Trespassing Album Stream with Lyrics and Review

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IT'S FINALLY HERE!!! Here's the official stream, along with all the lyrics as far as I can make out below:

Trespassing by adamofficial

I'm really impressed with this album. It's quite different and riskier than what I was expecting, the songs loosely divided into upbeat dance and emotional ballads, flowing fairly well and all threaded through with Adam's vocals and an electronic edge to the production. There are references, elements and effects that span multiple songs to aid continuity. Adam uses his voice creatively like never before, not just singing but using it as an instrument for effect. He stretches the boundaries of its versatility in the harmonies, layers, textures, nuances, phrasing, timbres and pitches used and it's an absolute joy to listen to. He's come such a long way since FYE and this feels like an honest statement about where he is at the moment. It's an accomplished second album and one which he should be proud of because I know I am.

My favourites so far are Trespassing, Shady, Pop That Lock, Broken English, Underneath and Chokehold. But that might change on subsequent listens. What are your favourites? The lyrics and my comments are below.

UK Version (17 songs)	US Deluxe Version (15 songs)	US Regular Version (12 songs)

JUMP TO:
1. Trespassing
2. Cuckoo
3. Shady
4. Never Close Our Eyes
5. Kickin' In
6. Naked Love
7. Pop That Lock
8. Better Than I Know Myself
9. Broken English
10. Underneath
11. Chokehold
12. Outlaws of Love
13. Runnin'
14. Take Back
15. Nirvana


1. TRESPASSING
Writers: Adam Lambert, Pharrell Williams
Producer: Pharrell for the Neptunes

“Trespassing is a song that I wrote with Pharrell Williams It's basically a song about being an outsider, about somebody or a group of people telling you "Keep out, you're not allowed in here" and you saying "You know what? I don't care, I'm going to go in there anyway" and do what I'm going to do and be who I want to be.”

This is funky with a top-notch modern production and for the first time I actually prefer this to the live versions. The irresistible staccato bassline will get you nodding away if you're not already up and shaking it, clapping along. Adam's voice is there in all its splendour, mainly in its hard form. On the live versions I couldn't hear the electronic synths and driving bass beats at the bridge, along with the guitar licks at the end which really add to the impact. This is very well written with smart lyrics and a sassy rebellious attitude that shines through. Love it.

Well, I was walkin' for some time
When I came across this sign
Sayin' who are you and where are you from?
We don't like when visitors come
No Trespassing that's what it said
At least that's what I could read
No trespassers yeah, my ass!
Wait 'til ya get a load of me

Yeah, c'mon! Ah!

One day I was trippin'
And that's when I could see
That the ether that I tapped into
Could be reality
It was great
That's when I climbed that optimistic vine
Once I hit that mountain peak
I began to lose my mind

I don't need no sympathy
I won't cry and whine
Life's my light and liberty
And I shine when I wanna shine, yeah
Make their faces crack
There's no turning back

Let's go!

Well, I was walkin' for some time
When I came across this sign
Sayin' who are you and where are you from?
We don't like when visitors come
No Trespassing that's what it said
At least that's what I could read
No trespassers yeah, my ass!
Wait 'til ya get a load of me

Hey, whoa yay

I ain't got B.S. in my bag
That's the one thing you can believe, yeah
My heart is gold my body is glass
Come on baby can't you see?
I don't need no GPS to show me where to go
But I can turn into the North Pole
And show you what is cold, ooh!

I don't need no sympathy
I won't cry and whine
Life's my light and liberty
And I shine when I wanna shine, yeah
Make their faces crack, crack!
There's no turning back
Let's go!

Well, I was walkin' for some time
When I came across this sign
Sayin' who are you and where are you from?
We don't like when visitors come
No Trespassing that's what it said
At least that's what I could read
No trespassers yeah, my ass!
Wait 'til ya get a load of me

Wait 'til ya get a load of me
I said, wait 'til ya get a load of me

Ah, ah, ah, ah, ah, ah!
Ah, ah, ah, ah, ah, ah!

I ain't stayin' at home
I got places to roam
I ain't stayin' at home, no no!
Hey hey hey heyay yay ya-a-ay!

I don't need no sympathy
I won't cry and whine
Life's my light and liberty
And I shine when I wanna shine, yeah

Let's go!

Well, I was walkin' for some time
When I came across this sign
Sayin' who are you and where are you from?
We don't like when visitors come
No Trespassing that's what it said
At least that's what I could read
No trespassers yeah, my ass!
Wait 'til ya get a load of me

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2. CUCKOO
Writers: Adam Lambert, Oliver Goldstein, Bonnie McKee, Josh Abraham, Anne Preven
Producers: Josh Abraham, Oligee

“Cuckoo is really just about that moment where you realise that maybe you're a little crazy. I certainly have realised that in the last couple of years, that I've got a couple of screws loose but it's really fun and it's owning that and hopefully inspiring people to want to feel crazy. You know if been working all week or you've had a stressful day, you just want to go out with friends and get crazy.”

The production on this is very different to what I expected after seeing the Jimmy Kimmel performance. I thought we'd get some 70s disco funk with a splash of rock and a modern twist. It's slower than I expected, much more electronic and the way his voice is distorted in the effects reminds me a bit of the Aftermath remix. I like the overall melody and vibe in the verses but think the 80s-sounding chorus lets it down a little, along with effects overkill in parts. I assume it's the intended effect of a busy brain going mad but I can't help thinking the production tries to do too much. The lyrics are playful and humorous, and anyone who takes liberties with English to coin "thingses" gets the thumbs up from me. I like it a lot, but not as much as I expected. Still gets me up dancing though.

Feel like I'm having a meltdown
F-feel like I'm losing control
They tell me I'm a danger to myself
Now the crazy train is ready to roll, oh

Walk that walk like you don't give a fuck
You've got a right to turn it up and get down
Electric shock, no I can't get enough
'Cause tonight we're takin' over the town, eh

I wanna lose my mind, like a maniac
And cross the line, never lookin' back
We're on the loose, getting crazy and we've gone cuckoo
Gonna party 'til they take us away

I'm swinging off of my hinges
I'm cocked and I'm ready to go
Go on and pack up your thingses
The crazy train is ready to roll, oh

Walk that walk like you don't give a fuck
You've got a right to turn it up and get down, yeah
Electric shock, no I can't get enough
'Cause tonight we're takin' over the town, eh

I wanna lose my mind, like a maniac
And cross the line, never lookin' back
We're on the loose, getting crazy and we've gone cuckoo
Gonna party 'til they take us away

Lose my mind
I'm gonna lose my mind
Gotta get out of this straitjacket woah, cuckoo!
Gotta get out of this straitjacket woah, yay!

I wanna lose my mind, like a maniac
And cross the line, never lookin' back
We're on the loose, getting crazy and we've gone cuckoo
Gonna party 'til they take us away

Lose my mind
Gonna lose my mind
I'm gonna lose my mind
Gonna party 'til they take us away
Lose my mind
Gonna lose my mind
Yeah
Gonna party 'til they take us away

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3. SHADY
Writers: Adam Lambert, Lester Mendez, Sam Sparro
Producer: Lester Mendez

“Shady is a song that I wrote with Sam Sparro and Lester Mendez. Basically, it's just saying "I kind of feel nasty tonight, and I want to get into some trouble, some good kind of trouble". Kind of being so wrong that it's right.”

Fucking hell! I'm hooked right from the start with this sticky pulsating bassline and beat, which sounds like a dark nasty version of Stevie Wonder's Superstition. Love it love it love it! It's so different to anything Adam's done before, funky as fuck and so so sexy. The vocals aren't bombastic but understated. Conspiratorial. And sexy. The harmonies are great, as are the guest vocals and Nile's guitar. It has shades of Prince in it, which is always good. The song is about cruising for sex, confrontational, bold and uncompromising. It's very well written, dark twisted sleazy fun. And did I mention how much I love it? And how sexy it is?

Baby I'm on the hunt
Baby I got my target on you
Trouble, that's what I want
And I'm gonna do just what I have to
Get your ass down to the front
Go on and roll it out, I dare you
Sorry I'm kinda drunk
But did you just say your game was brand new?

No I ain't broken, but I, I need a fix
That satisfaction when I, I get my kicks
I'm up all night
I'm outta sight
Don't turn on the light
'Cause I'm feeling so shady lately

Come on and take me underground
Deep under the street
Come on and take me, take me down
Where freaks like us can meet
Turn it up, turn it up, turn it up, turn it way up
Don't stop the beat
Come on and turn me, turn me out
'Cause I'm feeling so shady lately

Oh! Oh!

Gonna go and get me a shot
Gonna knock it back, forget all my blues
Yeah, that really hits the spot
I'm feeling pretty fierce in my dancin' shoes, yeah

No I ain't broken, but I need a fix
That satisfaction when I get my kicks
I'm up all night
I'm outta sight
Don't turn on the light
'Cause I'm feeling so shady lately

Come on and take me underground
Deep under the street
Come on and take me, take me down
Where freaks like us can meet
Turn it up, turn it up, turn it up, turn it way up
Don't stop the beat
Come on and turn me, turn me out
'Cause I'm feeling so shady lately

I throw more shade than a cloudy day
The brakes don't work, I'm just a runaway train
Somebody come and help me out, all I wanna be is free
I was tryin' to get down, now I can't get out
I'm shady lately

Come on and take me underground
Deep under the street
Come on and take me, take me down
Where freaks like us can meet
Turn it up, turn it up, turn it up, turn it way up
Don't stop the beat
Come on and turn me, turn me out
'Cause I'm feeling so shady lately

Shady lately, that's how I play
They say maybe it's just a phase
Shady lately, runaway train
Blame the game, quit blaming the gays
'Cause I'm feeling so shady lately

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4. NEVER CLOSE OUR EYES
Writers: Bruno Mars, Philip Lawrence, Ari Levine, Lukasz Gottwald, Henry Walter
Pruducers: Dr. Luke & Cirkut for Prescription Songs, The Smeezingtons

“Never Close Our Eyes is an amazing song written about Bruno Mars. It's a beautiful powerful melody about "We can sleep when we're dead. Let's make the most of this moment and be in the now and connect and live". It's a little bit hedonistic but it's very uplifting and very positive with a great dance beat.”

Full review here

I wish that this night
Would never be over
There's plenty of time to sleep
When we die
So let's just stay awake
Until we grow older
If I had my way
We'd never close our eyes
Our eyes
Never

I don't want to let a minute get away
'Cause we got no time to lose
None of us are promised to see tomorrow
And what we do is ours to choose

Forget about the sunrise
Fight the sleep in your eyes
I don't want to miss a second with you
Let's stay this way forever
It's only getting better
If we want it to

You know that I wish that this night
Would never be over
There's plenty of time to sleep
When we die
So let's just stay awake
Until we grow older
If I had my way
We'd never close our eyes
Our eyes
Never

It's so hard to think this could fade away
But what goes up must come down
Why can't we just live life with no consequence
And always live in the now

Forget about the sunrise
Fight the sleep in your eyes
I don't want to miss a second with you
Let's stay this way forever
It's only getting better
If we want it to

You know that I wish that this night
Would never be over
There's plenty of time to sleep
When we die
So let's just stay awake
Until we grow older
If I had my way
We'd never close our eyes
Our eyes
Never (never never)

Ooh
Yeah
Ooh
Yeah

You know that I wish that this night
Would never be over
There's plenty of time to sleep
When we die
So let's just stay awake
Until we grow older
If I had my way
We'd never close our eyes
Our eyes
Oh
Never

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5. KICKIN' IN
Writers: Adam Lambert, Pharrell Williams
Producer: Pharrell for the Neptunes

“Kickin' in is a song that was created with Pharrell and basically it's a about a girl at a club who is just kind of going for it. She is drinking and partying and I'm just observing. And I'm like "Are you alright? Are you good? Don't fall down!” I think everybody can relate to that girl at the club that's either had to much or you're the friend that's watching her back. And by her, boys, you know that we call each other that. She drunk!

After a long intro of trancey ascending and descending electronic bleeps and voice samples, it's quite a surprising moment when it finally kicks in. It's like coming to a moment of clarity. On the verses, Adam's voice is fresh, breathy and backed with a falsetto vocal. With the bassline, it immediately recalls Michael Jackson's Off the Wall. Then it gets a bit strange at the chorus, as he sings to the second person, with all that hypnotic repetition like a skipping CD. The song tells of and addresses a mate determined to get demolished into oblivion, so it does sound like the pounding that arrives when all the substances take hold. It's the imaginary persistent echoing music that follows from an altered state of consciousness when you're still pumping. I'm sure I used to get stoned to this. It's an aggressive tune to dance to and although I'm liking it, I'm just not sure about the amount of repetition.

She wants to be up there
In the air
Where the clouds live
The sweetest seeds
Make the best treats
Thirty thousand feet
She can smile there

And now, she puts her shot glass down
She asks for another round
She wants to hit the clouds
Honey, are you up there?
Now she puts her shot glass down
She asks for another round
Girl, don't you hit the ground
Is it kickin' in?

Do you feel it kickin' in?
Do you feel it kickin' in?
Do you feel it kickin' in?
Honey, are you up there?

Do you feel it kickin' in?
Do you feel it kickin' in?
Do you feel it kickin' in?
Honey, are you up there?

She wants to introduce me
To her friend Eddie
What is she trying to do to me?
He got words that rhyme
He got a dirty mind
Persuasive
Am I about to do a three?

And now, she puts her shot glass down
She asks for another round
She wants to hit the clouds
Honey, are you up there?
Now she puts her shot glass down
She asks for another round
Girl, don't you hit the ground
Is it kickin' in?

Do you feel it kickin' in?
Do you feel it kickin' in?
Do you feel it kickin' in?
Honey, are you up there?

Do you feel it kickin' in?
Do you feel it kickin' in?
Do you feel it kickin' in?
Honey, are you up there?

Bounce bounce bounce
Bounce bounce bounce
Bounce bounce bounce

Bounce bounce bounce
Bounce bounce bounce
Bounce bounce bounce

And now, she puts her shot glass down
She asks for another round
She wants to hit the clouds
Honey, are you up there?
Now she puts her shot glass down
She asks for another round
Girl, don't you hit the ground
Is it kickin' in?

Do you feel it kickin' in?
Do you feel it kickin' in?
Do you feel it kickin' in?
Honey, are you up there? ... ... ... ... ... ...

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6. NAKED LOVE
Writers: Benjamin Levin, Ammar Malik, Dan Omelio, Oliver Goldstein, Josh Abraham
Producers: Josh Abraham, Oligee

“Naked Love is a really fun upbeat positive anthem about no frills. It's asking somebody to just love you without all the bells and whistles, without all the hub bub. I don't need flowers and I don't need a fancy dinner, I don't need you to make a big deal out of it, I just need the real thing. Stripped back, naked, pure.”

I wasn't that keen on this song after seeing the live performance. My comments were:

Do you know those perennially chirpy people with boundless positivity and happy smug faces? Well this song is their equivalent. I want to give them a good slap for being so annoying. It says more about me being a cranky old git than anything else. It's a light frivolous pop song. I don't like happy fluffy pop. I like things to have a bit of a nasty edge. It feels like a cross between a JLS song and an 80s pop-by-numbers Stock Aitken and Waterman production so much so that I think I might be being Rickrolled. Maybe that means it'll be a huge hit.

I'm afraid to say that my opinion hasn't really shifted. It sounds a little more modern and less 80s but still a bit generic. Adam's voice is delicious though.

Oh whoa yeah yeah yeah
Oh whoa yeah yeah yeah

Lose control
Collision course
With you my love
Call 911
So roll the dice
Get lucky tonight
I know you're holding back
No more hesitation, no

Just come on
I want your naked love
So don't you dress it up tonight
Yeah come on
You know your naked love
Is what I'm dreamin' of tonight

Oh whoa yeah yeah yeah
Oh whoa yeah yeah yeah

Take it off
And try me on
The hottest threads
You ever worn
So roll the dice
Get lucky tonight yeah
I know you're holding back
No more hesitation

Just come on
I want your naked love
So don't you dress it up tonight
Yeah come on
You know your naked love
Is what I'm dreamin' of tonight

Oh whoa yeah yeah yeah
Oh whoa yeah yeah yeah

Just come on
I want your naked love
So don't you dress it up tonight
Yeah come on
You know your naked love
Is what I'm dreamin' of tonight

Oh whoa yeah yeah yeah
Oh whoa yeah yeah yeah

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7. POP THAT LOCK
Writers: Adam Lambert, Josh Crosby, Lesley Roy, Robert Marvin, Nate Campany
Producers: Robert Marvin for Kustom Thrills, Josh Crosby for My Kid Brother Music

“Pop That Lock is a song about just being who you are, letting it all hang out and letting down your guard. Pop that lock, unlock it, open the door, just be, let it go. We're all victims at one time or another of being trapped by our own fears or limitations, or we think people want from us, and this song is a really cool electro-dance song about just letting go.”

The intro sounds rather industrial and it's a throbbing start with Adam's voice on top of the beat. It's a simple stompy rhythm that I generally don't like but it works here. The thumping chorus is sharp and I absolutely love love love that dirty scratchy electro breakdown with its dark heavy beats and Adam's throaty banshee wail. It sounds much more experimental than anything I'd dared hope for. It's another song about liberating oneself and letting go, like Cuckoo, which also references this. Adam bosses us around with punchy lyrics and low rich vocals. Another one I love.

Left, right, step up to the spotlight
Why're you acting up tight?
I'm takin' you to school, thats right
High, low, don't tell me you don't know
How to ever let go
I'm takin' you to school, that's right

Tonight we burn it all
Get high, get tall
Yeah, we're lighter than air
You got the key to your release
So pop that lock until you're lighter than air

If you wanna be it
You've got to dream
If you got the key then baby
Pop that lock
If you wanna free it
You have got to scream
If you got the key then baby
Pop that lock

Banshee boys and dancey girls get down

Work, bitch, you don't gotta
Stress this
Got 'em feeling restless
Show 'em how it's done, alright
Secret, don't care if you don't keep it
Don't care if you leak it
Show 'em how it's done alright

Tonight we burn it all
Get high, get tall
Yeah, we're lighter than air
You got the key to your release
So pop that lock until you're lighter than air

If you wanna be it
You've got to dream
If you got the key then baby
Pop that lock
If you wanna free it
You have got to scream
If you got the key then baby
Pop that lock

Banshee boys and dancey girls get down
Get down

Work work work alright
Work work work alright

Banshee boys and dancey girls get down
You better pop that lock

If you wanna be it
You got to dream
If you got the key then baby
Pop that lock
If you wanna free it
You have got to scream
If you got the key then baby
Pop that lock

Get down yeah
Baby pop that lock, get down
Get down
Pop that lock get down

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8. BETTER THAN I KNOW MYSELF
Writers: Lukasz Gottwald, Joshua Coleman, Claude Kelly, Henry Walter
Producers: Dr. Luke, Cirkut & Ammo for Prescription Songs

“Better Than I Know Myself is a song that I think anybody who has been in or is in a relationship can relate to. Sometimes you screw up ir you say something that hurts your partner's feelings or you haven't been supportive. This song basically owns that, says, "Look, I'm sorry that sometimes I'm not perfect but without you, I wouldn't know what I would do with myself. I need you because you are the only person that knows me better than I know myself."”

Full review here

Cold as ice
And more bitter than a December
Winter night
That's how I treated you
And I know that I
I sometimes tend to lose my temper
And I cross the line
Yeah that's the truth

I know it gets hard sometimes
But I could never
Leave your side
No matter what I say

'Cause if I wanted to go I would have gone by now
But I really need you near me to
Keep my mind off the edge
If I wanted to leave I would have left by now
But you're, you're the only one that knows me
Better than I know myself

All along
I tried to pretend it didn't matter
If I was alone
But deep down I know
If you were gone
For even a day I wouldn't know
Which way to turn
Cause I'm lost without you

I know it gets hard sometimes
But I could never
Leave your side
No matter what I say

'Cause if I wanted to go I would have gone by now
But I really need you near me to
Keep my mind off the edge
If I wanted to leave I would have left by now
But you're, you're the only one that knows me
Better than I know myself

I get kind of dark
Let it go too far
I can be obnoxious at times
But try and see my heart
Cause I need you now
So don't let me down
You're the only thing in this world
I would die without

'Cause if I wanted to go I would have gone by now
But I really need you near me to
Keep my mind off the edge
If I wanted to leave I would have left by now
But you're, you're the only one that knows me
Better than I know myself

'Cause if I wanted to go I would have gone by now
But I really need you near me to
Keep my mind off the edge
If I wanted to leave I would have left by now
But you're, you're the only one that knows me
Better than I know myself

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9. BROKEN ENGLISH
Writers: Adam Lambert, Lester Mendez, Sam Sparro
Producer: Lester Mendez

“Broken English is kind of a sexy song about communication and there are so many different ways to communicate. You can communicate with words and then sometimes it's not about the words at all, it's about, maybe body language. I think that there can be some challenges that some from not being able to communicate verbally, and then there's also a lot of beauty in that disconnect, and that's what Broken English is about.”

The intro is a surprisingly delicate ambient one and once the reverberating beat comes in, it reminds me of Ultravox's Vienna. It's a song about the inability to communicate in a relationship, causing misunderstandings. My original thoughts after Jimmy Kimmel were:

I'm loving it so far. It's an atmospheric sexy slow burn with a moody melody. It has a big swelling dramatic production which I can hear as a climactic soundtrack. The vocal is striking and powerful... The bridge is something else though, as Adam lends a beautiful haunting ghostly wail over frantic drumming.

That still stands but I just want to add how much I love Adam's voice on this. What he does with his voice on the bridge is just sublime and otherworldly. It's a mournful howl of a siren call, its ethereality accentuated by the heaviness of the instrumentals. Just beautiful.

Tower of Babel has fallen down again
Information disarray
I don't know who I should believe in
Everybody's an authority
Fragments don't count
They always end up fallin' through the cracks
Don't think out loud
'Cause once it's out your mouth can't take it back

Can't say all the little things
That I wanna tell you right now
I know you won't understand
But I gotta tell you somehow
And on and on and on I go
Connect the neck to what's below, I know
Now your body language is broken, broken english

Lost inside communication breakdown
Better just to read my lips
Comin' in clearer when we get down
Iceberg just the tip
My words get lost
Can you read the look that's on my face
Wires get crossed
In communion with the human race

Can't say all the little things
That I wanna tell you right now
I know you won't understand
But I gotta tell you some how
And on and on and on I go
Connect the neck to what's below, I know
Now your body language is broken, broken english

Can't say all the little things
That I wanna tell you right now
I know you won't understand
But I gotta tell you some how
And on and on and on I go
Connect the neck to what's below, I know
Now your body language is broken, broken english

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10. UNDERNEATH
Writers: Josh Crosby, Catt Gravitt, Tom Shapiro, Adam Lambert
Producers: Josh Crosby for Mu Kid Brother Music, Robert Marvin for Kustom Thrills

“Underneath is a pretty personal song. I think this one is the most revealing on the album. Even someone like myself, who's been given this great opportunity and has seemingly a great life, I have moments where things aren't always totally happy, you know we all go through that, so hopefully the listener at home can relate to that feeling, that struggle and that turmoil that sometimes takes over your being.”

The start of this is bare, just the stirring sound of a piano. Adam's voice is so close, so fragile, so vulnerable. It strengthens as we head to the chorus and the depth of emotion channelled through it defies belief. It must be so difficult to sing live. We can hear so many different textures to his voice complemented by a balance of classic and electronic instrumentals. The second verse is less minimal, building to a desperate cry at the crescendo. Inviting us into his private world with hard-hitting lyrics containing powerful imagery, it's extremely moving. It delves into such a personal and intimate realm it actually makes me feel uncomfortable listening to such anguish pouring out of that voice. It's so intense I can only handle it in small doses and find myself drained after listening to it. Time to take a deep breath. An evocative masterpiece.

Strip away the flesh and bone
Look beyond the lies you've known
Everybody wants to talk about a freak
No one wants to dig that deep
Let me take you underneath
Baby, better watch your step
Never mind what's on the left
You're gonna see things you might not wanna see
Still not that easy for me
Underneath

A red river of screams underneath
Tears in my eyes underneath
Stars in my black and blue sky
And underneath under my skin
Underneath the depths of my sin
Look at me
Now do you see?

Welcome to my world of truth
I don't wanna hide any part of me from you
I'm standing here with no apologies
Such a beautiful release
You inside of me

A red river of screams underneath
Tears in my eyes underneath
Stars in my black and blue sky
And underneath under my skin
Underneath the depths of my sin
Look at me
Now do you see?

Underneath underneath underneath
Underneath underneath

Welcome to my world of truth

A red river of screams underneath
Tears in my eyes underneath
Stars in my black and blue sky
And underneath under my skin
Underneath the depths of my sin
Look at me
Now do you see?

Underneath underneath underneath

Look at me
Do you see?
Look at me
Do you see?

Welcome to my world of truth
I don't wanna hide any part of me from you

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11. CHOKEHOLD
Writers: Adam Lambert, Oliver Goldstein, Bonnie McKee, Josh Abraham
Producers: Josh Abraham, Oligee

“Chokehold is a song that I wrote with Bonnie Mckee. It's about a relationship that's not good for you. It's about being into somebody or obsessed with somebody that isn't emotionally healthy. I think everybody at some time or another has chased after the wrong person and sometimes if they're bad or wrong for you, it feels really good and we keep going back for more.”

The intro to this song about being addicted to a destructive relationship is a dark and menacing one. When Adam's voice kicks in for the verses, it's contrastingly light and breathy. The choruses feel like an anthemic rock song with a big production. The delicate moaning at the bridge is a thing of beauty and I love the tinkly electronic sounds over the synths near the end. It's well written and Adam's expressive voice emotes both resignation and exasperation in this beautifully stirring song.

Starin' at the ceiling in the dark
Sheets are in a knot
My heart is like a rock, hey
Pictures flashing by inside my head
I'm hanging by a thread
But I'd do it all again, hey

I keep running away
Running away
Running away from you but I
Can't stand breaking the chains
Breaking the chains
Breaking the chains
It's too good

'Cause I know
The second you go
Want you to bring it on back
Bring it on back
Bring it on back to me
And you know
I want your chokehold
Want you to bring it on back
Bring it on back
Bring it on back to me
Bring it on back to me
Bring it on back to me

Oh, without your touch I suffocate
Cold asphyxiate
But I kinda like the pain, hey
Baby, I can smell you on my clothes
I try to stay composed
But I feel a fever grow, grow

I keep running away
Running away
Running away from you but I
Can't stand breaking the chains
Breaking the chains
Breaking the chains
It's too good

'Cause I know
The second you go
Want you to bring it on back
Bring it on back
Bring it on back to me
And you know
I want your chokehold
Want you to bring it on back
Bring it on back
Bring it on back to me
Bring it on back to me
Bring it on back to me

Gonna bring it on back to me

'Cause I know
The second you go
Want you to bring it on back
Bring it on back
Bring it on back to me
And you know
I want your chokehold
Want you to bring it on back
Bring it on back
Bring it on back to me

Yeah, yeah, I'm gonna bring it on back to me
Bring it on back to me
Bring it on back to me

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12. OUTLAWS OF LOVE
Writers: Adam Lambert, Rune Westberg, BC Jean
Producer: Rune Westberg

“Outlaws of Love is a song about the struggle to overcome adversity of any kind. I wrote it personally about my feelings in the way the struggle makes me feel that the gay and lesbian community faces. What's great about the song I think is that I wrote it from that perspective, but upon presenting it to some friends and family, it can be interpreted as any sort of adversity or challenge or obstacle, whether it be star-crossed lovers like Romeo and Juliet or Bonnie and Clyde running from the law or Thelma and Louise. It's kind of that lamentation of being on the run.”

The arrangement on this is very similar to that of the debut performance but has more of a beat to it, which I think it ages it a touch. Adam's gentle mournful voice is so soothing and has harmonies as backing on the choruses. There are marked differences in his voice towards the end, changing into strong and defiant rich tones, then back to resignation. The lyrics are uncomplicated and sincere with a strong message, making this a potential anthem for LGBT rights.

Oh, nowhere left to go
Are we getting closer, closer?
"No," all we know is "No!"
Nights are getting colder, colder

Hey, tears all fall the same
We all feel the rain
We can't change

Everywhere we go, we're looking for the sun
Nowhere to grow old, we're always on the run
They say we'll rot in hell, well I don't think we will
They've branded us enough, outlaws of love

Scars make us who we are
Hearts and homes are broken, broken
Far, we could go so far
With our minds wide open, open

Hey, tears all fall the same
We all feel the rain
We can't change

Everywhere we go we're, looking for the sun
Nowhere to grow old, we're always on the run
They say we'll rot in hell, well I don't think we will
They've branded us enough, outlaws of love

Aaah...

Everywhere we go, we're looking for the sun
Nowhere to grow old, we're always on the run
They say we'll rot in hell, well I don't think we will
They've branded us enough, outlaws of love

Outlaws of love
Outlaws of love
Outlaws of love
Outlaws of love

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13. RUNNIN'
Writers: Adam Lambert, David Marshall, Fred Williams, Catt Gravitt, Robert Marvin
Producer: Robert Marvin for Kustom Thrills

The intro leads me to think of 80s/early 90s sci-fi action movies until Adam's voice comes in, which gives me one hell of a shock. The sustained low tone is unlike anything else I've heard from him before. It's rich and gravelly and a joy. The verses sound dark, describing an undesirable predicament but it takes flight during the choruses when he decides to take action. It's so satisfying when Adam lets his voice rip. Apart from a few electronic bits, it's a big uplifting rock ballad with a frenetic hammering beat at the bridge that makes way for the peace of a hymn-like break. This feels like perfect soundtrack material but I can't help feeling that the production is disjointed with the rock and electro elements not quite consolidating. Good as a bonus track.

Steel to my trembling lips
How did the night ever get like this?
One shot and the whiskey goes down, down, down
Bottom of the bottle hits
Waking up my mind as I throw a fit
The breakin' is takin' me down, down, down

My heart's beating faster
I know what I'm after
I've been standing here my whole life
Everything I seen twice
Now it's time I realise
It's spinning back around now
On this road I'm crawlin'
Save me 'cause I'm fallin'
Now I can't seem to breathe right
'Cause I keep runnin', runnin', ... ... ... ... ... ...
Runnin' from my heart

Round and around I go
Addicted to the numb livin' in the cold
The higher the lower the down, down, down
Sick of bein' tired and sick and ready
For another kind of fix
The damage is damning me down, down, down

My heart's beating faster
I know what I'm after
I've been standing here my whole life
Everything I seen twice
Now it's time I realise
It's spinning back around now
On this road I'm crawlin'
Save me 'cause I'm fallin'
Now I can't seem to breathe right
'Cause I keep runnin', runnin', ... ... ... ... ... ...
Runnin' from my heart

Oh, I'm coming alive
Oh, I'll wake up now and live
Oh, I'm coming alive
A life that's always been a dream
I'll wake up now and live, oh

I've been standing here my whole life
My heart's beating faster
I know what I'm after

I've been standing here my whole life
Everything I seen twice
Now it's time I realise
It's spinning back around now
On this road I'm crawlin'
Save me 'cause I'm fallin'
Now I can't seem to breathe right
'Cause I keep runnin', runnin', ... ... ... ... ... ...
Runnin' from my heart

'Cause I keep runnin', runnin', ... ... ... ... ... ...
Runnin' from my heart

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14. TAKE BACK
Writers: Adam Lambert, Busbee
Producers: Busbee, J. Bonilla

The piano intro is a bit deceptive, leading me to think that this might be another stripped down emotional song. Then the pulsating beat kicks in and I know it's another one for the dancefloor. The verses are beat-driven, surprisingly there's is no melody in the first few lines as Adam sings it monotone. The panting "Eh eh eh" sounds in between are sexy though. The choruses remind me of NCOE's with the bass zipping up and down and a beat that I'm not too keen on. The vocals are fantastic though, especially at the bridge where sultry turns to the gritty powerbelting chorus. Unsurprisingly it's a song about wanting to undo something so I find the choice of an understated and restrained "Oh My" in the lyrics to express this as a source of amusement because for me it would be expletive-ridden. It ends on what sounds like an Irish folk trill to me. There are other songs I prefer from this album but this is one that will get me up and moving.

All you ever think is gimme gimme
But you'll never give back
All I ever do is overthink and drink
Until I attack
We know how to talk it into the ground
We know how to wear it out
If we ain't gonna save it
Gonna end up in the grave and baby

How do we take back what's been done?
What's been said?
Oh, my
How do we take back 'cause no one wins
When love breaks down
We both die
And I would give anything
Just to chase the dark away
And start all over again
How do we take back what's been done?
What's been said?
Oh my

I fed you a fantasy
But you been drunk on reality
All you want is to be wanted
Long as you get it outta me
We used to be a jungle, sticky and wild
It used to be we owned the night
All the stupid games we're playin'
All the shit that we've been saying'

How do we take back what's been done?
What's been said?
Oh, my
How do we take back 'cause no one wins
When love breaks down
We both die
And I would give anything
Just to chase the dark away
And start all over again
How do we take back what's been done?
What's been said?
Oh my

Remember remember the first time we collided?
We lost it we lost it
Yeah

How do we take back what's been done?
What's been said?
Oh, my
How do we take back 'cause no one wins
When love breaks down
We both die
And I would give anything
Just to chase the dark away
And start all over again
How do we take back what's been done?
What's been said?
Oh my

Oh my
How do we take back?

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14. NIRVANA
Adam Lambert, Josh Abraham, Oliver Goldstein, Stephen Wrabel
Producers: Josh Abraham, Oligee

The opening chords are pleasantly dark-sounding as Adam describes the negativity that love overcomes. The choruses turn into a smooth ride over a flowing piano but something doesn't quite hit the spot for me at "In nirvana stay". I think it's the melody or the forced rhyme which shifts the focus off "nirvana" to "stay", taming the impact. I still enjoy the uplifting feeling it generates though. The calm is broken momentarily as Adam soars thorough the clouds at the bridge with the most beautiful of notes, modulating from a hard gritty timbre into one that floats lighter than air. I love what he does with his voice towards the end, bringing it fully to life. It's a mellow end to the album leaving a feeling of contentment.

When the stars are too cold
Frozen over their glow
On the edge of the night
We can be their light
So give me more than your touch
And give yourself to the rush
Just keep holding my hand
As we're taking off
I know where we'll land

We can escape to a higher plane
In nirvana stay
Where the dreamers lay
I'll lay you down, lay you down
Safe on a higher plane
In nirvana stay
Where the dreamers lay
I'll lay you down, lay you down

Through the dark there's a way
There's a love, there's a place
Where we don't have to hide
We can dream all night
So follow me through the sky
And watch the oceans collide
Just keep holding my hand
As we're taking off
I know where we'll land

We can escape to a higher plane
In nirvana stay
Where the dreamers lay
And I'll lay you down, lay you down
Safe on a higher plane
In nirvana stay
Where the dreamers lay
I'll lay you down, lay you down

Oh, we don't need any diamonds or gold
Watch the mystic and cryptic unfold
As we fly high

We can escape to a higher plane
In nirvana stay
Where the dreamers lay
And I'll lay you down, lay you down
Safe on a higher plane
In nirvana stay
Where the dreamers lay
I'll lay you down, lay you down

I'll lay you down, lay you down
I'll lay you down, lay you down

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