 Media Credit: www.taylorhicks.com
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Let me preface this review by saying that I’m a huge fan of American Idol. I love the idea that a bunch of talented nobodies get plucked from their quiet lives and put on a stage for the world to appreciate. I love that the contestants have to prove that they can really sing by singing songs from genres they would never normally approach. And I love that great greats like Dolly Parton, Mariah Carey, and Andrea Bocelli (to name just a few) offer their mentorship to aspiring young performers.
Having said all of that, I must also confess that I rarely appreciate the albums that result from the winners of the competition. Most are overly synthesized, bubble gum pop that is radio-ready and appropriate for my “tween”-aged niece.
Taylor Hicks’ first album was a bust, at least in part due to the horrendous, sentimental single that was written for him by the AI folks, “Do I Make You Proud?” The rest of the album was in the same vein: over-synthesized rubbish that disappointed his “Soul Patrol” fan base. The two or three songs that had a chance of being standout tracks ended up being over-produced into non-description. As a result, the album bombed and Hicks lost his recording contract.
But have no fear, lingering Soul Patrollers. Hicks recently released an album that includes 10 songs that he composed himself. Many of the songs are remixes from two earlier independent albums that Hicks recorded prior to his AI days, hence the name “Early Works.” Despite this fact, I didn’t sit down to listen to the album in its entirety until after I heard Hicks perform one of the songs live on a local news station. (If you didn’t know already, Hicks is in town with a Broadway tour at the Hippodrome. He is playing the role of Frenchy’s guardian angel in “Grease.”)
What I heard intrigued me, so I downloaded the album on iTunes to give it a good listen. I wasn’t disappointed, and neither will anyone who appreciated the raw, soulful performer from the competition.
The entire album is extremely mellow, though it begins with one of the more upbeat tunes, “It’s a Soul Thing.” The song is a good intro to the album, because it helps introduce what Hicks is really about as a performer, both in its sound and its lyrics. It is followed by the haunting and beautiful “The Fall,” which Hicks penned at the tender age of 19. The melody is exquisite in its simplicity and the pared-down instrumentation perfectly complements the lyrics and understated vocal performance. This track is possibly the brightest gem in the lot, though there are plenty more to be admired.
Hicks picks the pace back up and lightens the mood with the next track, “Hold on to Your Love.” The track fades and blends effortlessly into the next song, which is similar in style and beat. “The Deal” is basically just a love ditty, but with some definite jazz influence. “Heart and Soul” is a true soul ballad. Hicks belts this song out and, pretty impressively, makes this song sound both classic and relevant.
Hicks is just getting started, however, and continues his soulful enterprise with “In Your Time,” but this track is a little bit funkier and more free-wheeling. “West Texas Sky” almost feels like it’s from a different genre, though it fits seamlessly on this album. It feels almost like a country song that has been co-opted by a jazz singer.
Hicks slows the mood back down with another bluesy ballad, “Somehow.” Though lacking the sweet melody and simplicity of “The Fall,” “Somehow” is definitely another one for the books. It brings to mind the mood and meaning of some of the great classic R&B songs from Earth, Wind and Fire, or Percy Sledge, though with a modern twist.
“Tighten Up” is a blast from the past, with a whole lot of funk and soul thrown in to modernize it. The feel is definitely seventies, though, and so the song lacks the depth most of the other songs illustrate. Hicks next brings listeners right back down to earth with “Son of a Carpenter,” which is a hardcore sort of ballad, and perhaps the only song on the album that starts to feel like it might have rock roots. It’s also a song with lyrics that are hard to understand fully, and leaves me wondering what might have inspired its creation.
It seems as though the album is winding down and wrapping up with “My Friend,” a fun-filled, bouncy ditty that features Hicks’ signature harmonica playing and invites listeners to tap a toe. Instead of ending on a fast note, however, the album wraps up with what may be my favorite cover ever of Ray Charles’ “Georgia on My Mind.” Hicks really lays his soul bare in this performance and demonstrates conclusively that he’s got the vocal chops Simon never gave him credit for. It’s a surprising and powerful performance that ends the album on the perfect note, leaving me longing for more of the same.
I highly recommend this album to fans of old style R&B, the Blues, and/or Jazz, or anyone just looking for something raw, fresh, and soulful. This album stands out in a sea of over-produced, over-hyped albums as the genuine article, and it solidifies Hicks as a legitimate song writer and performer.
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