It looks like I don't need to bother streaming this tomorrow as the Beeb have kindly made it available on their website. This performance has a mirrorball and Adam in his AMA suit looks fierce as ever and very much in charge. The sound mix is a little strange, and I think it's because it's a dry feed from Adam's mic. I'm not keen on the set as it looks teenage-bedroom cluttered, the feel of which is at odds with Adam's high-maintenance glam. He lags a little behind the music at times and the vocal is rather straight-up but nonetheless good and held very steady as he dances. Visually, this is one of the best FYEs as we get so many beautiful close-ups of Adam's expressions under stunning lighting and he looks amazing. I'm glad to see that he's managed to tune those expressions just perfectly for the cameras, looking much more natural and less forced than he does in the music video and finding the right level of camera interaction.
Showing posts with label For Your Entertainment. Show all posts
Showing posts with label For Your Entertainment. Show all posts
Friday, 14 May 2010
Tuesday, 11 May 2010
Enterteenment
I wasn't able to see this on TV as Nickelodeon is a channel I don't receive. I'm just grateful that it was recorded and uploaded for our viewing pleasure. The first view of the set is a nice surprise as everything's so sharp and clear compared to the soft-focus glare of Five or the smoke of GMTV. The faux-laser light beams remind me of the set from the performance on The View with the camera work lending a music video feel to it. We get some beautiful shots as Adam in his AMA get-up plays up to the camera. For once we can hear his voice becoming a tiny bit affected by the dancing, and 'You thought an angel' being a bit on the shaky side, but he finishes strongly with those perfect glory notes. There isn't much improvisation with the vocal and it looks like the big crotch movements were edited out for the younger target audience, but this has to be one of the best visual treats of FYE so far.
Thursday, 6 May 2010
Entertaining Studio Five Live
It would have been good to have had an interview on this early evening show but every time Adam was mentioned as having the pimp spot, it was all very positive. The first shot we have is a soft focus one of his rhinestoned boot moving jerkily to the whip cracks. We see the return of the AMA suit as a dapper Adam begins to sing. The start is a little on the tentative side but he soon gets into his stride, keeping his voice steady as he breaks into his moves. It's a shame the camera work is a bit on the annoying side, dizzying and with some strange angles. This is a commanding performance and everything comes together so well. The vocals are superb, the dancing is tight and he's looking increasingly natural and comfortable on stage giving us an entertaining show.
Sunday, 2 May 2010
Heating up GMTV
I was excited and nervous about this first live performance on UK TV of Adam's debut single, postponed because of the volcano. Although audience numbers aren't huge and the performance wasn't scheduled during the peak time, GMTV is still the second most-watched breakfast TV show here. I did have some concerns over how the vocals would come across as it's a difficult song to sing live. The verses sit in his lower range where he doesn't have as much power. They are also quite wordy, allowing little space for the short notes to develop and the result is that it can sound a tad shaky. I needn't have worried though.
I was glad to see that the intro package was great and I agree with Lorraine that he looked stunning - so glam and made up for the morning while the rest of us were still trying to look awake. His hair is very slick, eyes smouldering, skin all peachy and radiant. The white shirt without a jacket dresses him down just a touch and suggests he's ready to get down to business, but fun business. I think there was a fair amount of nervous laughter during the short interview, but the charm worked and the exchange was sweet.
I love that initial expression on Adam's face where he looks so fierce and powerful. Right from the start, we see that he inhabits the song. With the addition of the bejewelled jacket, sparkly spats and very tight trousers, he looks incredibly sharp and chic. The choreography as far as I can tell is the same as for the performances from Japan and is given an edginess from the jerky dance moves. I think the kooky dancers complement (when they're not obstructing our view of Adam) the performance as they shadow his moves rather than compete with him. They also lend Adam a more commanding and domineering presence, which is key to the interpretation of the song. The vocals are solid throughout, unaffected by the dancing, but they really pick up at the bridge where he sets them on fire.
I was glad to see that the intro package was great and I agree with Lorraine that he looked stunning - so glam and made up for the morning while the rest of us were still trying to look awake. His hair is very slick, eyes smouldering, skin all peachy and radiant. The white shirt without a jacket dresses him down just a touch and suggests he's ready to get down to business, but fun business. I think there was a fair amount of nervous laughter during the short interview, but the charm worked and the exchange was sweet.
I love that initial expression on Adam's face where he looks so fierce and powerful. Right from the start, we see that he inhabits the song. With the addition of the bejewelled jacket, sparkly spats and very tight trousers, he looks incredibly sharp and chic. The choreography as far as I can tell is the same as for the performances from Japan and is given an edginess from the jerky dance moves. I think the kooky dancers complement (when they're not obstructing our view of Adam) the performance as they shadow his moves rather than compete with him. They also lend Adam a more commanding and domineering presence, which is key to the interpretation of the song. The vocals are solid throughout, unaffected by the dancing, but they really pick up at the bridge where he sets them on fire.
Wednesday, 17 March 2010
Glamajuku Hits Japan
I'd been very excited about Adam's visit to fashion-forward Japan, where there is no top to OTT and fanaticism is taken to a whole new level. It must have been quite an experience to have received such an enthusiastic welcome from the thousand dedicated fans who lined up to greet him at Narita. There could be little that's more validating than that and I'm so happy Adam is getting the appreciation he deserves overseas.
Sometimes I wonder what type of creative performances we would have seen from Adam if the AI audience were Japanese. We have been provided with a good glimpse though, and it's a joy to see him so at ease with really letting loose in expressing himself.
His first show on this trip for those few lucky fans was in Club Eleven in Roppongi. Decked out as a dazzling spiky glitterbomb with those now infamously flattering leggings (sans codpiece), he really rocked the joint in a couple of choreographed numbers. I love the setting and think that concerts are so much better when moshing rather than sitting. The atmosphere seems electric, with the videos capturing the feel of the small sweaty underground club of the FYE music video. Except I think these videos do it better because it's less staged and much more authentic. I wasn't keen on the dancers on SYTYCD in Australia, but I think the routines here work much better because Adam is an integral part and the dancers complement rather than do battle with him. Here's the set embedded as a playlist (use the arrows to choose the song) :
This is Adam's first live televised performance of FYE (below, second video in playlist) since the AMAs and there have been some notable changes. The vocal is much improved but the start is still a tiny bit shaky. I think this is because the verses are a little low for him so it's difficult to sing sustained notes with the same clarity and power as the chorus. As with the Roppongi rendition, it's been shortened and I notice that he's been sliding up to the high notes rather than jumping which makes it easier to find the right pitch, and pretty much pitch-perfect he is. He shows off some very slick new dance moves and the routine as a whole is made of win.
And the look! Wow! It appears that he really went with his 'More is more' mantra with make-up that truly is a work of art. There appear to be influences from Japanese kabuki theatre with the eye make-up, enhanced by the rhinestones and thick eyebrows. I think he looks like a cute anime sprite. The fiery colours are quite a departure from the cool colours I'm used to. Those along with the fur, spikes and claws complete a leonine look. Rawr!
Sometimes I wonder what type of creative performances we would have seen from Adam if the AI audience were Japanese. We have been provided with a good glimpse though, and it's a joy to see him so at ease with really letting loose in expressing himself.His first show on this trip for those few lucky fans was in Club Eleven in Roppongi. Decked out as a dazzling spiky glitterbomb with those now infamously flattering leggings (sans codpiece), he really rocked the joint in a couple of choreographed numbers. I love the setting and think that concerts are so much better when moshing rather than sitting. The atmosphere seems electric, with the videos capturing the feel of the small sweaty underground club of the FYE music video. Except I think these videos do it better because it's less staged and much more authentic. I wasn't keen on the dancers on SYTYCD in Australia, but I think the routines here work much better because Adam is an integral part and the dancers complement rather than do battle with him. Here's the set embedded as a playlist (use the arrows to choose the song) :
This is Adam's first live televised performance of FYE (below, second video in playlist) since the AMAs and there have been some notable changes. The vocal is much improved but the start is still a tiny bit shaky. I think this is because the verses are a little low for him so it's difficult to sing sustained notes with the same clarity and power as the chorus. As with the Roppongi rendition, it's been shortened and I notice that he's been sliding up to the high notes rather than jumping which makes it easier to find the right pitch, and pretty much pitch-perfect he is. He shows off some very slick new dance moves and the routine as a whole is made of win.
And the look! Wow! It appears that he really went with his 'More is more' mantra with make-up that truly is a work of art. There appear to be influences from Japanese kabuki theatre with the eye make-up, enhanced by the rhinestones and thick eyebrows. I think he looks like a cute anime sprite. The fiery colours are quite a departure from the cool colours I'm used to. Those along with the fur, spikes and claws complete a leonine look. Rawr!
Roaring in Singapore
OK this is very late but I thought I'd post anyway, just for completeness. The trip started off with a horde of people waiting to greet Adam at the airport who he unfortunately and inadvertently bypassed. There are plenty of videos showing the huge crowds who lined up just to get a glimpse of Adam come rain or shine. One of the things I noticed first was the slightly different demographic of the fans, being younger than their US counterparts. There are some great interviews that came out of this trip.
Here is an embedded playlist of Adam's acoustic set, use the arrows to select the song.
The highlights of this set for me are Sleepwalker with the elaborate riffs, MW and DTRH. I love the upbeat arrangement of MW with that last note being nothing short of astounding. DTRH is full of infectious energy with Longineu's dreads flying about and Adam himself succumbing to the music by getting up and shakin' it. There is something very Michael Jackson about his outfit, from the black sequinned jacket to the white gloves.
Here is an embedded playlist of Adam's acoustic set, use the arrows to select the song.
The highlights of this set for me are Sleepwalker with the elaborate riffs, MW and DTRH. I love the upbeat arrangement of MW with that last note being nothing short of astounding. DTRH is full of infectious energy with Longineu's dreads flying about and Adam himself succumbing to the music by getting up and shakin' it. There is something very Michael Jackson about his outfit, from the black sequinned jacket to the white gloves.
Sunday, 7 March 2010
Codpiece
As if he needs any help making it big down under! This pimp spot at Sydney Mardi Gras was the first time since AI that Adam would be performing at a gay event. I was particularly excited by the fact that he'd have free rein to really push things as far as he'd dare with a license to camp things up.
That entrance! The glitter! The outfit! That codpiece!
Adam seems so free for the first time since coming out of AI and it's such fun to watch. He obviously enjoyed playing up to the audience, dancing, prowling the stage, thrusting his hips and giving some crazy vocals.
While perhaps a little conservative for Mardi Gras (I was hoping to see him in something like his dazzling Halloween creations, but can see he needed to first establish a look down under), 'Adam doing bondage' has still become a huge talking point. The components are very reminiscent of his Zodiac ensemble with the jacket, bare chest, tights, boots and corset, but the look is very aggressive. All those spikes, studs and metal are very hard but they're softened just a tiny bit by the make-up and glitter. And of course we have to laugh at the studded cod centrepiece worn over those cheeky tights; a salute to all the Glambulge gazers out there!
Adam seems so free for the first time since coming out of AI and it's such fun to watch. He obviously enjoyed playing up to the audience, dancing, prowling the stage, thrusting his hips and giving some crazy vocals.
While perhaps a little conservative for Mardi Gras (I was hoping to see him in something like his dazzling Halloween creations, but can see he needed to first establish a look down under), 'Adam doing bondage' has still become a huge talking point. The components are very reminiscent of his Zodiac ensemble with the jacket, bare chest, tights, boots and corset, but the look is very aggressive. All those spikes, studs and metal are very hard but they're softened just a tiny bit by the make-up and glitter. And of course we have to laugh at the studded cod centrepiece worn over those cheeky tights; a salute to all the Glambulge gazers out there!
Sunday, 28 February 2010
Fantasy Sprung
WHOA! Fucking hell! Not quite what I was expecting... but Adam has sprung a wonderful surprise upon us with the most amazing acoustic renditions included in the set. This was the first time I didn't stay up for the stream and I'm feeling mild regret. What a morning it's been though, to wake up to these videos!
Before the concert, I'd been hoping that Adam would change up his look a little as he'd been wearing lots of dark colours under a trenchcoat. My wish was granted, with a new hairdo and a most fabulous costume. From the photos it looks like he had some blue dreads put in, instantly giving off a hippie vibe, especially with those tie-dye jeans. The full costume with the huge floaty sleeves and Zodiac vulture-feathers on his shoulders make him look like a desert-dwelling witch from a nomadic tribe, albeit of the glam variety. The first video I saw was WLL without these though, and my initial impression was of an inhabitant of a far-off exotic island, hair adorned with tropical flora and feathers, and lei around his neck. Or maybe that was just from the heat given out from that performance!
Here's my video selection so far in set order. All the videos are now here as an EMBEDDED PLAYLIST. I'll be updating it as better versions turn up.
I absolutely have to comment on the most incredible psychedelic arrangement and performance of WLL, which I think must be one of the sexiest things I've ever seen or heard. There's a lot that's reminiscent of Jim Morrison. There were no overt sexual gestures but what he achieved was purely with his voice and stage presence and was so sizzling hot. Whereas the previous renditions were pure sex of the sordid aggressive rip-your-clothes-off encounter, this one was a long slow hedonistic tripped-out throw-your-phone-away all-day love-in, teetering on the edge of blissful agony. His voice works you up and down, knowing when to stop you from boiling over but keeping you simmering, effortlessly stroking and teasing you into spasms of ecstasy. Whew! If I can manage to tear myself away, get my breath back and string together some coherent thoughts, I'll be back later.
Before the concert, I'd been hoping that Adam would change up his look a little as he'd been wearing lots of dark colours under a trenchcoat. My wish was granted, with a new hairdo and a most fabulous costume. From the photos it looks like he had some blue dreads put in, instantly giving off a hippie vibe, especially with those tie-dye jeans. The full costume with the huge floaty sleeves and Zodiac vulture-feathers on his shoulders make him look like a desert-dwelling witch from a nomadic tribe, albeit of the glam variety. The first video I saw was WLL without these though, and my initial impression was of an inhabitant of a far-off exotic island, hair adorned with tropical flora and feathers, and lei around his neck. Or maybe that was just from the heat given out from that performance!
Here's my video selection so far in set order. All the videos are now here as an EMBEDDED PLAYLIST. I'll be updating it as better versions turn up.
I absolutely have to comment on the most incredible psychedelic arrangement and performance of WLL, which I think must be one of the sexiest things I've ever seen or heard. There's a lot that's reminiscent of Jim Morrison. There were no overt sexual gestures but what he achieved was purely with his voice and stage presence and was so sizzling hot. Whereas the previous renditions were pure sex of the sordid aggressive rip-your-clothes-off encounter, this one was a long slow hedonistic tripped-out throw-your-phone-away all-day love-in, teetering on the edge of blissful agony. His voice works you up and down, knowing when to stop you from boiling over but keeping you simmering, effortlessly stroking and teasing you into spasms of ecstasy. Whew! If I can manage to tear myself away, get my breath back and string together some coherent thoughts, I'll be back later.
Tuesday, 16 February 2010
I Heart Acoustic Adam
As much as I love all the performances from the album so far, one of the things that got me so excited about Adam in the first place was his ability to sing one song a myriad different ways. He's a Magical Remix Machine: input any song and he'll use those same lyrics and same basic melody to give you something that sounds much better. He even has a vast array of settings to choose from to suit your mood. I've been listening to the album songs since November so alternative arrangements is something I've been really looking forward to. For them to have considerable impact, the audience needs to already be familiar with the songs, which would be around about now.
Rather than embed each video separately and to save you from waiting for the page to load, I've embedded a playlist with the clips in set order.
Adam has the ability to re-invigorate and extend the life of those songs we've grown tired of, and as I'd grown a little tired of hearing 'Whataya Want From Me?' over and over on the publicity circuit, these acoustic versions came at a welcome time. His voice is so delicately light and silky, and each rendition is unique in melodic improvisations. As for the person blathering on the phone, rude and ungrateful bitch should've given her ticket to someone more deserving.
Who would've thought I'd be so thrilled to hear Mad World again after the 50+ different performances of the AI tour? This is a beautiful version with a nice change in 'I went to school' and a startling crescendo on 'Best I've ever had'. We've already heard an acoustic guitar version of Mad World during a corporate gig but this has a considerably different arrangement and a different feel. This is why I think Adam has longevity - as soon as things start to stagnate, our Magical Remix Machine gets to work and wows us over and over again.
Fever edit:
After hours of work all I got was out-of-synch audio and stuttering on this edit because my little laptop can't actually cope with such high resolution video. Well, I'm glad I can at least watch it on YouTube! Though not quite to the same extent as the Wild Idol gig, it's a pleasure to watch Adam increasingly let loose on stage with such a physical performance. It's all very OTT and hilarious at times when he acts out the lyrics. He's bursting with energy as he dances and shakes his way through the performance with stellar vocals and feel-good factor. What I find interesting is his reaction just after he finishes which you can see clearly in this video. He pauses for a moment with a stunned look on his face, perhaps slowly gauging and registering the audience reaction before switching out of performance mode with a big smile.
Rather than embed each video separately and to save you from waiting for the page to load, I've embedded a playlist with the clips in set order.
Adam has the ability to re-invigorate and extend the life of those songs we've grown tired of, and as I'd grown a little tired of hearing 'Whataya Want From Me?' over and over on the publicity circuit, these acoustic versions came at a welcome time. His voice is so delicately light and silky, and each rendition is unique in melodic improvisations. As for the person blathering on the phone, rude and ungrateful bitch should've given her ticket to someone more deserving.
Who would've thought I'd be so thrilled to hear Mad World again after the 50+ different performances of the AI tour? This is a beautiful version with a nice change in 'I went to school' and a startling crescendo on 'Best I've ever had'. We've already heard an acoustic guitar version of Mad World during a corporate gig but this has a considerably different arrangement and a different feel. This is why I think Adam has longevity - as soon as things start to stagnate, our Magical Remix Machine gets to work and wows us over and over again.
Fever edit:
After hours of work all I got was out-of-synch audio and stuttering on this edit because my little laptop can't actually cope with such high resolution video. Well, I'm glad I can at least watch it on YouTube! Though not quite to the same extent as the Wild Idol gig, it's a pleasure to watch Adam increasingly let loose on stage with such a physical performance. It's all very OTT and hilarious at times when he acts out the lyrics. He's bursting with energy as he dances and shakes his way through the performance with stellar vocals and feel-good factor. What I find interesting is his reaction just after he finishes which you can see clearly in this video. He pauses for a moment with a stunned look on his face, perhaps slowly gauging and registering the audience reaction before switching out of performance mode with a big smile.
Saturday, 13 February 2010
Adam, Rock My World!
UPDATE 27/02/10: Added Improved Music Again.
Well I did tune in to the cellcast but soon gave up. It seems like it was the best concert yet judging by those twitter rumours going around and the available video. Our Wild Idol Adam was truly on fire. He seemed so uninhibited, liberally dishing out his improvisations. He was extra glittery, shimmering from head-to-toe No time to go through each one in detail, heck I haven't even finished Gridlock yet but here are the best videos so far:
(Click here for Whole Lotta Love camera lick video)
Well I did tune in to the cellcast but soon gave up. It seems like it was the best concert yet judging by those twitter rumours going around and the available video. Our Wild Idol Adam was truly on fire. He seemed so uninhibited, liberally dishing out his improvisations. He was extra glittery, shimmering from head-to-toe No time to go through each one in detail, heck I haven't even finished Gridlock yet but here are the best videos so far:
(Click here for Whole Lotta Love camera lick video)
What a Session!
I'd been waiting for these for quite some time and when they came out, WOW! Just WOW! Adam's look is most reminiscent of his Santana performance at the AI finale, which I described as “...looked like a detective in a fabulous Glambert universe where the most serious crimes possible to commit, for which he was head of investigations, were crimes against fashion. Yes, I'd happily commit a fashion crime in order to get arrested by Adam before getting styled...”. This one is less sparkly and more utilitarian though, and I realised that it's rare we get to see Adam performing without a jacket on so we can see his lithe figure. The sound on these is much better than from any of the TV show performances and he's pitch perfect. One thing that I found a little annoying though, was the cameraman's fixation with Lisa. I don't have time at the moment to write about all of these individually, but Soaked - #%*^!!! That voice is truly a marvel.
WWFM
IIHY
Fever
Strut
Soaked
WWFM
IIHY
Fever
Strut
Soaked
Catching Up
I know it's been ages so I'm pleased you're still here. I thought I should write a catchup post summarising the past few weeks it as it doesn't look like I'll be able to write about everything I missed in detail before this latest wave of happenings. that'll teach me for going away!
Part of the problem of writing about the Adam world while I was away is that, unlike everything else on this site, I didn't feel the excitement and anticipation in real-time and as a result there's definitely something missing. I didn't go through the process of celebrating confirmed gigs, speculating during the drum-roll over things like songs, appearance and fashion stylings, and didn't get to share the experiences with you all as they happened. I also missed gauging the reactions and reading the positive media responses in the aftermath. That's something I need to keep up the obsession - it's no fun without you. Gorging my solitary self on the mountain of tasties in a short space of time meant that everything got blurred and I wasn't able to associate distinctive emotions or memories to each of the events. It's much better in smaller regular bites and that's why it was probably so easy to get hooked in the first place during AI's regular routine. This obsession is part choice, part addiction. When I came back after having gone cold turkey for so long, I could easily have chosen to be just a regular fan. What makes me a bit of a nutcase is the ethusiasm of the community, which I choose to continue to be a part of.
The highlights for me include the performances and a couple of interviews (Lyndsey Parker porch interview for the detailed chat about the music, Jessi Cruickshank's fun interview and game), though there seemed to be a shitload of them all going over the same old territory like the AMAs, being gay, Lady Gaga, meeting Oprah and meeting Madonna which all got rather tedious. It was annoying to spend such a long time listening to the same things over and over because they were so time-consuming but there were useful bits of info such as the possibility of Adam doing his first tour solo. And let's not forget his fashionista gig at the Grammys which he was a little too kind for and the Canadian TV appearances.
The first of the many Adam Lambert goodies that came along was the music video for Whataya Want From Me? for which I'd already been partially spoiled during the shooting.
The video to me is biographical and seems to represent the time around the AMA fallout but on a more personal level. He's letting us see a side that we don't see or even think about. Conveying the message of the song, Adam is pleading for patience and understanding as he sorts himself out. The colours and spaces we see Adam in are bleak and sombre. Adam is a joyless solitary figure in his cold sparsely furnished home that he hasn't been able to make comfortable, which tells us that his rapid rise to fame hasn't allowed him time to tend to it. The high walls of the garden resemble a fortress, furthering his isolation. He hasn't even had time to even look after himself or his heart, expressing anger, regret and frustration at the observer. When we see that, behind the contrasting performer and pap encounters, we feel sympathy and come to realise that it's not all glitz, glamour and smiles. Who the observer is has been left open to interpretation, but if it is his fans he brings us in closer. The last shot of a hint of a smile on getting into bed with him reassures us that everything will be OK and sums up his optimistic nature.
I would have liked to have seen something a little more abstract and less real, with Adam indulging in some elaborate costumes. I originally had in mind a variety like some of his Halloween ones, maybe a clown, a robot, an alien, a magician, perhaps one in drag. At the start we can't really see who it is and the camera pans to each one in a trippy and slightly frightening manner. It slows as the performances end to differing audience reactions and feelings from our entertainer. Then at each dressing room mirror we slowly see him emerging from under the make-up as the characters in their various guises converge, and so do their moods to reveal Adam at his vulnerable core. Well, I didn't get what I had imagined, but the video as it stands is beautifully shot with plenty of Adam camera time looking his best with a loud and clear message.
Oprah
One of the first things that struck me about Adam's appearance on Oprah was how androgynous his hair and make-up was, making him look particularly pretty. He was charming during the interview. The emphasis was on him during the polished performances where the band were lowered from the stage platform. It was great to see the audience singing along.
Ellen
This was my favourite of all the performances and such a joy to watch. Adam performing Strut aptly seemed very confident, giving off a rockstar vibe, dazzling us with his fun energy, his dancing and astonishing vocals. He commanded the stage like no other.
Part of the problem of writing about the Adam world while I was away is that, unlike everything else on this site, I didn't feel the excitement and anticipation in real-time and as a result there's definitely something missing. I didn't go through the process of celebrating confirmed gigs, speculating during the drum-roll over things like songs, appearance and fashion stylings, and didn't get to share the experiences with you all as they happened. I also missed gauging the reactions and reading the positive media responses in the aftermath. That's something I need to keep up the obsession - it's no fun without you. Gorging my solitary self on the mountain of tasties in a short space of time meant that everything got blurred and I wasn't able to associate distinctive emotions or memories to each of the events. It's much better in smaller regular bites and that's why it was probably so easy to get hooked in the first place during AI's regular routine. This obsession is part choice, part addiction. When I came back after having gone cold turkey for so long, I could easily have chosen to be just a regular fan. What makes me a bit of a nutcase is the ethusiasm of the community, which I choose to continue to be a part of.
The highlights for me include the performances and a couple of interviews (Lyndsey Parker porch interview for the detailed chat about the music, Jessi Cruickshank's fun interview and game), though there seemed to be a shitload of them all going over the same old territory like the AMAs, being gay, Lady Gaga, meeting Oprah and meeting Madonna which all got rather tedious. It was annoying to spend such a long time listening to the same things over and over because they were so time-consuming but there were useful bits of info such as the possibility of Adam doing his first tour solo. And let's not forget his fashionista gig at the Grammys which he was a little too kind for and the Canadian TV appearances.
The first of the many Adam Lambert goodies that came along was the music video for Whataya Want From Me? for which I'd already been partially spoiled during the shooting.
The video to me is biographical and seems to represent the time around the AMA fallout but on a more personal level. He's letting us see a side that we don't see or even think about. Conveying the message of the song, Adam is pleading for patience and understanding as he sorts himself out. The colours and spaces we see Adam in are bleak and sombre. Adam is a joyless solitary figure in his cold sparsely furnished home that he hasn't been able to make comfortable, which tells us that his rapid rise to fame hasn't allowed him time to tend to it. The high walls of the garden resemble a fortress, furthering his isolation. He hasn't even had time to even look after himself or his heart, expressing anger, regret and frustration at the observer. When we see that, behind the contrasting performer and pap encounters, we feel sympathy and come to realise that it's not all glitz, glamour and smiles. Who the observer is has been left open to interpretation, but if it is his fans he brings us in closer. The last shot of a hint of a smile on getting into bed with him reassures us that everything will be OK and sums up his optimistic nature.
I would have liked to have seen something a little more abstract and less real, with Adam indulging in some elaborate costumes. I originally had in mind a variety like some of his Halloween ones, maybe a clown, a robot, an alien, a magician, perhaps one in drag. At the start we can't really see who it is and the camera pans to each one in a trippy and slightly frightening manner. It slows as the performances end to differing audience reactions and feelings from our entertainer. Then at each dressing room mirror we slowly see him emerging from under the make-up as the characters in their various guises converge, and so do their moods to reveal Adam at his vulnerable core. Well, I didn't get what I had imagined, but the video as it stands is beautifully shot with plenty of Adam camera time looking his best with a loud and clear message.
Oprah
One of the first things that struck me about Adam's appearance on Oprah was how androgynous his hair and make-up was, making him look particularly pretty. He was charming during the interview. The emphasis was on him during the polished performances where the band were lowered from the stage platform. It was great to see the audience singing along.
Ellen
This was my favourite of all the performances and such a joy to watch. Adam performing Strut aptly seemed very confident, giving off a rockstar vibe, dazzling us with his fun energy, his dancing and astonishing vocals. He commanded the stage like no other.
Friday, 1 January 2010
Happy New Decade(nce)!
UPDATE 10/02/10: Added Improved Soaked with comments.
UPDATE 06/01/10: Added Improved If I Had You with comments.
UPDATE 04/01/10: Added Improved Music Again with comments.
I hope you all enjoyed yourselves and had a blast! The build-up to Gridlock was all very exciting as we were all trying to guess yet again what Adam would be singing, how he'd be singing it and what he'd be wearing. This was one appearance where I wasn't at all nervous and it was a great feeling not to have the pressure of needing to behave in front of the TV cameras. I'm really not a morning person but managed to set my alarm to half wake up for the streams. Unfortunately only a couple of them worked, some lacked sound and another kept buffering so I'm thankful for all the videos that were taken.
Adam's look 'I wanted to look like a firework' was styled like the AMAs with the exception of a tailed coat with symmetrically rhinestoned shoulder detailing. From what I could tell, the set started with Music Again, leading to If I Had You. Adam's voice had somehow managed to slice through all the ear-bleeding static and I could hear its power and clarity on the second song. WWFM was next, followed by Strut, Sure Fire Winners, some beautiful vibrato on Soaked, FYE and Sleepwalker which had Adam doing the most incredible vocal 'guitar solo'. Next was Fever, and the set ended with a crazily pumping Down The Rabbit Hole. WLL was the encore and sounded very different with the new band and the inclusion of a drum solo. The gig seemed to have a club vibe rather than that of a rock concert, and Adam was on fire. It was a wild high-octane show with Adam's energy and dancing electrifying the whole audience, whichever corner of the globe. I wish I could have been there at the first Adam concert, as the advantage of the performance not being televised was that the reigns were finally fully off, and what better way to start off the new decade?
Here are the best quality videos of each performance so far, which I'll be updating and tweaking as they come. My improved versions are the big one. More comments will follow as I work through them.
MUSIC AGAIN
This video was a real labour of obsession, made out of 29 separate cuttings from various videos and I'm really pleased with the result. Thanks for all your help in keeping me up to date with all the latest uploads.
To steer clear of expectations, I hadn't really thought much about the set or the order when I tuned into the stream, but despite being able to hear jack shit, I could still make out the distinctive and cheeky ascending beats at the intro of Music Again. It's the perfect party starter.
The interaction with Pamela at the start was deemed interesting enough to have been reported by the British press. Although the exchange was friendly, they seemed to mirror each other's defensiveness by intercepting hands from wandering into their personal space.
Right from the start, Adam reminds us that having his ABC gig cancelled could actually be a good thing for us fans because he's allowed to welcome us into the new 'motherfucking decade' with a show on his own terms. He can let loose and enjoy himself without having to worry about the bullshit, and it reflects in this most thrilling and explosive party of his where the crowd are not just spectators but are participants providing Adam with energy to feed off. After all the chat show appearances, this makes a most welcome change. This isn't a concert about vocals despite their being perfect on this song, nor is it exactly about what Adam does on stage but it's all about the effect on the atmosphere of the party. Adam is here for our entertainment, making us enjoy ourselves.
It's a little strange seeing him under red lights instead of blue as it gives off a slightly different feel. I associate red lights with debauchery and my many crazy hazy drunken nights out in various clubs. My favourite parts of this song are his evil claw, his fluid hip action and the way he seems to be so relaxed and beaming with joy.
IF I HAD YOU
Flippin' heck these edits are getting more and more complicated - this was was made up of 39 pieces!
From when the bassline kicks in at the very start, we are powerless to resist stomping to its rhythm. The song is full of booty-shaking energy with a club vibe that just makes me wish I were there for the party. This was the first time I'd seen it performed, and although there is a very rare painful note in the recording, it more than achieves its goal in getting the party going. My favourite part has to be where he drops and is led back up by his crotch.
WWFM
STRUT
SURE FIRE WINNERS
SOAKED
Here's the first video I've done in a while, it was trying to make the best sound file I could that ended up taking the longest so I hope it was worth it.
This is the performance that epitomises the phrase “I'll show you theatrical, bitch!” where Adam works the mood right from the start as he shimmies on his stool. He physically interprets the cymbal clash with a snap pose, and watch how it looks like he hits Lisa in the head. His voice at the start has a floaty, quivering ethereal quality to it, aided by the deifying rotating halo spotlight. Since his movement around the stage is limited, all eyes are on him and I find his swaying and expressions ethralling; the way he stretches, moulds and folds his lips (especially at the 2:15 mark) to not only create the sounds but to evoke the feelings of self-loathing interpreted from the lyrics. He seems to lose time during 'Take shelter and hide forever' but swiftly corrects himself. During the instrumental break, we get a change to red lighting and Adam steps up the melodrama with his acting skills. We have hand gestures, panting, the rehearsed reach for his hip flask (I wonder what was in it) which arrives just a little bit early, and the angry sip and wipe of the mouth. I find myself laughing at the theatrics wishing I were a tipsy member of the audience rather than viewing him via the footage. From this song, we perhaps get a glimpse of what Adam would be like as a drunkard! I must comment on the spot-on vocals, the dynamic range of which are just staggering. It takes a quality singer with a huge voice to be able to bring this song to life as Adam has done. My favourite part has to be that note. It sounds ghostly the way it lingers in the air before drifting off, leaving a lasting impression that continues to haunt.
FYE AND SLEEPWALKER
FEVER
DOWN THE RABBIT HOLE
WLL
Happy new year! Happy new decade(nce)! Have a fun-filled glitterified one!
UPDATE 06/01/10: Added Improved If I Had You with comments.
UPDATE 04/01/10: Added Improved Music Again with comments.
I hope you all enjoyed yourselves and had a blast! The build-up to Gridlock was all very exciting as we were all trying to guess yet again what Adam would be singing, how he'd be singing it and what he'd be wearing. This was one appearance where I wasn't at all nervous and it was a great feeling not to have the pressure of needing to behave in front of the TV cameras. I'm really not a morning person but managed to set my alarm to half wake up for the streams. Unfortunately only a couple of them worked, some lacked sound and another kept buffering so I'm thankful for all the videos that were taken.
Adam's look 'I wanted to look like a firework' was styled like the AMAs with the exception of a tailed coat with symmetrically rhinestoned shoulder detailing. From what I could tell, the set started with Music Again, leading to If I Had You. Adam's voice had somehow managed to slice through all the ear-bleeding static and I could hear its power and clarity on the second song. WWFM was next, followed by Strut, Sure Fire Winners, some beautiful vibrato on Soaked, FYE and Sleepwalker which had Adam doing the most incredible vocal 'guitar solo'. Next was Fever, and the set ended with a crazily pumping Down The Rabbit Hole. WLL was the encore and sounded very different with the new band and the inclusion of a drum solo. The gig seemed to have a club vibe rather than that of a rock concert, and Adam was on fire. It was a wild high-octane show with Adam's energy and dancing electrifying the whole audience, whichever corner of the globe. I wish I could have been there at the first Adam concert, as the advantage of the performance not being televised was that the reigns were finally fully off, and what better way to start off the new decade?
Here are the best quality videos of each performance so far, which I'll be updating and tweaking as they come. My improved versions are the big one. More comments will follow as I work through them.
MUSIC AGAIN
This video was a real labour of obsession, made out of 29 separate cuttings from various videos and I'm really pleased with the result. Thanks for all your help in keeping me up to date with all the latest uploads.
To steer clear of expectations, I hadn't really thought much about the set or the order when I tuned into the stream, but despite being able to hear jack shit, I could still make out the distinctive and cheeky ascending beats at the intro of Music Again. It's the perfect party starter.
The interaction with Pamela at the start was deemed interesting enough to have been reported by the British press. Although the exchange was friendly, they seemed to mirror each other's defensiveness by intercepting hands from wandering into their personal space.
Right from the start, Adam reminds us that having his ABC gig cancelled could actually be a good thing for us fans because he's allowed to welcome us into the new 'motherfucking decade' with a show on his own terms. He can let loose and enjoy himself without having to worry about the bullshit, and it reflects in this most thrilling and explosive party of his where the crowd are not just spectators but are participants providing Adam with energy to feed off. After all the chat show appearances, this makes a most welcome change. This isn't a concert about vocals despite their being perfect on this song, nor is it exactly about what Adam does on stage but it's all about the effect on the atmosphere of the party. Adam is here for our entertainment, making us enjoy ourselves.
It's a little strange seeing him under red lights instead of blue as it gives off a slightly different feel. I associate red lights with debauchery and my many crazy hazy drunken nights out in various clubs. My favourite parts of this song are his evil claw, his fluid hip action and the way he seems to be so relaxed and beaming with joy.
IF I HAD YOU
Flippin' heck these edits are getting more and more complicated - this was was made up of 39 pieces!
From when the bassline kicks in at the very start, we are powerless to resist stomping to its rhythm. The song is full of booty-shaking energy with a club vibe that just makes me wish I were there for the party. This was the first time I'd seen it performed, and although there is a very rare painful note in the recording, it more than achieves its goal in getting the party going. My favourite part has to be where he drops and is led back up by his crotch.
WWFM
STRUT
SURE FIRE WINNERS
SOAKED
Here's the first video I've done in a while, it was trying to make the best sound file I could that ended up taking the longest so I hope it was worth it.
This is the performance that epitomises the phrase “I'll show you theatrical, bitch!” where Adam works the mood right from the start as he shimmies on his stool. He physically interprets the cymbal clash with a snap pose, and watch how it looks like he hits Lisa in the head. His voice at the start has a floaty, quivering ethereal quality to it, aided by the deifying rotating halo spotlight. Since his movement around the stage is limited, all eyes are on him and I find his swaying and expressions ethralling; the way he stretches, moulds and folds his lips (especially at the 2:15 mark) to not only create the sounds but to evoke the feelings of self-loathing interpreted from the lyrics. He seems to lose time during 'Take shelter and hide forever' but swiftly corrects himself. During the instrumental break, we get a change to red lighting and Adam steps up the melodrama with his acting skills. We have hand gestures, panting, the rehearsed reach for his hip flask (I wonder what was in it) which arrives just a little bit early, and the angry sip and wipe of the mouth. I find myself laughing at the theatrics wishing I were a tipsy member of the audience rather than viewing him via the footage. From this song, we perhaps get a glimpse of what Adam would be like as a drunkard! I must comment on the spot-on vocals, the dynamic range of which are just staggering. It takes a quality singer with a huge voice to be able to bring this song to life as Adam has done. My favourite part has to be that note. It sounds ghostly the way it lingers in the air before drifting off, leaving a lasting impression that continues to haunt.
FYE AND SLEEPWALKER
FEVER
DOWN THE RABBIT HOLE
WLL
Happy new year! Happy new decade(nce)! Have a fun-filled glitterified one!
Thursday, 31 December 2009
Whataya Want From Me? Whataya Want From Me?
It's been another day of celebration as Adam's sales figures are much better than expected, having sold 62,000 copies of FYE this week, increasing the total US sales to 417,000.
Yesterday was the first time I'd been aware (thanks to my fellow Lambrits) of WWFM getting played on UK radio via BBC Radio 2's 'The class of 2009,' a show where Paul Gambaccini presented his choice of the breakthrough artists of 2009. For those who can't listen to the segment that starts at about 20:30, I've transcribed the comments:
As you can gather from the title, this post compares all the different versions of WWFM as I did for MW. I'd been holding out for a video of the Vevo performance of WWFM to turn up before making this post, but decided to go ahead because we might be in for quite a wait.
The debut performance of WWFM was a live one at The Early Show, a last-minute booking after the GMA cancellation. This was before the magnitude of the over-reaction of drama-queen proportions had really sunk in. Vocally it's very strong and has my favourite 'don't' high note to date, which he nailed better than in any others as it's both powerful and full of grit. When I watch it now, I feel a little different about the presentation than I did at the time. I think the sassy outfit and look is the one that's least suited to WWFM but works better for Music Again.
The David Letterman one was the next to be broadcast but was actually the first performance of WWFM. This was filmed shortly after the AMAs and just after the news that the GMA performance had been cancelled. It feels much less polished than The Early Show one and is my least favourite of them all. There's too much echo and the timbre of Adam's voice doesn't sound as pleasant or as well-controlled as usual, even shouty in places. Anger and passion over the AMA fall-out probably played a significant role in the delivery. The vocals and expressions remind me of BoW.
The Ellen performance came after a rather depressing week which may have influenced how I perceived it. It was sad and breathy with slightly dissonant backing vocals. More cancellations, tweets that seemed to show he was shaken enough to shift his direction and his crestfallen demeanour all made this the softest and most vulnerable of his performances.
The View came at a time when I was buoyed by the fact that Adam's recent critics all did a U-turn, in effect looking like idiots while spraying him with the fragrant scent of roses. This was my favourite set design and he was dressed all in black, merging into the background a little. The soft glow from the lighting gave it a floaty glam dream-like feel from a different era, much like the album cover. This wasn't the tightest but very solid and felt quite relaxed. Circumstances probably made me project an atmosphere of serenity to this rendition.
The mix on Conan sounds a little thin to me, and Adam didn't hit the 'don't' but there was the introduction of the beautiful falsetto 'me'. This is quite a physical performance where he's comparatively animated with his movements and expressions, clad in plenty of leather to add a little spice.
I was a little nervous going into SYTYCD because there had been a few shaky notes in each of the performances so far. I didn't need to be though, as its my favourite one. The instrumental mix sounds much better and the voice is at its most dynamic, with the inclusion of the falsetto and showing plenty of lightness and shade. This is a near-perfect vocal and the best visual performance with fitting expressions, and make-up and styling that represent the song very well.
The universally positive reception on SYTYCD I think must have contributed to the the most polished and assured rendition on Leno. With a casual, almost grungy look like a loner being left out in the cold, the visuals are my favourite out of all the talk shows and come a very close second behind SYTYCD. Vocally, it's the cleanest yet with a new, low 'Please don't give in' but with the omission of the falsetto that I love.
I still feel that the song lacks punch and excitement, but it has grown on me because it's a fitting narrative to Adam's real-life situation. It does help to really be able feel it as you sing. There is one thing that I miss from these performances though, and it's the 'Ahh' at the synth break that's included in the single which is beautifully tender. Being obsessive, I've tried overlaying the different versions and synching them up to play simultaneously. I have to say I'm very impressed that the band is very tight. The timings are all remarkably precise as every single one stays exactly in time from start to finish. Try it!
And just because it's available, I've also included Ferras's cover which makes me very excited to hear an acoustic version from Adam sometime:
Which version of WWFM do you like the most?
Yesterday was the first time I'd been aware (thanks to my fellow Lambrits) of WWFM getting played on UK radio via BBC Radio 2's 'The class of 2009,' a show where Paul Gambaccini presented his choice of the breakthrough artists of 2009. For those who can't listen to the segment that starts at about 20:30, I've transcribed the comments:
“The year's best selling album by a UK artist in the US was 'I Dreamed a Dream' by Susan Boyle. This made a mockery of the year-end polls that attempt to predict who the stars of the following year are going to be, because at the end of 2008, Susan Boyle was on nobody's radar, not even the United States' early warning system. Her life and apparently ours, changed on the eleventh of April this year when she appeared on Britain's Got Talent. Within a week, her talent triumphs over prejudice video had been viewed millions of times around the world, and the 48 year old Scotswoman was a household name in America. Such is the power of modern media, and such is the influence of Simon Cowell. He is, in this phase of popular music history, the most significant single figure. There always is one, but usually it's an artist, like Elvis, the Beatles, or Michael Jackson. But beginning with Pop Idol, which he started with Simon Fuller of 19 Management, Cowell has built an empire of reality talent shows, that is the public's favourite mode of packaging and delivering ready-made, if usually short-term, pop stars. But no matter how strong his commercial sense, Simon can't control who the public votes for on his reality shows. This year, the two most obvious record-sellers came second. Susan Boyle lost to Diversity in the Britain's Got Talent final, and in the States, the dynamic Adam Lambert was beaten in American Idol by a more middle of the road artist, Kris Allen. Rarely am I musically impressed by reality show winners, but this year, both Lambert and Joe McElderry of X-Factor convinced me that they could have lengthy careers. Sure enough, when the new albums by Adam Lambert and Kris Allen were released at the end of the year, the man who made the top 10 debut was, Adam Lambert.► Whataya Want From Me?Whataya Want From Me? by Adam Lambert. The young Californian came to prominence this year via TV, which has also been the medium that has made Ingrid Michaelson. Granted, it's been a little slower for Ingrid, but her method of exposure was to get her songs featured in drama series popular with young viewers such as Grey's Anatomy and One Tree Hill.”
As you can gather from the title, this post compares all the different versions of WWFM as I did for MW. I'd been holding out for a video of the Vevo performance of WWFM to turn up before making this post, but decided to go ahead because we might be in for quite a wait.
The debut performance of WWFM was a live one at The Early Show, a last-minute booking after the GMA cancellation. This was before the magnitude of the over-reaction of drama-queen proportions had really sunk in. Vocally it's very strong and has my favourite 'don't' high note to date, which he nailed better than in any others as it's both powerful and full of grit. When I watch it now, I feel a little different about the presentation than I did at the time. I think the sassy outfit and look is the one that's least suited to WWFM but works better for Music Again.
The David Letterman one was the next to be broadcast but was actually the first performance of WWFM. This was filmed shortly after the AMAs and just after the news that the GMA performance had been cancelled. It feels much less polished than The Early Show one and is my least favourite of them all. There's too much echo and the timbre of Adam's voice doesn't sound as pleasant or as well-controlled as usual, even shouty in places. Anger and passion over the AMA fall-out probably played a significant role in the delivery. The vocals and expressions remind me of BoW.
The Ellen performance came after a rather depressing week which may have influenced how I perceived it. It was sad and breathy with slightly dissonant backing vocals. More cancellations, tweets that seemed to show he was shaken enough to shift his direction and his crestfallen demeanour all made this the softest and most vulnerable of his performances.
The View came at a time when I was buoyed by the fact that Adam's recent critics all did a U-turn, in effect looking like idiots while spraying him with the fragrant scent of roses. This was my favourite set design and he was dressed all in black, merging into the background a little. The soft glow from the lighting gave it a floaty glam dream-like feel from a different era, much like the album cover. This wasn't the tightest but very solid and felt quite relaxed. Circumstances probably made me project an atmosphere of serenity to this rendition.
The mix on Conan sounds a little thin to me, and Adam didn't hit the 'don't' but there was the introduction of the beautiful falsetto 'me'. This is quite a physical performance where he's comparatively animated with his movements and expressions, clad in plenty of leather to add a little spice.
I was a little nervous going into SYTYCD because there had been a few shaky notes in each of the performances so far. I didn't need to be though, as its my favourite one. The instrumental mix sounds much better and the voice is at its most dynamic, with the inclusion of the falsetto and showing plenty of lightness and shade. This is a near-perfect vocal and the best visual performance with fitting expressions, and make-up and styling that represent the song very well.
The universally positive reception on SYTYCD I think must have contributed to the the most polished and assured rendition on Leno. With a casual, almost grungy look like a loner being left out in the cold, the visuals are my favourite out of all the talk shows and come a very close second behind SYTYCD. Vocally, it's the cleanest yet with a new, low 'Please don't give in' but with the omission of the falsetto that I love.
I still feel that the song lacks punch and excitement, but it has grown on me because it's a fitting narrative to Adam's real-life situation. It does help to really be able feel it as you sing. There is one thing that I miss from these performances though, and it's the 'Ahh' at the synth break that's included in the single which is beautifully tender. Being obsessive, I've tried overlaying the different versions and synching them up to play simultaneously. I have to say I'm very impressed that the band is very tight. The timings are all remarkably precise as every single one stays exactly in time from start to finish. Try it!
And just because it's available, I've also included Ferras's cover which makes me very excited to hear an acoustic version from Adam sometime:
Which version of WWFM do you like the most?
Tuesday, 22 December 2009
Leno Plucking Adam Out
I watched Leno in a very happy frame of mind after finding out Adam's album sales figures for the week, which were much higher than what I'd been expecting. Adam had already been a part of a few of Leno's sketches leading up to the appearance so I was looking forward to seeing the interaction between them.
I was amused by the house band's attempt to play FYE at Adam's entrance without any electronic effects, and the hug he gave Leno reminded me of the one he gave Randy Travis. Adam's look was the most casual I'd seen of late - no leather, not glam, and even slightly grungy. It most closely resembled that from the TFM video. There was plenty of make-up though, and I liked the jewellery, especially the snake.
The interview itself was one of the most enjoyable so far, talking about Adam's past and his family. He was so natural at endearing us to his human side and his voice impressions were funny. The pregnant pause and mischievous expression after Jay's emphasis on 'plucked' was a classic, and the 'safe plucking' response was hilarious, leaving us in no doubt once again as to his lightning-quick wit. It was reassuring that Jay was fanboying all over Adam, unable to resist touching him. One with lesser integrity and articulation skills may have nodded along and agreed with Jay's cynical take over the AMA furore, but it was admirable that Adam consistently continued to take responsibility for his actions. I loved the little sarcastic mention of Billy O'Reilly with a twinkle in the eye. I'm really curious to see them head-to-head, and whether he'd be able to resist Adam's charm.
Monte returned with the bejewelled guitar, with the foggy atmosphere and lighting Mad World-like. It was another beautiful and solid performance with a few changes like a low 'Please don't give in'. It just keeps improving. There was another back-to-back moment with Tommy but the camera went towards Lisa for the synth break. The sound mix was good and this was one of the best vocals of WWFM so far. Not glitzy, not angry, not sad but assured, very natural, understated and quietly confident.
I'll leave you the tweet of mine you liked the most, and as promised, part of the best plucking episode of Rainbow, a children's TV show - well worth watching for its innnuendo.
I was amused by the house band's attempt to play FYE at Adam's entrance without any electronic effects, and the hug he gave Leno reminded me of the one he gave Randy Travis. Adam's look was the most casual I'd seen of late - no leather, not glam, and even slightly grungy. It most closely resembled that from the TFM video. There was plenty of make-up though, and I liked the jewellery, especially the snake.
The interview itself was one of the most enjoyable so far, talking about Adam's past and his family. He was so natural at endearing us to his human side and his voice impressions were funny. The pregnant pause and mischievous expression after Jay's emphasis on 'plucked' was a classic, and the 'safe plucking' response was hilarious, leaving us in no doubt once again as to his lightning-quick wit. It was reassuring that Jay was fanboying all over Adam, unable to resist touching him. One with lesser integrity and articulation skills may have nodded along and agreed with Jay's cynical take over the AMA furore, but it was admirable that Adam consistently continued to take responsibility for his actions. I loved the little sarcastic mention of Billy O'Reilly with a twinkle in the eye. I'm really curious to see them head-to-head, and whether he'd be able to resist Adam's charm.
Monte returned with the bejewelled guitar, with the foggy atmosphere and lighting Mad World-like. It was another beautiful and solid performance with a few changes like a low 'Please don't give in'. It just keeps improving. There was another back-to-back moment with Tommy but the camera went towards Lisa for the synth break. The sound mix was good and this was one of the best vocals of WWFM so far. Not glitzy, not angry, not sad but assured, very natural, understated and quietly confident.
I'll leave you the tweet of mine you liked the most, and as promised, part of the best plucking episode of Rainbow, a children's TV show - well worth watching for its innnuendo.
Thursday, 17 December 2009
We KNOW Adam Can Sang!
When I'd heard that Adam was singing WWFM on the final of So You Think You Can Dance, I was disappointed that this was probably the end for TV performances of FYE in the US. I was hoping he'd be able to derive the satisfaction of nailing a new and improved FYE dance number proving he could sing it live, but alas it was not to be. My expectations of this performance after seeing all the multiple versions of WWFM had been tweaked. I thought it might be a slightly toned-down affair where he would dial it back and put the focus back onto his voice.
As soon as he got introduced (notice how Cat Deeley's face suddenly lit up on mentioning his name), I was scrambling to see what he looked like and it seemed to take a frustratingly long time to pan in from various wide-angle shots. After seeing all the photos of him dressed down in 'day clothes' on the various shows and hosting gigs, I yelped with delight that he'd dressed up for the occasion. The light grey suit was slim-fitting and was jazzed up a with a random dead black thing as a shoulder accoutrement. One of the first things that came to mind for some reason was a Bond villain, namely Blofeld with his cat. I half expected him, with a menacing grin to stroke it and it would twitch back to life. The button-down shirt was the one from the AMA red carpet, and the hairdo was an upswept asymmetrical fauxhawk. To give him that extra bit of edge, the look was completed with a metallic-looking glittery tie, fingerless leather gloves and spats on his feet. His makeup with the tear streak was a beautiful touch.
One of the things that struck me was the similarity to the AMA look and I think this was a clever move. Since the song has a very different vibe, he could've chosen a very different look to disassociate himself with the AMA performance, re-establishing himself with a different image, but I think the point was to stamp his identity even further into our consciousness. The fact that he came out looking similar says to me that he's owning that performance and and has no regrets. It's to confirm that, yes, it's the same person doing both performances even though they're very different, and range is an integral part of who Adam is as an artist. There are also some marked differences as well. Where he previously had vicious spikes adorning his shoulder, there's something quite mournful about the slightly pitiful remains of the twisted black 'corsage'. There's no aggression, and coupled with the tear stain the look suggests a vulnerable and tragic hero who has somewhat fallen from grace and is pleading for patience, fitting in perfectly with the song's narrative and real-life circumstance.
Leona didn't sound great earlier on in the evening, so I wasn't without concern about sound issues and held my breath for so long I almost fainted. But WOWOWOWOW! Fucking hell! That was by far the best vocal of WWFM yet! Those first few soft notes were very promising, delivered as Adam scanned the crowd before pulling out his earpiece. I loved the scrapey tone of 'afraid' that was missing from the recent renditions and was pleased that the sound mix was was much better and fuller. He was subtle with his expressions but did look straight at the camera with a knowing twitch of the eyebrow at 'But now'. The falsetto 'It's me' first debuted on Conan made a very welcome return. When he took the mic off the stand, about 50 different clip snippets of WLL from the tour flashed in front of my eyes and I wonder how much conscious effort it took to refrain from stroking it suggestively. I worried for a moment that he got caught short of breath at 'Please, please don't give in' but it was just a means of varying up the song. When Tommy pressed his back to Adam's I half expected a butt-grab, especially as I'd been looking at the looping gif from the FYE music video. But what we got was an even more delicious blink-and-you'll-miss-it sneaky smirk with a quick and naughty flick of the tongue. Oh Adam! Even on his best behaviour he can't resist a little mischief! We got to see the Lite Stix that Longineu was campaigning for, and did you notice Monte's huge platforms and Lisa's new hairdo? Well neither did I as it took me several watches too, but the whole ensemble looked fabulous. The bit of the song I'd been most nervous about was the high 'don't' after the synth break because he'd often been sharp on it but I found myself whooping and punching the air in exhaltation as he nailed it. When he let rip at the end, I was already celebrating and doing a happy dance at what had been a fantastic few days in the Adam world. The last shot was of a strained face as on the end of ToMT before the camera zoomed out. There were a few too many wide angle shots during the song for my liking, but right at the end when Adam, smiling and gracious, turned to acknowledge the band, I was transported all the way back to AI and felt like I was about to burst with pride. It had been a while since I'd last felt such a happy buzz after watching Adam. It was a beautiful performance which I loved.
This brought the focus back to Adam's undeniable talent and once-in-a-generation voice. Although his shoulder ornament is an amusing talking point and has taken some column inches, there is absolutely no slack to hand to the critics. It was the most perfect vocal of WWFM to date and he certainly stepped it up and delivered on the right occasion. He worked the stage like an ex-lover confidently dressed to the nines, bringing everyone touched by his aura onto their knees and eliciting schadenfreude-loaded glances directed at ABC. The tease painfully wrung out of ABC nothing but regret. This was the ideal high-profile follow-up which has successfully exorcised the demons of the AMA fall-out. Maybe that's what those shoulder remnants are.
Bravo Adam & band! *Standing ovation*
I was still buzzing with excitement and wide awake when Chelsea Lately was on but unfortunately couldn't find a stream. She seemed to be rushing the interview along and I would have preferred if she'd done a little less talking. I loved Adam's sarcasm when dealing with the erroneous assumption that gay people automatically find other gay people attractive. It's rather ridiculous when you think of the straight equivalent. Adam was charming throughout and I was pleased that he was so comfortable and open talking about his acid trip.
As soon as he got introduced (notice how Cat Deeley's face suddenly lit up on mentioning his name), I was scrambling to see what he looked like and it seemed to take a frustratingly long time to pan in from various wide-angle shots. After seeing all the photos of him dressed down in 'day clothes' on the various shows and hosting gigs, I yelped with delight that he'd dressed up for the occasion. The light grey suit was slim-fitting and was jazzed up a with a random dead black thing as a shoulder accoutrement. One of the first things that came to mind for some reason was a Bond villain, namely Blofeld with his cat. I half expected him, with a menacing grin to stroke it and it would twitch back to life. The button-down shirt was the one from the AMA red carpet, and the hairdo was an upswept asymmetrical fauxhawk. To give him that extra bit of edge, the look was completed with a metallic-looking glittery tie, fingerless leather gloves and spats on his feet. His makeup with the tear streak was a beautiful touch.
One of the things that struck me was the similarity to the AMA look and I think this was a clever move. Since the song has a very different vibe, he could've chosen a very different look to disassociate himself with the AMA performance, re-establishing himself with a different image, but I think the point was to stamp his identity even further into our consciousness. The fact that he came out looking similar says to me that he's owning that performance and and has no regrets. It's to confirm that, yes, it's the same person doing both performances even though they're very different, and range is an integral part of who Adam is as an artist. There are also some marked differences as well. Where he previously had vicious spikes adorning his shoulder, there's something quite mournful about the slightly pitiful remains of the twisted black 'corsage'. There's no aggression, and coupled with the tear stain the look suggests a vulnerable and tragic hero who has somewhat fallen from grace and is pleading for patience, fitting in perfectly with the song's narrative and real-life circumstance.
Leona didn't sound great earlier on in the evening, so I wasn't without concern about sound issues and held my breath for so long I almost fainted. But WOWOWOWOW! Fucking hell! That was by far the best vocal of WWFM yet! Those first few soft notes were very promising, delivered as Adam scanned the crowd before pulling out his earpiece. I loved the scrapey tone of 'afraid' that was missing from the recent renditions and was pleased that the sound mix was was much better and fuller. He was subtle with his expressions but did look straight at the camera with a knowing twitch of the eyebrow at 'But now'. The falsetto 'It's me' first debuted on Conan made a very welcome return. When he took the mic off the stand, about 50 different clip snippets of WLL from the tour flashed in front of my eyes and I wonder how much conscious effort it took to refrain from stroking it suggestively. I worried for a moment that he got caught short of breath at 'Please, please don't give in' but it was just a means of varying up the song. When Tommy pressed his back to Adam's I half expected a butt-grab, especially as I'd been looking at the looping gif from the FYE music video. But what we got was an even more delicious blink-and-you'll-miss-it sneaky smirk with a quick and naughty flick of the tongue. Oh Adam! Even on his best behaviour he can't resist a little mischief! We got to see the Lite Stix that Longineu was campaigning for, and did you notice Monte's huge platforms and Lisa's new hairdo? Well neither did I as it took me several watches too, but the whole ensemble looked fabulous. The bit of the song I'd been most nervous about was the high 'don't' after the synth break because he'd often been sharp on it but I found myself whooping and punching the air in exhaltation as he nailed it. When he let rip at the end, I was already celebrating and doing a happy dance at what had been a fantastic few days in the Adam world. The last shot was of a strained face as on the end of ToMT before the camera zoomed out. There were a few too many wide angle shots during the song for my liking, but right at the end when Adam, smiling and gracious, turned to acknowledge the band, I was transported all the way back to AI and felt like I was about to burst with pride. It had been a while since I'd last felt such a happy buzz after watching Adam. It was a beautiful performance which I loved.
This brought the focus back to Adam's undeniable talent and once-in-a-generation voice. Although his shoulder ornament is an amusing talking point and has taken some column inches, there is absolutely no slack to hand to the critics. It was the most perfect vocal of WWFM to date and he certainly stepped it up and delivered on the right occasion. He worked the stage like an ex-lover confidently dressed to the nines, bringing everyone touched by his aura onto their knees and eliciting schadenfreude-loaded glances directed at ABC. The tease painfully wrung out of ABC nothing but regret. This was the ideal high-profile follow-up which has successfully exorcised the demons of the AMA fall-out. Maybe that's what those shoulder remnants are.
Bravo Adam & band! *Standing ovation*
I was still buzzing with excitement and wide awake when Chelsea Lately was on but unfortunately couldn't find a stream. She seemed to be rushing the interview along and I would have preferred if she'd done a little less talking. I loved Adam's sarcasm when dealing with the erroneous assumption that gay people automatically find other gay people attractive. It's rather ridiculous when you think of the straight equivalent. Adam was charming throughout and I was pleased that he was so comfortable and open talking about his acid trip.
Thursday, 10 December 2009
A View of Lions Tamed
The quote of the day from Ringmaster Adam has to be “I'm a little different. My dreidel spins the other way.”
Impatience has a time-warping effect and it seems like such a long time since the last televised performance. It doesn't help that we know Adam gave performances at the Vevo and ADL events but have yet to see videos of those. His appearance as one of the ten most fascinating people was disappointingly short, just going over AMA and gay, with little more than a few sentences from him. There was nothing new there for fans, but at least there were plenty of clips showcasing Adam's voice. Again, there followed more controversy and proof of Adam's point about double standards because Gaga's same-sex kiss was shown but Adam's wasn't.
Adam's announcement about appearing on The View was one of the many WTF? moments recently, but it seemed that Barbara Walters had already been won over. The show would be pre-taped just so that ABC wouldn't have to concede complete and utter defeat in the matter. I guess they wanted to make a point to show that Adam hadn't earned back the trust of the network yet, rather than really believe he wouldn't be able to resist tempting everyone into simulating oral sex with him.
I'd never seen The View but had seen the clips of their conservative prude Elisabeth Hasselbeck criticising Adam's AMA performance. I thought this would make for an interesting showdown coming second only to one with Billy O'Reilly. It seems that she got warned (threatened?) by Adam's fans to be pleasant to him and in order to reassure everyone, she gave Adam her phone to tweet from.
Well there was never any doubt in my mind of the power of Adam's charms once the ladies got within his glittery aura. I'd seen it time and time and again throughout every single interview. Adam always manages to disarm even those with the sharpest of knives aimed at him and this was no different. From the photo that was released before the show of Adam with huge fluffy hair all coiffed up dressed as rockstar for the daytime, we could tell. From the body language of smiling eyes all fixed upon him and legs crossed towards him I could see that the ladies were putty. They weren't lions hungry for a mauling but kittens playfully tugging him for attention. Hasselbeck even ended up defending Adam's AMA performance and made sure to give him a chance to talk about his charity work.
We'd already seen three recent performances of WWFM, all subtly different though I couldn't help but feel that I was going to get bored of this being the only song that Adam would be performing on the promo circuit, much like I did with MW straight after AI. I don't find it the most exciting song and wondered how Adam would keep it interesting. That was answered the moment the camera showed the jaw-droppingly brilliant set. It was hilariously camp and reminded me of Top Of The Pops re-runs from the 70s. The crudely written ADAM at the back was in a punk style, but the pink, red and yellow neon were so cheesily OTT disco-glam. Are you sure there were enough lights Adam?! This, unlike the album cover, needed no explaining for it was extremely and unashamedly kitsch. Like a kid at Christmas, I was so mesmerised by the lighting I paid little attention to the song when I first saw it on the stream. I just couldn't believe that this set was on daytime TV on The View. Adam sang it beautifully and the mix sounded better than in the previous performances. It wasn't quite perfect though, as the guitar and the voice lacked a little richness for me, but the backing vocals showed no signs of dissonance nor were they overpowering. My favourite part of the vocals are the very soft extended notes with a little vibrato mixed in, like 'down' at 3:06. There were a few iffy notes after that, like the 'don't' which he's been sharp on before, but the final note with the breath at the end just takes my breath away.
This was family-friendly Adam being his charming self warning people this is no longer Idol but his career, and to expect a difference. With the cancellation of Larry King, let's just hope that this is the point at which a bright, neon-lit line has been drawn underneath the AMAs. This was a great interview from Adam, who was assertive, personable and quick-witted, the perfect combination of 'Aww!' and 'Phwoar!'
Impatience has a time-warping effect and it seems like such a long time since the last televised performance. It doesn't help that we know Adam gave performances at the Vevo and ADL events but have yet to see videos of those. His appearance as one of the ten most fascinating people was disappointingly short, just going over AMA and gay, with little more than a few sentences from him. There was nothing new there for fans, but at least there were plenty of clips showcasing Adam's voice. Again, there followed more controversy and proof of Adam's point about double standards because Gaga's same-sex kiss was shown but Adam's wasn't.
Adam's announcement about appearing on The View was one of the many WTF? moments recently, but it seemed that Barbara Walters had already been won over. The show would be pre-taped just so that ABC wouldn't have to concede complete and utter defeat in the matter. I guess they wanted to make a point to show that Adam hadn't earned back the trust of the network yet, rather than really believe he wouldn't be able to resist tempting everyone into simulating oral sex with him.
I'd never seen The View but had seen the clips of their conservative prude Elisabeth Hasselbeck criticising Adam's AMA performance. I thought this would make for an interesting showdown coming second only to one with Billy O'Reilly. It seems that she got warned (threatened?) by Adam's fans to be pleasant to him and in order to reassure everyone, she gave Adam her phone to tweet from.
Well there was never any doubt in my mind of the power of Adam's charms once the ladies got within his glittery aura. I'd seen it time and time and again throughout every single interview. Adam always manages to disarm even those with the sharpest of knives aimed at him and this was no different. From the photo that was released before the show of Adam with huge fluffy hair all coiffed up dressed as rockstar for the daytime, we could tell. From the body language of smiling eyes all fixed upon him and legs crossed towards him I could see that the ladies were putty. They weren't lions hungry for a mauling but kittens playfully tugging him for attention. Hasselbeck even ended up defending Adam's AMA performance and made sure to give him a chance to talk about his charity work.
We'd already seen three recent performances of WWFM, all subtly different though I couldn't help but feel that I was going to get bored of this being the only song that Adam would be performing on the promo circuit, much like I did with MW straight after AI. I don't find it the most exciting song and wondered how Adam would keep it interesting. That was answered the moment the camera showed the jaw-droppingly brilliant set. It was hilariously camp and reminded me of Top Of The Pops re-runs from the 70s. The crudely written ADAM at the back was in a punk style, but the pink, red and yellow neon were so cheesily OTT disco-glam. Are you sure there were enough lights Adam?! This, unlike the album cover, needed no explaining for it was extremely and unashamedly kitsch. Like a kid at Christmas, I was so mesmerised by the lighting I paid little attention to the song when I first saw it on the stream. I just couldn't believe that this set was on daytime TV on The View. Adam sang it beautifully and the mix sounded better than in the previous performances. It wasn't quite perfect though, as the guitar and the voice lacked a little richness for me, but the backing vocals showed no signs of dissonance nor were they overpowering. My favourite part of the vocals are the very soft extended notes with a little vibrato mixed in, like 'down' at 3:06. There were a few iffy notes after that, like the 'don't' which he's been sharp on before, but the final note with the breath at the end just takes my breath away.
This was family-friendly Adam being his charming self warning people this is no longer Idol but his career, and to expect a difference. With the cancellation of Larry King, let's just hope that this is the point at which a bright, neon-lit line has been drawn underneath the AMAs. This was a great interview from Adam, who was assertive, personable and quick-witted, the perfect combination of 'Aww!' and 'Phwoar!'
Friday, 27 November 2009
Take Me to Wonderland!
Amidst the rollercoaster ride of the last few days, I wanted to make sure that this dazzling jewel of a song didn't get overshadowed and lost in all the commotion. I admit, I am completely biased and loved Down the Rabbit Hole even before I'd heard single note because the title very succinctly describes the journey since we boarded the Glambert Express. It's taken us to a world that we may previously have been unaware of and there's no turning back. We love this escapism. Plus, I used those exact words in my RoF review all those months ago as I was sure we hadn't seen nothin' yet.
Right from the start I love the sound of the continuous heavy throbbing electronic bassline. It's a skittish, funky and slightly distorted modern nod to disco. The vocals in the verses are fresh and lively with just a bit of backing, singing trippy drug-induced mashed-up thoughts about getting kicks. The chorus is more rock and brings us some frantic guitar riffing and drawly vocal stylings with interesting harmonies straight after (I can't quite recall who they remind me of). The bridge introduces some echoey early '90s rave synths, then it all gets rather psychedelic at the break with amazing studio RoF-type middle-eastern trills set to a trance beat. And if that isn't enough to freak you out, we have Adam channelling Vincent Price doing his scariest beyond-the-grave voice as the Caterpillar, over the manic instrumentals. This song is so in-your-face and over-the-top and all-over-the-place schizophrenic but hits the spot that I felt was missing on the album as the far-out crazy WTF? song. It's not for an agitated mood, nor is it very radio-friendly but it makes a super club and party track which I can imagine being used as the soundtrack to a darkly comical high-energy chase. Down the Rabbit Hole is such a thrilling adrenaline-pumped hallucinogenic acid trip whirlwind of a song and I absolutely love it.
Written by Adam Lambert, Evan Bogart and Greg Wells. Produced by Greg Wells
Here are what I can make of the lyrics, though I'm sure most of them are wrong:
Right from the start I love the sound of the continuous heavy throbbing electronic bassline. It's a skittish, funky and slightly distorted modern nod to disco. The vocals in the verses are fresh and lively with just a bit of backing, singing trippy drug-induced mashed-up thoughts about getting kicks. The chorus is more rock and brings us some frantic guitar riffing and drawly vocal stylings with interesting harmonies straight after (I can't quite recall who they remind me of). The bridge introduces some echoey early '90s rave synths, then it all gets rather psychedelic at the break with amazing studio RoF-type middle-eastern trills set to a trance beat. And if that isn't enough to freak you out, we have Adam channelling Vincent Price doing his scariest beyond-the-grave voice as the Caterpillar, over the manic instrumentals. This song is so in-your-face and over-the-top and all-over-the-place schizophrenic but hits the spot that I felt was missing on the album as the far-out crazy WTF? song. It's not for an agitated mood, nor is it very radio-friendly but it makes a super club and party track which I can imagine being used as the soundtrack to a darkly comical high-energy chase. Down the Rabbit Hole is such a thrilling adrenaline-pumped hallucinogenic acid trip whirlwind of a song and I absolutely love it.
Written by Adam Lambert, Evan Bogart and Greg Wells. Produced by Greg Wells
Here are what I can make of the lyrics, though I'm sure most of them are wrong:
Break out of the mechanical
Step right up to the freaky intangible
Hands uncuffed, take the leash on this animal
If it's gettin' hyphey, hit me with a night C
Slip right into your stripper shoes
Roll the dice, I got snake-eyes and déjà -vu
Poppin' off, I'm announcin' with ballyhoo
Tune in, (tune in), turn on, (turn on), drop out
Going down the rabbit hole
Get away from all we know
Come on, follow, come on and follow me
Goin' down the rabbit hole
Even hoes and gigolos
Come on, follow, come on and follow me
Quick, slow, high or low
You're never gonna know for sure
See in stereo
Down the rabbit hole, ooh
Catnip and honey
Tea time and all over town (all over town, all over town)
Houses of candy
Build 'em up and then burn 'em down (burn 'em down, just burn 'em down)
It melts in your face and not in your armour-all
It starts in the vase and it ends in the crystal ball, yeah
Going down the rabbit hole
Get away from all we know
Come on, follow, come on and follow me
Goin' down the rabbit hole
Even hoes and gigolos
Come on, follow, come on and follow me
Disco rodeo
My kaleidoscope
Cleopatra knows
What’s down the rabbit hole
Going down the rabbit hole
Get away from all we know
Come on, follow, come on and follow me
Goin' down the rabbit hole
Even hoes and gigolos
Come on, follow, come on and follow me
Quick, slow, high or low
You're never gonna know for sure
See in stereo
Down the rabbit hole
Who are you?
Who are you?
Who are you?
Who are you?
Who are you?
Who are you?
Thursday, 26 November 2009
FU With a Loaded Smile - The Perfect Vindication
The fall-out from the AMAs gave Adam plenty of publicity with the cancellation by GMA inadvertently giving him another huge boost and plenty of backing. That The Early Show immediately snapped him up just proves how much he is in demand. We were all curious as to how Adam would handle his first live TV appearance after the AMAs and I was eager for him to show the low-key side of him, reminiscent of the RoF-ToMT arc on AI. I wanted him to show everyone how well he could sing and that he wasn't a just gimmick meant to shock.
His morning look was great with light make-up and perfect imperfectly sculpted pompadour - very Elvis. He was still undoubtedly rockstar with his AMA red carpet jacket, some spray-on trousers with sparkle, clunky boots and fingerless leather gloves. There would no doubt be some questions about the awards show and Adam handled them with grace. Some of the questions were difficult and perhaps pushing for an apology or an admission of regret, but Adam seemed unflustered, speaking eloquently. He gave convincing and intelligent arguments, backing them up with valid examples and opened up a debate about sexist double-standards. He spoke with conviction and made me proud that he refused to back down.
Whataya Want From Me? was the ideal choice of song after all the controversy. The way it related to the situation gave it that extra poignancy. There was a slightly distracting plucky sound throughout the song but the arrangement stuck close to that of the album. Adam was pitch perfect in his heartfelt plea for patience and understanding. This was perfect answer and antidote to the criticism over his AMA performance. Bringing Leila on was a transparent attempt to turn him into sweet momma's boy Adam suitable for kids and daytime TV, but by doing that, it was also giving the finger to ABC for deeming him unsuitable for a morning show. And I loved the comment about the how shoulderpads help him bear the weight of the pressure.
Music Again had a completely different energy that was lively and fun. He did forget the lyrics by singing the betterer line twice and missed the first jump into falsetto but nailed everything else. I loved the interaction with Monte and the timbre of his vocals was beautiful. His interaction with the fans after leaving the studio only further endeared him.
Whataya Want From Me? on Letterman was filmed the day after the AMAs and Adam toned himself down to suit the occasion, looking smart in a satin jacket and tight sliver trousers. This wasn't as pitch perfect as the Early Show performance as some places could have done with a little fine tuning. The vibe was different though, being impassioned and angrier-sounding, reminding me much of his BoW performance. You could see that he meant every word of that song, which injected that extra intensity.
I think after these peformances, there may be people who will be revising their opinions on Adam after the AMA debacle, thinking they over-reacted. He's certainly proven that he can sing well live, he's shown himself to be articulate and charming under fire and demonstrated that he can tone it down to suit whatever platform he's on. As far as I'm concerned, Adam is the big winner out of this because he's rightly pointed out and made us question our hypocrisies while the networks have only further proven his point. He's expertly managed to deflect the bulk of the fire and remained consistently unapologetic for his actions. This was a measured 'Fuck You!' response to his critics delivered with a sweet and confident smile, earning even more respect from me. Well done Adam!
His morning look was great with light make-up and perfect imperfectly sculpted pompadour - very Elvis. He was still undoubtedly rockstar with his AMA red carpet jacket, some spray-on trousers with sparkle, clunky boots and fingerless leather gloves. There would no doubt be some questions about the awards show and Adam handled them with grace. Some of the questions were difficult and perhaps pushing for an apology or an admission of regret, but Adam seemed unflustered, speaking eloquently. He gave convincing and intelligent arguments, backing them up with valid examples and opened up a debate about sexist double-standards. He spoke with conviction and made me proud that he refused to back down.
Whataya Want From Me? was the ideal choice of song after all the controversy. The way it related to the situation gave it that extra poignancy. There was a slightly distracting plucky sound throughout the song but the arrangement stuck close to that of the album. Adam was pitch perfect in his heartfelt plea for patience and understanding. This was perfect answer and antidote to the criticism over his AMA performance. Bringing Leila on was a transparent attempt to turn him into sweet momma's boy Adam suitable for kids and daytime TV, but by doing that, it was also giving the finger to ABC for deeming him unsuitable for a morning show. And I loved the comment about the how shoulderpads help him bear the weight of the pressure.
Music Again had a completely different energy that was lively and fun. He did forget the lyrics by singing the betterer line twice and missed the first jump into falsetto but nailed everything else. I loved the interaction with Monte and the timbre of his vocals was beautiful. His interaction with the fans after leaving the studio only further endeared him.
Whataya Want From Me? on Letterman was filmed the day after the AMAs and Adam toned himself down to suit the occasion, looking smart in a satin jacket and tight sliver trousers. This wasn't as pitch perfect as the Early Show performance as some places could have done with a little fine tuning. The vibe was different though, being impassioned and angrier-sounding, reminding me much of his BoW performance. You could see that he meant every word of that song, which injected that extra intensity.
I think after these peformances, there may be people who will be revising their opinions on Adam after the AMA debacle, thinking they over-reacted. He's certainly proven that he can sing well live, he's shown himself to be articulate and charming under fire and demonstrated that he can tone it down to suit whatever platform he's on. As far as I'm concerned, Adam is the big winner out of this because he's rightly pointed out and made us question our hypocrisies while the networks have only further proven his point. He's expertly managed to deflect the bulk of the fire and remained consistently unapologetic for his actions. This was a measured 'Fuck You!' response to his critics delivered with a sweet and confident smile, earning even more respect from me. Well done Adam!
Wednesday, 25 November 2009
Can You Handle This Entertainment?
Oh Adam, I'm never going to catch up on sleep at this rate! Here's the For Your Entertainment music video:
The video starts off with a calm and mundane evening street scene before panning underground. It's going from who we are on the surface to our deep dark decadent desires and this is where we explore them, guided by Adam. The underground scenes start off with a Matrixy vibe where he leads the way down a dark alley in leather trenchcoat and dark glasses. We follow him through a curtain into a seedy dimly lit club that's been squatted. It's a derelict but once grand opulent ballroom decorated with an ornate stuccoed ceiling and crystal chandeliers.
He's the one wearing a tie and clutching a blinging cane so there's no doubt as to who's in charge of the power dynamic and dominating proceedings. There are a lot of blurred, out of focus and warped shots, perhaps suggesting an altered state of consciousness from intoxication. Racy stiletto heels worn on lacy legs spread-eagled and pointing skyward, lots of leather, and plenty of pleasured hands roughly seizing what they can, hint at more than a bit of debauchery.
We then get some close-ups of Adam on what looks to be his throne under a warmer brighter light. These shots during the video feel a little awkward for me because it's a break in the fierceness of the atmosphere. His fluid eyebrows and expressions over-act a little, affecting the believability. As if Adam's masculinity weren't enough, we get him playing with the phallic symbolism of the snake. The chorus is the first time we get to see Adam's other outfit, which is fabulous. He has a leather sash adorned with vicious-looking shiny shoulder spikes and chains. The look is completed with patent leather cubit-length gloves, a leather corset and jewellery that gives the look of a metallic clergy collar, like he would happily give these sinful pleasures his complete absoution. We get into a little more of an S&M vibe when Adam appears to grab some dancers by the throat then pull and whip them with an invisible leash.
He then beckons us to follow him into what resembles a secret garden under the cover of thick foliage where all the forbidden pleasures are satiated. It's more secretive and seems to be a bit of a hedonistic free-for-all make-out with untold numbers of hands indiscriminately wandering and feeling. We can only assume there's a bit of an orgy going on off-camera. There's another nod to light bondage with the appearance of a lacy blindfold. The video continues with sped-up shots of dancers and a couple of references to the garden of Eden with the snake and apple where we've given in to temptation and said 'To hell!' with our morals. The video regularly cuts to one dancer in sparkly sequins lit with red who doesn't quite fit in with the whole bondage theme and to me, she the safe object of desire for those who have yet to finish chapter one of 'S&M For Beginners'. The video finishes with Adam and his band performing in the club, shot from the mosh pit of the frenzied crowd with arms in the air, complete with shaking floor. With a lick of the lips and one last look that sends us an open invitation to return, the camera pans back to the normality of street-level goings on and it's the end of our brief escapist foray, enriched with the knowledge of what lies beneath.
Sometimes I wish I hadn't spoiled myself so I could enjoy a surprise but it is in keeping with what I had imagined when I first heard FYE:
The video starts off with a calm and mundane evening street scene before panning underground. It's going from who we are on the surface to our deep dark decadent desires and this is where we explore them, guided by Adam. The underground scenes start off with a Matrixy vibe where he leads the way down a dark alley in leather trenchcoat and dark glasses. We follow him through a curtain into a seedy dimly lit club that's been squatted. It's a derelict but once grand opulent ballroom decorated with an ornate stuccoed ceiling and crystal chandeliers.
He's the one wearing a tie and clutching a blinging cane so there's no doubt as to who's in charge of the power dynamic and dominating proceedings. There are a lot of blurred, out of focus and warped shots, perhaps suggesting an altered state of consciousness from intoxication. Racy stiletto heels worn on lacy legs spread-eagled and pointing skyward, lots of leather, and plenty of pleasured hands roughly seizing what they can, hint at more than a bit of debauchery.
We then get some close-ups of Adam on what looks to be his throne under a warmer brighter light. These shots during the video feel a little awkward for me because it's a break in the fierceness of the atmosphere. His fluid eyebrows and expressions over-act a little, affecting the believability. As if Adam's masculinity weren't enough, we get him playing with the phallic symbolism of the snake. The chorus is the first time we get to see Adam's other outfit, which is fabulous. He has a leather sash adorned with vicious-looking shiny shoulder spikes and chains. The look is completed with patent leather cubit-length gloves, a leather corset and jewellery that gives the look of a metallic clergy collar, like he would happily give these sinful pleasures his complete absoution. We get into a little more of an S&M vibe when Adam appears to grab some dancers by the throat then pull and whip them with an invisible leash.
He then beckons us to follow him into what resembles a secret garden under the cover of thick foliage where all the forbidden pleasures are satiated. It's more secretive and seems to be a bit of a hedonistic free-for-all make-out with untold numbers of hands indiscriminately wandering and feeling. We can only assume there's a bit of an orgy going on off-camera. There's another nod to light bondage with the appearance of a lacy blindfold. The video continues with sped-up shots of dancers and a couple of references to the garden of Eden with the snake and apple where we've given in to temptation and said 'To hell!' with our morals. The video regularly cuts to one dancer in sparkly sequins lit with red who doesn't quite fit in with the whole bondage theme and to me, she the safe object of desire for those who have yet to finish chapter one of 'S&M For Beginners'. The video finishes with Adam and his band performing in the club, shot from the mosh pit of the frenzied crowd with arms in the air, complete with shaking floor. With a lick of the lips and one last look that sends us an open invitation to return, the camera pans back to the normality of street-level goings on and it's the end of our brief escapist foray, enriched with the knowledge of what lies beneath.
Sometimes I wish I hadn't spoiled myself so I could enjoy a surprise but it is in keeping with what I had imagined when I first heard FYE:
"I'm picturing Adam looking particularly fierce. He'd be dressed up in a mind-blowing costume and would work the part of a dominator getting down and dirty with risqué moves against other amazingly costumed and beautiful folk on the dance-floor. There'd be lots of glitter and glistening sweat on luminous skin with a feeling of danger and debauchery amongst the ecstasy."The video didn't go as far sexually as the AMA performance but it's still hot and sexy with much less aggression and more play. There wasn't as much dancing or interaction with the dancers from Adam as I'd expected but the imagery and visuals leave a strong impression of brand Adam Lambert, the entertainer. A job well done.
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