date Published: December 21, 2006 CD Review: Taylor Hicks By Mike Joseph Taylor Hicks Taylor Hicks (Arista) A lot of folks were pissed when Taylor Hicks won American Idol earlier this year, and I don’t blame them. There were certainly better singers that got voted off before him. However, I can also see why he won the competition. Granted, Taylor’s not much of a looker—what with being prematurely grey and a little bit paunchy. He won’t be winning any modeling competitions (although, seriously, which Idol other than Carrie Underwood would be capable of that). However, unlike many of the finalists, who preened for the camera like they’d been practicing for their coronation their whole lives, Taylor seemed to be in the competition solely because he loved music. At least that’s the impression I got. As a veteran of the bar band scene and an independently released recording artist, Taylor appeared (and sung like) someone with a little bit of life experience and natural, unaffected soul. So that leaves the obvious question—what would Taylor Hicks sound like once he was put through the American Idol pop star paces? Well, while the production is undoubtedly more professional that it would have been had Taylor been left to his own devices, Taylor Hicks does a pretty good job of keeping Taylor true to his personality. It’s good-natured and earnest, and there are no major concessions to the state of pop music 2006. They didn’t make him an alt-rocker like Bo Bice or Chris Daughtry, they didn’t go the crooner route like with Clay Aiken, and they didn’t dumb him down and turn him into a pop airhead, although, somewhat strangely, only four years separate Hicks from Justin Timberlake. The folks at 19 Records did hook Taylor up with some good songs. Musically, this album sounds like it walked in from the late ‘80s/early ‘90s. While none of this fits on pop radio circa 2006, this stuff would have sounded perfect in between “Higher Love” and “Sweet Freedom” back in 1986. While elitists who don’t recall mid-’80s pop fondly will turn up their noses, I actually dig a lot of these songs. Hicks’ points of reference are soul legends. You can obviously tell that the man listened to a lot of Ray Charles and Marvin Gaye growing up. Hell, the rollicking “Heaven Knows” actually marries the groove of Brother Ray’s “What’d I Say?” to the melody of Marvin’s “Ain’t That Peculiar”. While it would definitely be a stretch to suggest that Taylor’s in that league vocally, he’s got an appealing burr in his voice that recalls the best of blue-eyed soul singers from Michael McDonald to Joe Cocker. Producer Matt Serletic (most famous for bringing out matchbox twenty) does a bang up job here, with no Pro Tools, no vocal enhancements, and barely any synthesizers. Listening to this album, you can picture Taylor belting these songs out in a sweaty bar somewhere, and two of the tracks ("Soul Thing” and “The Deal") are written by Hicks and date back to his bar-band days. While there are a couple of songs (including Rob Thomas’s “Dream Myself Awake") that fall on the bland side of the affair, Taylor’s album holds up strongly throughout. Highlights include the Motown-esque lead track “The Runaround”, a smooth cover of Gaye’s “Wherever I Lay My Hat” (which compares favorably to the ‘80s version made by fellow blue-eyed soulster Paul Young), and the gospel-inflected closer “The Right Place” (which, astonishingly, was co-written by Bryan Adams). He even manages to handle the dance-inflected number “Give Me Tonight” with aplomb. Even when the songs aren’t up to standard, Taylor is well up to snuff vocally. He definitely knows how to make an emotional investment in a song without overdoing it. There are plenty of vocalists (including more than a couple of former “Idol” contestants) who could stand to use a tip or two from him. While the hipster-types will hate on sight, Taylor Hicks is a solid album of meat-and-potatoes music. With a smart blend of rock & soul not seen since the days when Hall & Oates ruled MTV, the grey haired dude with the spastic dance moves has actually made one of the better albums to sprout from the American Idol machine. |
|
|
|
| Taymanfan | Jan 31 2008, 12:56 PM Post #6 |
|
Source: LongIslandPress.com Date Published: December 21, 2006 CD Review: Taylor Hicks By Dave Gil de Rubio Taylor Hicks Taylor Hicks (Arista) 8 out of 10 While it’s easy to mock this prematurely gray winner of the Season 5 American Idol crown, the debut from Taylor Hicks is a surprisingly enjoyable collection. Having cut his teeth listening to and playing rhythm and blues, Hicks possesses a sturdy, blue-eyed-soul singing style that’s a cut below Michael McDonald. A self-professed Ray Charles fan, the AI champ’s adoration comes across via instrumental snippets of Charles’ “What’d I Say” and Marvin Gaye’s “Ain’t That Peculiar” woven in amid the punchy horn charts and handclaps of “Heaven Knows.” Equally effective is “The Right Place,” originally penned for Brother Ray by Bryan Adams and Jim Vallance, which Hicks effortlessly transforms into a gospel-flavored slow burner. Most impressive is how well Hicks’ self-penned “Soul Thing” and “The Deal” hold up alongside contributions by seasoned pros like Rob Thomas and Diane Warren. Credit Hicks’ solid debut to the artist sticking with self-determined stylistic choices rather than ones foisted on him by image makers. ------------------------------------------ Source: Foxes on Idol Date Published: December 22, 2006 Taylor Hicks – A Good First Effort by Donna Reynolds Donna has been waiting for seven months for Taylor’s first album. Now that she has it in her possession, she is ready to share her impressions. Did she love it or hate it? Read on to find out. Sometimes it feels as though I’ve been listening to Taylor Hicks’ music for years! In reality, it hasn’t even been one year since the first time I heard his voice. In the interim, I’ve accumulated quite a collection of Taylor Hicks music, including both of his indie CDs (In Your Time and Under the Radar) and over 100 tracks of his live performances from all three “eras” – pre-Idol, Idol, and post-Idol. Last week, I added his first post-Idol CD, Taylor Hicks, to my collection. Suffice it to say that I am a fan! But being a fan doesn’t necessarily mean that I am going to love everything that Taylor, or any other Idol, does. I have been disappointed before, after all. I am also a journalist, capable of objectivity, and able to withstand the certain onslaught of criticism that is the bane of all writers who dare find fault with an artist who is widely loved, even idolized. Certainly, I approached this review with a degree of trepidation, but I needn’t have worried. Taylor Hicks, while not perfect, is big, bold, and boisterous; and more importantly, manages to avoid the pitfalls of over-“popification” that have plagued previous Idols’ first releases. What makes this work is that Taylor collaborated with just one producer, Matt Serletic, on this project, and the album, although somewhat disjointed, ultimately ends up being fairly cohesive. From “The Runaround,” which starts off the album with a kicky drum line, to the emotional, soulful finale, “The Right Place,” this CD takes the listener on a junket of musical styles, rhythms, and emotions. At first, the song selections seem rather disparate and don’t flow together seamlessly. But the constant throughout is Taylor’s vocals, which never waiver. The album also ventures into territory that few current artists have dared visit. Taylor cut his musical teeth on the Motown sound and Ray Charles, and while the album could have more of it, this influence is clearly reflected in several tracks. Wisely, Matt and Taylor recognized that in order to achieve commercial success, a balance must be struck. Call that “paying the devil,” or whatever, but putting together a mix of songs on this album will ensure a bigger bottom line, which in turn will enable Taylor to “do his thing” on the next one. The CD opens with “The Runaround,” which appears to be the first single. The song mixes up percussion and brass, but has some rather juvenile lyrics (“I got an A in broken hearts, I gotta degree in crying”). The problem is, the song is maddeningly catchy with a hook that stays embedded in your brain for days. This, of course, is formulaic pop, and the tune, although like nothing else being played on pop radio today, could end up being a hit. Stranger things have happened, after all. Winners "The Right Place" is, without question, the best song on the album. I doubt Taylor will record another song that I like any better. It's plaintive and heartfelt—everything Taylor Hicks promised to be. And he feels this song from the depths of his soul. If for nothing else, “The Right Place” is worth the price of the CD. "Just to Feel That Way" is another winner. It’s astounding in its intensity, with soaring vocals and heated emotion. Taylor belts this one out and just as quickly tones it down. Another A-lister, "Gonna Move" is one funky tune. There’s a nice injection of soul, a good bass line, and even an organ. This is the kind of song I expected from Taylor and he sings the stuffing out of it. "Give Me Tonight" is a dancey piece that is radio friendly, club friendly, and will remix beautifully. It’s a very fresh sound with Taylor-ized vocals and a driving rhythm that had me up and dancing the first time I heard it. Taylor interprets Diane Warren’s “Places I’ve Been” beautifully, while avoiding over-sentimentality. The song becomes Taylor’s musical reflection of the past year and this helps to supersede the slight taint of cheesiness in the lyrics. Bubbling Under I am somewhat less than enchanted by "Dream Myself Awake," which is probably the most overtly pop tune on the album. It doesn't really fit Taylor’s voice and seems a bit trite. But, it's got a great, great hook, and when the horns come in, the song becomes interesting. I am also not totally smitten by "Wherever I Lay my Hat." The song has a bit of a 1980s feel to it and even has hints of Bruce Springsteen woven through it. Taylor’s vocals are nice and clean, but overall I am somewhat mixed on this one. With a little more funk this could have been the best song on the album. As it is, it’s slightly off-kilter. "Heaven Knows" opens with a sampling of Ray Charles' "What'd I Say," which is woven throughout. It has a rather retro feel, and while I appreciate his attempt to pay homage to his own personal musical idols, the overall effect is somewhat disjointed. This song should have been one of the best. Instead, it becomes, for me at least, one of the most forgettable. Missed the Mark "The Maze" doesn't do much for me at this point. Maybe it's just a bit too pop or too fussy, but it’s my least favorite on the album. Originals Two of Taylor’s original songs, “Soul Thing” and “The Deal,” are included on this album. Both have been given extreme makeovers, and while “The Deal” freshened up beautifully, “Soul Thing” lost a bit in translation. The too-cutesy Taylor vocals that underscore the opening of the song are distracting and this arrangement leaves out some of the elements that made the Under the Radar version work so well. Where’s the country twang and jazz leaving her number? Taylor does manage to reel it back in with the ending, but overall, I prefer the “original” better. So, how would I rate this album? I hate this part, but on a scale of one to ten, I would give it an eight. Why eight? Taylor could have earned a ten, from me at least, by including more soul tunes. That’s what I wanted and expected. But I understand that this album must appeal to the masses. And to do that, Taylor must get his singles played on the radio – yup, the radio. Radio airplay equals increased album sales – just ask Kelly Clarkson or Carrie Underwood. In order to get airplay, the tunes have to catchy and fresh. Taylor has managed to put a few songs on this album that fit the bill while at the same time retaining his musical stamp. For all but the most diehard, this album works as an exhibition of Taylor’s ability to interpret a variety of types of music, and to that end, it’s a winner! |
|
|
|
| Taymanfan | Jan 31 2008, 12:57 PM Post #7 |
|
Source: Belleville News-Democrat Date Published: December 23, 2006 CD Review: Taylor Hicks By David Hiltbrand Taylor Hicks Taylor Hicks (Arista) 3 out of 4 stars Unlike most of the "American Idol" pack, Taylor Hicks arrived fully formed. That works to his advantage on his recording debut. The silver-haired soulster doesn't have to try on 10 different styles. He jumps right into a funky Muscle Shoals pocket and stays there. Kicked off with a dirty Southern beat, "The Runaround" sounds like a vintage version of the Radiators. "Heaven Knows" cleverly grafts a Ray Charles riff onto a Marvin Gaye melody. And Hicks more than acquits himself on the oft-covered Motown ballad "Wherever I Lay My Hat." Matt Serletic's excellent production is spiced with deft use of brass (a rarity these days). And Hicks himself plays a pretty mean harp on "Gonna Move." OK, there are some duds here, for instance the second half of the CD. But it's a pleasant and accomplished virgin voyage. Of course, Hicks already knew how to sing. Let's hope he gets some dance lessons. ------------------------------------------- Source: al.com Date Published: January 05, 2007 You've got to see it to believe it. Taylor Hicks does his best on debut disc, but listeners may miss the visuals By Mary Colurso Editor's note: City Scene is prepared and published in advance. At press time, the title of Hicks' radio single hadn't been announced. However, his official Weblog later confirmed that it will be "Just to Feel That Way." If Taylor Hicks has a signature color, it's got to be gray. Call it silver, smitten members in the Soul Patrol might say, pointing to the hair that draws attention like an incandescent beacon. Now, however, Hicks can add another shiny hue to his repertoire: gold. His self-titled disc for the Arista label has sold about 540,000 copies since its release on Dec. 12. At mid-week, it held the No. 36 position on the Billboard 200 chart " sliding from its first-week peak of No. 2, but still a a respectable showing for Birmingham's latest "American Idol" winner. Reviews have been mixed, as is typical for graduates of the Fox TV reality series, most of whom face an automatic critical backlash because of their fame on the show. As we've seen over the past five seasons, sales for "Idol" discs can range from spectacular (more than 4 million for Carrie Underwood) to iffy (a gold ceiling for Alabama native Bo Bice). It's too soon to predict Hicks' fate, but we do know that his label will release a radio single " most likely in late January or early February " intended to broaden his audience, boost his sales and support a national tour. (It stops in Birmingham March 10 and has sold out the 2,200-seat Alabama Theatre.) During an interview in late November, Hicks was evasive about radio play, saying his team wasn't going to force a single onto the public airwaves. The right song, he hinted, would somehow pop to the surface and appear more naturally. That's far from business as usual in the mainstream music industry, where market research is commonplace, choices tend to be safe and executives focus on the bottom line. Still, I got the distinct impression that Hicks favors "The Runaround," which he's been performing on TV during his promotional push over the holidays. It's pretty darn catchy, suits his husky voice and employs a vital horn section. The tune by Loren Goldberg and James Renald also contains a blend of styles " soul, pop, blues, rock " that suits Hicks' vision for what he calls "modern whomp music." (We now have a definitive spelling of "whomp," by the way, courtesy of the credits on Hicks' CD.) Another clear clue: "Runaround" has been the primary stream on Hicks' official Web site and MySpace page for a couple of months. Yet according to a recent post on the official Hicks Weblog (www.graycharles.com), Arista and its parent company, Sony BMG, are testing no fewer than four songs for Top 40 radio. The blog's author doesn't name them, but I'd bet they include "Dream Myself Awake," a Rob Thomas ballad streaming on Hicks' MySpace page, and "The Right Place," written by Bryan Adams and Jim Vallance, also on MySpace. Two more possibilities: a remake of Paul Pena's "Gonna Move" and "Heaven Knows," credited to nine songwriters. Both have been lauded by the Gray Haired Guy as the funkiest tracks on the album. It only stands to reason that he'd push for these. But will the label's radio advisers agree? After listening to "Taylor Hicks" many times, I'm convinced that Hicks faces a formidable challenge as a recording artist, especially if he wants to be ubiquitous on the airwaves. ? Granted, he's worked hard and done a very decent job with this 12-track debut, produced in a six-week flurry after the "Idol" tour concluded. It's a highly professional CD, with enough of Hicks' gritty personality to please fans and enough of a pop focus to satisfy the record company. But it's as simple as this: You can't see him. As his TV appearances prove, Hicks' essential appeal has a strong visual component. Watching him sing makes the vocals really hit home. It adds to the pleasure. It makes "eh" turn to "ooh!" Any recording artist needs the right material " Hicks' disc scores in that regard about 50 percent of the time " but the fact remains that he's a highly physical performer. For maximum oomph, you need to use eyeballs as well as eardrums. Let's assume that the goal is multi-platinum longevity, matching or exceeding Hicks' huge success on TV. For that, I think, Hicks must figure out a way to translate the excitement of his wild, clunky, visceral stage persona to the recording studio. He approaches it on some of the more upbeat numbers on the disc, such as "Runaround," "Heaven Knows" and "Gonna Move." The brassy arrangements help, and you can hear Hicks playing around with the lyrics. That's all well and good. Hicks also slips into a comfort zone with his two originals on the CD (three if you buy the Wal-Mart version). Again, they lack some of the charismatic vibe of his live shows, but he does just fine with "Soul Thing," "The Deal" and "Hell of a Day." Trouble arises, however, when Hicks attempts to pull off songs I can only characterize as filler ballads. Diane Warren's drippy "Places I've Been," for example, plays to his weaknesses instead of his strengths. Hicks' vocal limitations come to the fore, and you just don't buy the performance. Same goes for the forgettable "Just to Feel That Way," which usually induces my finger to push the skip button. Hicks fares better with "The Right Place," vocally shaping the number into a tender Ray Charles homage. Overall, you can sense Arista's desire for Hicks to shoot out various sonic tendrils, trying to determine his niche in the marketplace. They're still trying to understand " and probably to pigeonhole " the "Idol" star who took the audience by storm and the show's producers by surprise. I, meanwhile, find phrases like "not bad," "nice try" and "we shall see" running through my mind. Count my opinion, then, among the many that are mixed on "Taylor Hicks." Final note: It'll be interesting to see which songs Hicks chooses for his set list on this year's tour. Likewise, I'll be watching to see if his particular talents transform any of the lukewarm material in concert, igniting a full-on fire. |
|
|
|
| Taymanfan | Jan 31 2008, 12:58 PM Post #8 |
|
The Philippines Star December 20, 2007 The King of Soul (Patrol) By Kap Maceda Aguila If we forget just how good the fifth season American Idol performers were, we need only remember three names: Elliott Yamin, Chris Daughtry and the salt-and-pepper-haired fellow who was a little more manic and a little more eager than the rest — the one who would whoop and lean a la Stevie Wonder; the one with a penchant for blowing on a harmonica every chance he got. We thought he looked a little like Jay Leno then, but my girlfriend Joyce digressed when she saw him live. “Pogi kaya!” she said. Poor Jay. But I left it at that. Pogi or otherwise, the ring leader of the “soul patrol” surely raked in the votes — enough to catapult him past Katharine McPhee and enough to have our unlikely hero crowned American Idol last May 24, 2006 — in front of some 34.4 million rabid TV viewers. While we’re at it, consider that some 63.4 million people cast their vote for Taylor Hicks — the “gritty, down-home white R ’n B singer” as the AI champ. Yup, presidencies have been settled with far less votes and hoopla. “Thank you, soul patrol!” he beams on the Hard Rock Café stage in Makati — always referring to the throngs of believers who were won over by the unassuming man with the funny manner yet and soulful — and considerable — vocal prowess. And, make no mistake about it, Taylor is a true showman — and an original that clearly outshone McPhee who had gone for the hopelessly clichéd, sexy siren stereotype. He saunters onto the stage, blowing on his harmonica like a judge banging on a gavel: “Hello everybody!” he says, and leans — yes that now famous lean. And just like that, we are taken by Taylor. It’s his first time in Manila, he reveals, but reckons it won’t be the last. “I love it! I’m excited to be here. I wish I could stay here for a week. I have had a very nice time!” Ayala Land’s Mall Group seems to have a monopoly on getting AI talents here, but who are we to complain? It wasn’t just too long ago that Yaminoys of all ages went nuts over Elliott’s tour of Ayala Malls. For Taylor, especially, performing at the mall is certainly a fit. He professes: “I love shopping. I have to get gifts for my brother, my father, my mother, my grandmother, my cousins. Just about everybody. I guess that’s what happens when you win American Idol. You have to buy a bunch of gifts.” Such candor is rare for usually guarded celebrities. But that’s exactly among the qualities that endeared Taylor to the world — a refreshing character that is purely about the music and rarely about being self-conscious with projections and affectations. Which is not to say that Taylor takes success for granted. “It’s very exciting for me to be a musician and to be able to travel to places like the Philippines. I am able to share my love for music with other people. I believe that music is truly a universal language. I am very blessed to have the opportunity to come here and perform,” he shares. “Life after American Idol is like sitting on a rocket ship. It’s been great. I love what I do as a performer.” Taylor got a taste of the vaunted Filipino hospitality upon departure from the plane: “Well, as soon as I arrived at the airport I was received very warmly by the Filipino people. I have heard from friends of mine that this is the place to come to share music,” he says. Taylor is good friends with Elliott — who was probably a major influence in Hicks’ decision to fly to the Philippines. Someone asked in jest who would win if Taylor and Elliott would fight it out mano a mano. “Well, I would!” he gamely replies. “I would try to win!” But seriously, Taylor takes his hat off to Elliott. He says he would have rooted for Elliott to win had he himself not joined that memorable season. Taylor also became close with Filipino contender Jose “Sway” Penala (based in San Francisco), his roommate. “He was one of the people who told me that I needed to come over here and play,” Taylor reveals. Taylor has been polishing his chops since he was a kid of seven or eight, and is truly living a charmed life now. He is already at work on his follow-up album to his eponymously named debut effort. “It will be coming out next year. I will also have a DVD out next year. I am pretty excited about doing another tour, maybe in the Asian continent early next year,” Taylor says. Expect lots of soul, blues and R ’n B, he avers, and also a little bit of pop. “I am trying to find the right vibe with different songwriters. I am trying to make the best album that I can.” Of Mau (Marcelo) who participated in the Asian Idol: “She has a big, great voice. We were at rehearsal and I saw her sing. She is a great singer,” Taylor comments. When not on, well, soul patrol, Taylor is just like the rest of us — watching sports on TV and swinging at the fairway. “I’m just a regular old guy,” he says with a smile. Well, make that a regular old guy who is rich and successful, right? And, of course, a little loopy. We like our Taylor with a little bit of weird. Like, for instance, do you know that he brings along a Ray Charles doll wherever he performs? “It makes me feel better. He was a major influence in my musical background,” he explains. “The key is having faith, believing in yourself and navigating yourself through your art,” Taylor proffers. At the press conference, Taylor seems bereft of any self-importance yet is brimming with obvious confidence. We note that he goes out of his way to sign autographs, sing spontaneously at most given moments, and play his harmonica while waiting for photos to be snapped. There is good reason to believe he remains the simple man from Alabama who loves music and the privilege of singing for others. Wow, what an idol. |
|
|
|
| 1 user reading this topic (1 Guest and 0 Anonymous) | |
| « Previous Topic · Taylor's Press · Next Topic » |
11:11 PM Jul 30