Do not adjust your screens, this really is my first post in absolutely ages. I did intend to summarise every concert but the backlog is now massive and Bert time is scarce. So I've been chugging along doing the bare minimum on the Performances site which should come in handy when that write-up time arrives. Not sure when that or the next post will be though.
Shady is by far my favourite Trespassing song for the groove, the mood and the lyrics so when I heard that Adam would finally get to perform it with collaborators Nile Rodgers and Sam Sparro I got all waggly-tailed, to put it politely. But I didn't manage to follow it live as the Earth has the audacity to be so rude as to separate me from the gig by units of time zone rather than inches. Damn you planetary physics and space-time! *Shakes fist*
Watching the videos was a blast though, especially with fresh senses not having first endured a Mermish assault. Here's my playlist:
Adam receives a special We Are Family Foundation Unity award for being his fabulously badass self. Presented to him by Sam Sparro (now where have we seen that before?), he gives a slightly awkward-sounding speech, having a gentle dig the atmosphere probably because the crowd talked all through Sam's presentation.
Zips and leather aplenty, Adam rocks up for the opening number all in black understated chic (but couldn't resist a sparkly electric blue belt). He's joined on stage by Sam, Nile and his band, which includes some original members of Chic and the drummer for Let's Dance. After 50+ versions from the AI tour, I love hearing this arrangement that's so close to the original. This full band version sounds much better than the hollow light-rock AI ones, or the funkless electronic VH1 version. Sam appears to have trouble with his mic, which seems to be on near-silent mode for much of the time. There's only one natural showman though, even with his back to the crowd doing dorky dance moves, such as using an invisible towel to scrub his rear. When Adam comes in for the solos, his voice surprises me by its softness and it's very very sweet. Makes me realise how shouty the early versions were in comparison. It lends extra impact to the sparingly-used big high notes, making them even more goosebump-inducing.
Shady is the one I've been waiting so long for, and my expectations were that this would be a special one. After a number of close calls of being in the same place but different day last year, Adam, Nile and Sam would finally be united on stage for a performance. There's an endearing familiarity between them on stage, the banter beforehand like that between old friends. I can only imagine how enjoyable it must have been to create this together. I love the sound of the dirtier bass and Nile's funk guitar. The tempo is much faster and it really bounces along. Aside from Sam's sound issues, the vocals are perfect, backing harmonies great and that panting part is delicious enough to tip anyone over the edge. I spot the return of the flaily-arm woman (of Glam Nation DVD infamy) right at the front of the stage doing her thang but thankfully the arms aren't overly obstructive. The brass section adds some light jazzy pizazzy fun, with the instrumental section inducing stank faces and impelling hips to get a groove on. In keeping with Adam's penchant for mixing songs (Naked Love + 100% Pure Love, Pop That Lock + Smooth Criminal) there's an inclusion of En Vogue's Free Your Mind in the mix too. There's so much more energy and vigour on stage than previous renditions, but at the same time there's an ease and a natural chemistry as talented musicians just having a jam.
WWFM is next in the set and Adam is honoured that Nile is accompanying on guitar. It's a fast and very full-sounding version with more backing vocal layers than normal, a funk edge and more instruments. Even brass makes an appearance. It's been quite some time since the last studio-like arrangement and it's a joy to see them both swaying together in synch to the music.
The set concludes with a fast-paced Trespassing that follows closely along the lines of the album version including the electro elements. I don't think Adam's quite ready when the band starts up but he makes it on cue. I love Nile's contribution to this version with and can't help feeling that this is how it ought to sound. Adam ends up singing some of the harmonies and nails the vocals including a magnificent ringing glory note.
I feel that what we have here is a level above what's gone before and I'm a huge fan of the bassist as well as Nile on guitar. I like the mixture of male and female backing vocals and the double drum kit. The brass adds an extra dimension as well as providing depth and variety. The short set provides a glimpse of what could be achieved in a live performance with a different set-up and direction. I hope it gives Adam some food for thought regarding options with the band to experiment with, aiming for more adventurous and free-spirited performances. I get the feeling that jamming on stage is where the magic really happens for Adam. I think he's at his best when spontaneous; venturing, reacting and flowing through a performance, continually probing, testing and adjusting rather sticking to a rigid plan. Propelled by quality musicianship and feeding off the audience energy to push himself that bit further, Fantasy Springs is the epitome of this for me. The stage here is made up of a mish-mash of very different individuals but they just click, producing something so cohesive. From the costumes to the movements and presentation, I don't feel there's anything contrived and I think it's because he's with musicians who share an understanding and have the style and talent to flourish when given the freedom to express themselves. Because of this, I often wish Adam would lean more towards jazz and funk stylings, especially as he has so much soul. I think the flexibility suits him more than the structure of electronic or rock. I'd be happy if he could infuse more of those dynamic elements into his music both in the studio and on stage.
Just as I was beginning to write this review, I unusually managed to tune in to one of Adam's twitter parties and threw a few speculative questions his way. I had to check several times to make sure my second ever reply was real:
@lambosessed that movie "THE PAPERBOY" was shocking. And really sexy.
— Adam Lambert (@adamlambert) February 3, 2013
I have yet to meet him so tweets are the only contact I've had. And I'm fucking thrilled! Not only about getting a reply but I getting "sexy" in it. I got a wink and extra info volunteered in my first ever reply so I'm privileged.
It seems like this sunny daytime radio concert happened such a long time ago. Adam was without Isaac, his usual drummer, but the rest of the band and backing singers were there. The visual presentation - Adam's cool daytime rocker look with mirrored sunglasses and the staging - is very reminiscent of his Moscow concert.
The set commences with a sassy and energetic Trespassing followed by Kickin' In, which I'm still finding a but repetitive. There are a few close-ups of Adam's sunglasses which are great for seeing the reflection of the crowd. The shades come off at the end of Shady to a loud cheer, I guess because we need to see his eyes to make that all-important connection, especially for the next song, a stirring WWFM.
Naked love brings the tempo back up with a singalong, which I thing should be topped off by a grand finish instead of petering out, but I guess I'm starting to sound like a broken record. IIHY follows and I'm guessing Adam has problems finding his pitch as he doesn't actually start singing until quite a way into the song. The set gets a bit emo with Broken English and some impressive vocals, though I think there are parts of the guitar solo that sound a bit off. Chokehold is beautifully dramatic.
There's a little bit of banter before another change in mood, where Adam uses jetlag as an euphemism for feeling the effects of the weed wafting in from the crowd. A fun smiley NCOE gives way to a tribute to Donna Summer with a performance of Hot Stuff. It's a wonderful and unusual treat for us all to hear a new song, a classic with the twist being Adam's fantastic vocals over it. It leads straight into Cuckoo with band intros where Adam gets all potty-mouthed with his mo-fos. It ends on a high with an almighty note plus trademark run.
Apologies for the long delay, I've been suffering from massive computer fail as well as various other failures!
Adam's first gig in the UK was at G-A-Y so it's only apt that he would kick off his Trespassing era with a return. Plus I'm sure this is probably one of his favourite venues for obvious reasons. He must love performing for this audience. Here's my playlist:
Adam's in his trusty starred leopardskin T-shirt with suit jacket and tight bikery leather trousers. Trespassing opens the set where he's brilliant in voice, followed by a stompy, booty-shaking Kickin' In that has less of a rock vibe with the electronic elements coming through, which I think works better. Shady is damn fierce and it's quite interesting to hear a different shade of his voice for the bridge part that's sung by Sam on the album.
Adam does his utmost to get the audience to strip for Naked Love, removing a layer himself. This is where he really works the crowd, getting his potty mouth in on the act. He gets his banter on before Cuckoo and I just have to laugh at him pulling his trousers up as his arse is moving for the crowd. He gets the echo effects that he asks for and more. Never Close Our Eyes concludes the set and it's a joy to see him so relaxed with his swearing while plugging his album.
Those studded shorts! And those boots! With that weird hoody thing! Don't you just love that Adam is a never-ending source of amusement? I can't help but admire his attitude and sense of fun when it comes to his presentation. Here's my playlist:
The set starts off as usual with Trespassing and Kickin' In, which has impressive vocals. I've started to find Brian's banter slightly irritating as he sounds like Adam's echo but maybe the purpose is for sound adjustments. I like his dancing and the energy he brings though. Adam does a bit of melodramatic moaning about the heat at the start of Shady, and it looks like he has a specific dance for those shorts. The humming at the start of WWFM is divine, turning out to be another spellbinding performance.
Adam reluctantly removes his hoody, spoiling his look for Chokehold. It's not the most accurate near the start but those vocals are nothing short of spectacular. There's a bit of a Naked Love synths tease at the start of Broken English, again with a nice guitar solo with staggering wails and runs. Naked Love is next for real and it's funny how Adam tries to be all conservative when it comes to nudity but won't think twice about being sex-grabby and thrusty. IIHY is next and unfortunately Adam sounds lost and off-key flat throughout due to various sound issues. He later apologises and takes the piss out of himself over it. NCOE is followed by Cuckoo where his voice is at its bright and gritty best, sprinkled with wonderful runs.
SHORTS!!! Below-the-knee rocker length, but that still comes as quite the shock. There's still daylight and the weather's hot so it's a logical choice. The trashy loud vest with dollar signs however, isn't. Still you have to love that Adam doesn't take himself too seriously, and this is one of those hilarious WTF? outfits that works in setting a fun mood.
The set starts with a funky-as-hell Trespassing, leading into a camp theatrical Kickin' In. Shady is still my favourite for getting down to and Adam performs it cheekily. WWFM is the big dramatic version and has a lovely ending where his voice is a sweet flutter. Chokehold has sublime vocals sung with his stank face for much of the time, with a light ending floating over the instruments.
Adam tries to get crowd singing his riffs, but ends up taking the piss. As if a normal person could hit those notes. I assume this is to get the sound and echo right for Broken English. I've run out of ways to describe Adam's voice but here it's bluesy and just phenomenal. Tommy does a good job with the guitar solo. Next up is Naked Love which has an uplifting energy with Adam's giggle and encouragement of audience participation. I think I'm getting used to the ending now as I'm getting less fussy about the absence of a big finish. The surprise song is IIHY, which hasn't been done for a while. It sounds a bit different during the chorus with the bass less electronic and more funky. There are some nice vocal variations. I'm really getting to enjoy the excitement of NCOE live. It looks like Adam was never quite happy with the sound and the final run of notes is very flat. The set ends with Cuckoo and the band intros, with creative riffs over bridge.
For an early morning gig, Adam looks chipper with an unusual sartorial choice of checked shirt over a white T-shirt. The crowd looks a little different to the usual flailing females, with quite a few stationary blokes in baseball caps near the front.
A strong Trespassing starts the set before the shirt comes off to go round Adam's waist for WWFM. It's a bit disconcerting that the crowd, for once, doesn't sing along, but I guess the point of these gigs is to capture a new audience. It's a lovely version with some new runs. Shady is next. It doesn't have the best of starts but the band sounds very tight, the arrangement hits the spot and there's a wow moment as he stretches out a powerful note that lasts forever. A great NCOE concludes the set.
I wonder if Trespassing and Shady were chosen for such a short set because they're considered to be the most commercial, and an indication of subsequent singles. NCOE is a given and WWFM was included for being Adam's biggest hit.
For this concert, Adam's got the daytime rocker look nailed with a sleeveless hoody over a T-shirt adorned with native American patterns. Here's the video along with my comments below:
I think Trespassing is one of the most enjoyable songs performed live and it's absolutely fantastic to see such a huge crowd getting into it and clapping along.
Kickin' In is a rocking version with great funk guitar. I'm not sure the rock vibe works as well as the album version. Adam does some fun shuffly dancing and does lots of ad-libbing with his voice over the repetitive part towards the end.
Shady has a troubled start. Adam is unable to find the right pitch and sings the first verse off-key much lower than intended. I assume it's because he can't hear properly. He finds his way back when the guitar kicks in and does his best to make a good performance out of it. I still like it though, especially when we get to hear the more melodic part of his voice towards the end.
WWFM brings a shift in the mood and it's a beautiful sweeping dramatic ballad with lots of echo. The backing vocals are a little off at points but overall I like the effect they give. I'm growing to really love this arrangement.
At the start of Naked Love we hear Adam complain about the sound. He loses the hoody and makes an effort to be family friendly and not swear. I'm now starting to see the appeal of the song as it's so poppy and right for this kind of sunny summer singalong that gets the crowd going. I still don't like the ending though as it just fizzles out. I think Adam needs to sing a few notes to give it a definitive finish.
Oops Adam, I'm sure you weren't supposed to say "piss" in family-friendly mode. The NCOE synths are overpowering. This isn't an album favourite at the moment but I can start to understand the rushy excitement of being able to experiencing this live, perhaps at a festival. It's an excellent performance where the high notes wow.
The set ends with Cuckoo. The guitar sounds more electronic and less 70's wah-wah than some of the other recent versions. He forgets to censor himself for the f-words and I just love this version with his crazy dancing. It includes a jazzy psychedelic instrumental bridge just before the band intros.
The set was made up of Trespassing, Kickin' in, Shady, WWFM, Cuckoo and NCOE. We finally have acceptable sound so here's my playlist and comments below:
Adam is dressed all in black apart from a leopardskin shirt. I wonder whether the black armband is for Donna Summer. Those trousers are impossibly tight!
Trespassing is fun and cheeky, make sure you catch that pelvic action just before the bridge. The vocals here are fantastic.
The instruments sound really loud and a bit off at times on this version of Kickin' In. Adam's shuffly bandy-legged dancing just before the bounce part is hilarious, he's such a dork. You can really appreciate his showmanship here he commands the stage.
This is the type of performance I missed during all the acoustic radio station gigs. I really like this Shady for Adam's energy and how he involves all the band members making the stage feel more than the sum of its parts. There's a lot of dancing and he just makes me want to get up too. I would like the bass to be louder, shaking my bones and making this feel a bit nasty but judging from the other mic-frying recordings, it's probably loud enough for the crowd.
I'm really loving this arrangement of WWFM, especially the unfamiliar start and that moment of recognition where the crowd all realise which song it is and cheer it on. It feels like a much grander affair than the rock and acoustic versions. I've heard this song a squillion times but find such enjoyment from this beautiful version. The only down side is that it doesn't quite seem to fit sandwiched between upbeat dancey songs in the set.
This Cuckoo is loose and camped up with some funny dance moves and hip action. It includes the band intros over a jazzy instrumental section and Adam sings it invariably well.
Adam's voice sounds strong and those wonderful long notes are a marvel on NCOE. This high-energy song is the perfect way to end the set.
For this concert, Adam looks fresh faced with lively hair. He's dressed mainly in black with a splash of colour from his silk leopardskin shirt:
Adam camps up Trespassing with his fun and fierce facial expressions to make it a blast. I got my wish where he left out the second "crack", leaving it to the backing singers. The high notes are always so impressive for this song, bright and brilliant. There's a lovely moment where he breaks out of the performer persona at the end to reveal a sweet smile.
Kickin' In has a great introduction that helps to build the excitement. During the first verse I can't hear much of Adam, just mainly the high backing vocals. The low scrapey tone comes in for the second verse though. It's a very cool performance but still find it rather repetitive towards the end despite his improvisations.
Shady doesn't have the most accurate start where Adam uses a part of his voice that I'm not used to hearing. It's less dance and much more rock than on the album, I guess because the electronic effects aren't so easy to recreate. I love the sticky bass sound.
WWFM has a very sombre intro with the piano and occasional big echoey drum. This rearranged moody version brings out the best of the beautiful textures in Adam's voice, stunning the audience into silence. The end is a surprising haunting one.
Adam doesn't sing all the verse lines of Broken English with half going to the backing singers, making it more like a conversation. It sounds very dreamy. He doesn't layer his vocals over the bridge for this version so instead we have Tommy doing a guitar solo. I would prefer Adam's voice but I do like the calmness of the guitar over the frenetic drumming. The final note is an effortlessly long and impressive one that comes unexpected.
Chokehold brings a beautiful soft sound to Adam's voice for the verses. I have to admit a mild obsession with the way he sings "pain" with such need. He again doesn't sing over the bridge, instead making use of the instrumentals and backing vocals.
I find Naked Love a bit too perky immediately after Chokehold but I like the giggling and enjoyment from Adam. The trumpety sound is a bit annoyingly distinct, and again the ending feels weird and indecisive. I guess it hasn't grown on me yet.
Cuckoo is thumping, sounding much funkier than the album version thanks to the guitar from Tommy. I love the electronic bass noises. This version includes an instrumental part with funk guitar and Adam riffing over the top. I love this one. There is a big rock finish.
Before NCOE, Adam reluctantly takes off his jacket after some audience banter. Apparently it ruins the whole look. I think that shirt could've done with some unbuttoning myself. There are less distinguishable electronic effects on this version and not the usual mighty runs on the big notes.
Here's a video of the recorded stream from the concert which I'll update when we get better quality ones coming in, along with brief comments below:
It seems that Adam has decided to invert his outfit from the earlier GMA performance, going with what looks to be the trouser half of the infamous Horse Suit Jacket and all black up top.
Trespassing - Adam's voice is incredible in this. A great start to the set to get those feet moving.
Kickin' In - The bassline is banging and there's something so appealing about the way he orders "Girl, don't you hit the ground!". There's lots of echo which makes it sound like more of a club tune.
Shady - The recording can't really handle the bass here but it's so funky I could have this in repeat.
WWFM - This is a completely revamped and re-arranged version with a different drum beat. It could actually fit on Trespassing with its moodier feel and the backing singers lend a different angle.
Broken English - Phenomenal vocals, he hit those highs with gusto.
Cuckoo - Different slightly trippy instrumental interlude with loads of fabulous funk guitar and Adam's voice on top.
NCOE - Some unbelieveable notes.
Fuck me stupid that was awesome! Even though many of the songs are in still their infancy performance-wise, I love it that Adam is averse to singing straight-up versions, preferring to play. Lucky, lucky New Yorkers.
I'm really impressed with this album. It's quite different and riskier than what I was expecting, the songs loosely divided into upbeat dance and emotional ballads, flowing fairly well and all threaded through with Adam's vocals and an electronic edge to the production. There are references, elements and effects that span multiple songs to aid continuity. Adam uses his voice creatively like never before, not just singing but using it as an instrument for effect. He stretches the boundaries of its versatility in the harmonies, layers, textures, nuances, phrasing, timbres and pitches used and it's an absolute joy to listen to. He's come such a long way since FYE and this feels like an honest statement about where he is at the moment. It's an accomplished second album and one which he should be proud of because I know I am.
My favourites so far are Trespassing, Shady, Pop That Lock, Broken English, Underneath and Chokehold. But that might change on subsequent listens. What are your favourites? The lyrics and my comments are below.
1. TRESPASSING
Writers: Adam Lambert, Pharrell Williams
Producer: Pharrell for the Neptunes
“Trespassing is a song that I wrote with Pharrell Williams It's basically a song about being an outsider, about somebody or a group of people telling you "Keep out, you're not allowed in here" and you saying "You know what? I don't care, I'm going to go in there anyway" and do what I'm going to do and be who I want to be.”
This is funky with a top-notch modern production and for the first time I actually prefer this to the live versions. The irresistible staccato bassline will get you nodding away if you're not already up and shaking it, clapping along. Adam's voice is there in all its splendour, mainly in its hard form. On the live versions I couldn't hear the electronic synths and driving bass beats at the bridge, along with the guitar licks at the end which really add to the impact. This is very well written with smart lyrics and a sassy rebellious attitude that shines through. Love it.
Well, I was walkin' for some time
When I came across this sign
Sayin' who are you and where are you from?
We don't like when visitors come
No Trespassing that's what it said
At least that's what I could read
No trespassers yeah, my ass!
Wait 'til ya get a load of me
Yeah, c'mon! Ah!
One day I was trippin'
And that's when I could see
That the ether that I tapped into
Could be reality
It was great
That's when I climbed that optimistic vine
Once I hit that mountain peak
I began to lose my mind
I don't need no sympathy
I won't cry and whine
Life's my light and liberty
And I shine when I wanna shine, yeah
Make their faces crack
There's no turning back
Let's go!
Well, I was walkin' for some time
When I came across this sign
Sayin' who are you and where are you from?
We don't like when visitors come
No Trespassing that's what it said
At least that's what I could read
No trespassers yeah, my ass!
Wait 'til ya get a load of me
Hey, whoa yay
I ain't got B.S. in my bag
That's the one thing you can believe, yeah
My heart is gold my body is glass
Come on baby can't you see?
I don't need no GPS to show me where to go
But I can turn into the North Pole
And show you what is cold, ooh!
I don't need no sympathy
I won't cry and whine
Life's my light and liberty
And I shine when I wanna shine, yeah
Make their faces crack, crack!
There's no turning back
Let's go!
Well, I was walkin' for some time
When I came across this sign
Sayin' who are you and where are you from?
We don't like when visitors come
No Trespassing that's what it said
At least that's what I could read
No trespassers yeah, my ass!
Wait 'til ya get a load of me
Wait 'til ya get a load of me
I said, wait 'til ya get a load of me
Ah, ah, ah, ah, ah, ah!
Ah, ah, ah, ah, ah, ah!
I ain't stayin' at home
I got places to roam
I ain't stayin' at home, no no!
Hey hey hey heyay yay ya-a-ay!
I don't need no sympathy
I won't cry and whine
Life's my light and liberty
And I shine when I wanna shine, yeah
Let's go!
Well, I was walkin' for some time
When I came across this sign
Sayin' who are you and where are you from?
We don't like when visitors come
No Trespassing that's what it said
At least that's what I could read
No trespassers yeah, my ass!
Wait 'til ya get a load of me
2. CUCKOO
Writers: Adam Lambert, Oliver Goldstein, Bonnie McKee, Josh Abraham, Anne Preven
Producers: Josh Abraham, Oligee
“Cuckoo is really just about that moment where you realise that maybe you're a little crazy. I certainly have realised that in the last couple of years, that I've got a couple of screws loose but it's really fun and it's owning that and hopefully inspiring people to want to feel crazy. You know if been working all week or you've had a stressful day, you just want to go out with friends and get crazy.”
The production on this is very different to what I expected after seeing the Jimmy Kimmel performance. I thought we'd get some 70s disco funk with a splash of rock and a modern twist. It's slower than I expected, much more electronic and the way his voice is distorted in the effects reminds me a bit of the Aftermath remix. I like the overall melody and vibe in the verses but think the 80s-sounding chorus lets it down a little, along with effects overkill in parts. I assume it's the intended effect of a busy brain going mad but I can't help thinking the production tries to do too much. The lyrics are playful and humorous, and anyone who takes liberties with English to coin "thingses" gets the thumbs up from me. I like it a lot, but not as much as I expected. Still gets me up dancing though.
Feel like I'm having a meltdown
F-feel like I'm losing control
They tell me I'm a danger to myself
Now the crazy train is ready to roll, oh
Walk that walk like you don't give a fuck
You've got a right to turn it up and get down
Electric shock, no I can't get enough
'Cause tonight we're takin' over the town, eh
I wanna lose my mind, like a maniac
And cross the line, never lookin' back
We're on the loose, getting crazy and we've gone cuckoo
Gonna party 'til they take us away
I'm swinging off of my hinges
I'm cocked and I'm ready to go
Go on and pack up your thingses
The crazy train is ready to roll, oh
Walk that walk like you don't give a fuck
You've got a right to turn it up and get down, yeah
Electric shock, no I can't get enough
'Cause tonight we're takin' over the town, eh
I wanna lose my mind, like a maniac
And cross the line, never lookin' back
We're on the loose, getting crazy and we've gone cuckoo
Gonna party 'til they take us away
Lose my mind
I'm gonna lose my mind
Gotta get out of this straitjacket woah, cuckoo!
Gotta get out of this straitjacket woah, yay!
I wanna lose my mind, like a maniac
And cross the line, never lookin' back
We're on the loose, getting crazy and we've gone cuckoo
Gonna party 'til they take us away
Lose my mind
Gonna lose my mind
I'm gonna lose my mind
Gonna party 'til they take us away
Lose my mind
Gonna lose my mind
Yeah
Gonna party 'til they take us away
3. SHADY
Writers: Adam Lambert, Lester Mendez, Sam Sparro
Producer: Lester Mendez
“Shady is a song that I wrote with Sam Sparro and Lester Mendez. Basically, it's just saying "I kind of feel nasty tonight, and I want to get into some trouble, some good kind of trouble". Kind of being so wrong that it's right.”
Fucking hell! I'm hooked right from the start with this sticky pulsating bassline and beat, which sounds like a dark nasty version of Stevie Wonder's Superstition. Love it love it love it! It's so different to anything Adam's done before, funky as fuck and so so sexy. The vocals aren't bombastic but understated. Conspiratorial. And sexy. The harmonies are great, as are the guest vocals and Nile's guitar. It has shades of Prince in it, which is always good. The song is about cruising for sex, confrontational, bold and uncompromising. It's very well written, dark twisted sleazy fun. And did I mention how much I love it? And how sexy it is?
Baby I'm on the hunt
Baby I got my target on you
Trouble, that's what I want
And I'm gonna do just what I have to
Get your ass down to the front
Go on and roll it out, I dare you
Sorry I'm kinda drunk
But did you just say your game was brand new?
No I ain't broken, but I, I need a fix
That satisfaction when I, I get my kicks
I'm up all night
I'm outta sight
Don't turn on the light
'Cause I'm feeling so shady lately
Come on and take me underground
Deep under the street
Come on and take me, take me down
Where freaks like us can meet
Turn it up, turn it up, turn it up, turn it way up
Don't stop the beat
Come on and turn me, turn me out
'Cause I'm feeling so shady lately
Oh! Oh!
Gonna go and get me a shot
Gonna knock it back, forget all my blues
Yeah, that really hits the spot
I'm feeling pretty fierce in my dancin' shoes, yeah
No I ain't broken, but I need a fix
That satisfaction when I get my kicks
I'm up all night
I'm outta sight
Don't turn on the light
'Cause I'm feeling so shady lately
Come on and take me underground
Deep under the street
Come on and take me, take me down
Where freaks like us can meet
Turn it up, turn it up, turn it up, turn it way up
Don't stop the beat
Come on and turn me, turn me out
'Cause I'm feeling so shady lately
I throw more shade than a cloudy day
The brakes don't work, I'm just a runaway train
Somebody come and help me out, all I wanna be is free
I was tryin' to get down, now I can't get out
I'm shady lately
Come on and take me underground
Deep under the street
Come on and take me, take me down
Where freaks like us can meet
Turn it up, turn it up, turn it up, turn it way up
Don't stop the beat
Come on and turn me, turn me out
'Cause I'm feeling so shady lately
Shady lately, that's how I play
They say maybe it's just a phase
Shady lately, runaway train
Blame the game, quit blaming the gays
'Cause I'm feeling so shady lately
4. NEVER CLOSE OUR EYES
Writers: Bruno Mars, Philip Lawrence, Ari Levine, Lukasz Gottwald, Henry Walter
Pruducers: Dr. Luke & Cirkut for Prescription Songs, The Smeezingtons
“Never Close Our Eyes is an amazing song written about Bruno Mars. It's a beautiful powerful melody about "We can sleep when we're dead. Let's make the most of this moment and be in the now and connect and live". It's a little bit hedonistic but it's very uplifting and very positive with a great dance beat.”
I wish that this night
Would never be over
There's plenty of time to sleep
When we die
So let's just stay awake
Until we grow older
If I had my way
We'd never close our eyes
Our eyes
Never
I don't want to let a minute get away
'Cause we got no time to lose
None of us are promised to see tomorrow
And what we do is ours to choose
Forget about the sunrise
Fight the sleep in your eyes
I don't want to miss a second with you
Let's stay this way forever
It's only getting better
If we want it to
You know that I wish that this night
Would never be over
There's plenty of time to sleep
When we die
So let's just stay awake
Until we grow older
If I had my way
We'd never close our eyes
Our eyes
Never
It's so hard to think this could fade away
But what goes up must come down
Why can't we just live life with no consequence
And always live in the now
Forget about the sunrise
Fight the sleep in your eyes
I don't want to miss a second with you
Let's stay this way forever
It's only getting better
If we want it to
You know that I wish that this night
Would never be over
There's plenty of time to sleep
When we die
So let's just stay awake
Until we grow older
If I had my way
We'd never close our eyes
Our eyes
Never (never never)
Ooh
Yeah
Ooh
Yeah
You know that I wish that this night
Would never be over
There's plenty of time to sleep
When we die
So let's just stay awake
Until we grow older
If I had my way
We'd never close our eyes
Our eyes
Oh
Never
5. KICKIN' IN
Writers: Adam Lambert, Pharrell Williams
Producer: Pharrell for the Neptunes
“Kickin' in is a song that was created with Pharrell and basically it's a about a girl at a club who is just kind of going for it. She is drinking and partying and I'm just observing. And I'm like "Are you alright? Are you good? Don't fall down!” I think everybody can relate to that girl at the club that's either had to much or you're the friend that's watching her back. And by her, boys, you know that we call each other that. She drunk!
After a long intro of trancey ascending and descending electronic bleeps and voice samples, it's quite a surprising moment when it finally kicks in. It's like coming to a moment of clarity. On the verses, Adam's voice is fresh, breathy and backed with a falsetto vocal. With the bassline, it immediately recalls Michael Jackson's Off the Wall. Then it gets a bit strange at the chorus, as he sings to the second person, with all that hypnotic repetition like a skipping CD. The song tells of and addresses a mate determined to get demolished into oblivion, so it does sound like the pounding that arrives when all the substances take hold. It's the imaginary persistent echoing music that follows from an altered state of consciousness when you're still pumping. I'm sure I used to get stoned to this. It's an aggressive tune to dance to and although I'm liking it, I'm just not sure about the amount of repetition.
She wants to be up there
In the air
Where the clouds live
The sweetest seeds
Make the best treats
Thirty thousand feet
She can smile there
And now, she puts her shot glass down
She asks for another round
She wants to hit the clouds
Honey, are you up there?
Now she puts her shot glass down
She asks for another round
Girl, don't you hit the ground
Is it kickin' in?
Do you feel it kickin' in?
Do you feel it kickin' in?
Do you feel it kickin' in?
Honey, are you up there?
Do you feel it kickin' in?
Do you feel it kickin' in?
Do you feel it kickin' in?
Honey, are you up there?
She wants to introduce me
To her friend Eddie
What is she trying to do to me?
He got words that rhyme
He got a dirty mind
Persuasive
Am I about to do a three?
And now, she puts her shot glass down
She asks for another round
She wants to hit the clouds
Honey, are you up there?
Now she puts her shot glass down
She asks for another round
Girl, don't you hit the ground
Is it kickin' in?
Do you feel it kickin' in?
Do you feel it kickin' in?
Do you feel it kickin' in?
Honey, are you up there?
Do you feel it kickin' in?
Do you feel it kickin' in?
Do you feel it kickin' in?
Honey, are you up there?
And now, she puts her shot glass down
She asks for another round
She wants to hit the clouds
Honey, are you up there?
Now she puts her shot glass down
She asks for another round
Girl, don't you hit the ground
Is it kickin' in?
Do you feel it kickin' in?
Do you feel it kickin' in?
Do you feel it kickin' in?
Honey, are you up there? ... ... ... ... ... ...
6. NAKED LOVE
Writers: Benjamin Levin, Ammar Malik, Dan Omelio, Oliver Goldstein, Josh Abraham
Producers: Josh Abraham, Oligee
“Naked Love is a really fun upbeat positive anthem about no frills. It's asking somebody to just love you without all the bells and whistles, without all the hub bub. I don't need flowers and I don't need a fancy dinner, I don't need you to make a big deal out of it, I just need the real thing. Stripped back, naked, pure.”
I wasn't that keen on this song after seeing the live performance. My comments were:
Do you know those perennially chirpy people with boundless positivity and happy smug faces? Well this song is their equivalent. I want to give them a good slap for being so annoying. It says more about me being a cranky old git than anything else. It's a light frivolous pop song. I don't like happy fluffy pop. I like things to have a bit of a nasty edge. It feels like a cross between a JLS song and an 80s pop-by-numbers Stock Aitken and Waterman production so much so that I think I might be being Rickrolled. Maybe that means it'll be a huge hit.
I'm afraid to say that my opinion hasn't really shifted. It sounds a little more modern and less 80s but still a bit generic. Adam's voice is delicious though.
Oh whoa yeah yeah yeah
Oh whoa yeah yeah yeah
Lose control
Collision course
With you my love
Call 911
So roll the dice
Get lucky tonight
I know you're holding back
No more hesitation, no
Just come on
I want your naked love
So don't you dress it up tonight
Yeah come on
You know your naked love
Is what I'm dreamin' of tonight
Oh whoa yeah yeah yeah
Oh whoa yeah yeah yeah
Take it off
And try me on
The hottest threads
You ever worn
So roll the dice
Get lucky tonight yeah
I know you're holding back
No more hesitation
Just come on
I want your naked love
So don't you dress it up tonight
Yeah come on
You know your naked love
Is what I'm dreamin' of tonight
Oh whoa yeah yeah yeah
Oh whoa yeah yeah yeah
Just come on
I want your naked love
So don't you dress it up tonight
Yeah come on
You know your naked love
Is what I'm dreamin' of tonight
7. POP THAT LOCK
Writers: Adam Lambert, Josh Crosby, Lesley Roy, Robert Marvin, Nate Campany
Producers: Robert Marvin for Kustom Thrills, Josh Crosby for My Kid Brother Music
“Pop That Lock is a song about just being who you are, letting it all hang out and letting down your guard. Pop that lock, unlock it, open the door, just be, let it go. We're all victims at one time or another of being trapped by our own fears or limitations, or we think people want from us, and this song is a really cool electro-dance song about just letting go.”
The intro sounds rather industrial and it's a throbbing start with Adam's voice on top of the beat. It's a simple stompy rhythm that I generally don't like but it works here. The thumping chorus is sharp and I absolutely love love love that dirty scratchy electro breakdown with its dark heavy beats and Adam's throaty banshee wail. It sounds much more experimental than anything I'd dared hope for. It's another song about liberating oneself and letting go, like Cuckoo, which also references this. Adam bosses us around with punchy lyrics and low rich vocals. Another one I love.
Left, right, step up to the spotlight
Why're you acting up tight?
I'm takin' you to school, thats right
High, low, don't tell me you don't know
How to ever let go
I'm takin' you to school, that's right
Tonight we burn it all
Get high, get tall
Yeah, we're lighter than air
You got the key to your release
So pop that lock until you're lighter than air
If you wanna be it
You've got to dream
If you got the key then baby
Pop that lock
If you wanna free it
You have got to scream
If you got the key then baby
Pop that lock
Banshee boys and dancey girls get down
Work, bitch, you don't gotta
Stress this
Got 'em feeling restless
Show 'em how it's done, alright
Secret, don't care if you don't keep it
Don't care if you leak it
Show 'em how it's done alright
Tonight we burn it all
Get high, get tall
Yeah, we're lighter than air
You got the key to your release
So pop that lock until you're lighter than air
If you wanna be it
You've got to dream
If you got the key then baby
Pop that lock
If you wanna free it
You have got to scream
If you got the key then baby
Pop that lock
Banshee boys and dancey girls get down
Get down
Work work work alright
Work work work alright
Banshee boys and dancey girls get down
You better pop that lock
If you wanna be it
You got to dream
If you got the key then baby
Pop that lock
If you wanna free it
You have got to scream
If you got the key then baby
Pop that lock
Get down yeah
Baby pop that lock, get down
Get down
Pop that lock get down
8. BETTER THAN I KNOW MYSELF
Writers: Lukasz Gottwald, Joshua Coleman, Claude Kelly, Henry Walter
Producers: Dr. Luke, Cirkut & Ammo for Prescription Songs
“Better Than I Know Myself is a song that I think anybody who has been in or is in a relationship can relate to. Sometimes you screw up ir you say something that hurts your partner's feelings or you haven't been supportive. This song basically owns that, says, "Look, I'm sorry that sometimes I'm not perfect but without you, I wouldn't know what I would do with myself. I need you because you are the only person that knows me better than I know myself."”
Cold as ice
And more bitter than a December
Winter night
That's how I treated you
And I know that I
I sometimes tend to lose my temper
And I cross the line
Yeah that's the truth
I know it gets hard sometimes
But I could never
Leave your side
No matter what I say
'Cause if I wanted to go I would have gone by now
But I really need you near me to
Keep my mind off the edge
If I wanted to leave I would have left by now
But you're, you're the only one that knows me
Better than I know myself
All along
I tried to pretend it didn't matter
If I was alone
But deep down I know
If you were gone
For even a day I wouldn't know
Which way to turn
Cause I'm lost without you
I know it gets hard sometimes
But I could never
Leave your side
No matter what I say
'Cause if I wanted to go I would have gone by now
But I really need you near me to
Keep my mind off the edge
If I wanted to leave I would have left by now
But you're, you're the only one that knows me
Better than I know myself
I get kind of dark
Let it go too far
I can be obnoxious at times
But try and see my heart
Cause I need you now
So don't let me down
You're the only thing in this world
I would die without
'Cause if I wanted to go I would have gone by now
But I really need you near me to
Keep my mind off the edge
If I wanted to leave I would have left by now
But you're, you're the only one that knows me
Better than I know myself
'Cause if I wanted to go I would have gone by now
But I really need you near me to
Keep my mind off the edge
If I wanted to leave I would have left by now
But you're, you're the only one that knows me
Better than I know myself
9. BROKEN ENGLISH
Writers: Adam Lambert, Lester Mendez, Sam Sparro
Producer: Lester Mendez
“Broken English is kind of a sexy song about communication and there are so many different ways to communicate. You can communicate with words and then sometimes it's not about the words at all, it's about, maybe body language. I think that there can be some challenges that some from not being able to communicate verbally, and then there's also a lot of beauty in that disconnect, and that's what Broken English is about.”
The intro is a surprisingly delicate ambient one and once the reverberating beat comes in, it reminds me of Ultravox's Vienna. It's a song about the inability to communicate in a relationship, causing misunderstandings. My original thoughts after Jimmy Kimmel were:
I'm loving it so far. It's an atmospheric sexy slow burn with a moody melody. It has a big swelling dramatic production which I can hear as a climactic soundtrack. The vocal is striking and powerful... The bridge is something else though, as Adam lends a beautiful haunting ghostly wail over frantic drumming.
That still stands but I just want to add how much I love Adam's voice on this. What he does with his voice on the bridge is just sublime and otherworldly. It's a mournful howl of a siren call, its ethereality accentuated by the heaviness of the instrumentals. Just beautiful.
Tower of Babel has fallen down again
Information disarray
I don't know who I should believe in
Everybody's an authority
Fragments don't count
They always end up fallin' through the cracks
Don't think out loud
'Cause once it's out your mouth can't take it back
Can't say all the little things
That I wanna tell you right now
I know you won't understand
But I gotta tell you somehow
And on and on and on I go
Connect the neck to what's below, I know
Now your body language is broken, broken english
Lost inside communication breakdown
Better just to read my lips
Comin' in clearer when we get down
Iceberg just the tip
My words get lost
Can you read the look that's on my face
Wires get crossed
In communion with the human race
Can't say all the little things
That I wanna tell you right now
I know you won't understand
But I gotta tell you some how
And on and on and on I go
Connect the neck to what's below, I know
Now your body language is broken, broken english
Can't say all the little things
That I wanna tell you right now
I know you won't understand
But I gotta tell you some how
And on and on and on I go
Connect the neck to what's below, I know
Now your body language is broken, broken english
10. UNDERNEATH
Writers: Josh Crosby, Catt Gravitt, Tom Shapiro, Adam Lambert
Producers: Josh Crosby for Mu Kid Brother Music, Robert Marvin for Kustom Thrills
“Underneath is a pretty personal song. I think this one is the most revealing on the album. Even someone like myself, who's been given this great opportunity and has seemingly a great life, I have moments where things aren't always totally happy, you know we all go through that, so hopefully the listener at home can relate to that feeling, that struggle and that turmoil that sometimes takes over your being.”
The start of this is bare, just the stirring sound of a piano. Adam's voice is so close, so fragile, so vulnerable. It strengthens as we head to the chorus and the depth of emotion channelled through it defies belief. It must be so difficult to sing live. We can hear so many different textures to his voice complemented by a balance of classic and electronic instrumentals. The second verse is less minimal, building to a desperate cry at the crescendo. Inviting us into his private world with hard-hitting lyrics containing powerful imagery, it's extremely moving. It delves into such a personal and intimate realm it actually makes me feel uncomfortable listening to such anguish pouring out of that voice. It's so intense I can only handle it in small doses and find myself drained after listening to it. Time to take a deep breath. An evocative masterpiece.
Strip away the flesh and bone
Look beyond the lies you've known
Everybody wants to talk about a freak
No one wants to dig that deep
Let me take you underneath
Baby, better watch your step
Never mind what's on the left
You're gonna see things you might not wanna see
Still not that easy for me
Underneath
A red river of screams underneath
Tears in my eyes underneath
Stars in my black and blue sky
And underneath under my skin
Underneath the depths of my sin
Look at me
Now do you see?
Welcome to my world of truth
I don't wanna hide any part of me from you
I'm standing here with no apologies
Such a beautiful release
You inside of me
A red river of screams underneath
Tears in my eyes underneath
Stars in my black and blue sky
And underneath under my skin
Underneath the depths of my sin
Look at me
Now do you see?
A red river of screams underneath
Tears in my eyes underneath
Stars in my black and blue sky
And underneath under my skin
Underneath the depths of my sin
Look at me
Now do you see?
Underneath underneath underneath
Look at me
Do you see?
Look at me
Do you see?
Welcome to my world of truth
I don't wanna hide any part of me from you
11. CHOKEHOLD
Writers: Adam Lambert, Oliver Goldstein, Bonnie McKee, Josh Abraham
Producers: Josh Abraham, Oligee
“Chokehold is a song that I wrote with Bonnie Mckee. It's about a relationship that's not good for you. It's about being into somebody or obsessed with somebody that isn't emotionally healthy. I think everybody at some time or another has chased after the wrong person and sometimes if they're bad or wrong for you, it feels really good and we keep going back for more.”
The intro to this song about being addicted to a destructive relationship is a dark and menacing one. When Adam's voice kicks in for the verses, it's contrastingly light and breathy. The choruses feel like an anthemic rock song with a big production. The delicate moaning at the bridge is a thing of beauty and I love the tinkly electronic sounds over the synths near the end. It's well written and Adam's expressive voice emotes both resignation and exasperation in this beautifully stirring song.
Starin' at the ceiling in the dark
Sheets are in a knot
My heart is like a rock, hey
Pictures flashing by inside my head
I'm hanging by a thread
But I'd do it all again, hey
I keep running away
Running away
Running away from you but I
Can't stand breaking the chains
Breaking the chains
Breaking the chains
It's too good
'Cause I know
The second you go
Want you to bring it on back
Bring it on back
Bring it on back to me
And you know
I want your chokehold
Want you to bring it on back
Bring it on back
Bring it on back to me
Bring it on back to me
Bring it on back to me
Oh, without your touch I suffocate
Cold asphyxiate
But I kinda like the pain, hey
Baby, I can smell you on my clothes
I try to stay composed
But I feel a fever grow, grow
I keep running away
Running away
Running away from you but I
Can't stand breaking the chains
Breaking the chains
Breaking the chains
It's too good
'Cause I know
The second you go
Want you to bring it on back
Bring it on back
Bring it on back to me
And you know
I want your chokehold
Want you to bring it on back
Bring it on back
Bring it on back to me
Bring it on back to me
Bring it on back to me
Gonna bring it on back to me
'Cause I know
The second you go
Want you to bring it on back
Bring it on back
Bring it on back to me
And you know
I want your chokehold
Want you to bring it on back
Bring it on back
Bring it on back to me
Yeah, yeah, I'm gonna bring it on back to me
Bring it on back to me
Bring it on back to me
12. OUTLAWS OF LOVE
Writers: Adam Lambert, Rune Westberg, BC Jean
Producer: Rune Westberg
“Outlaws of Love is a song about the struggle to overcome adversity of any kind. I wrote it personally about my feelings in the way the struggle makes me feel that the gay and lesbian community faces. What's great about the song I think is that I wrote it from that perspective, but upon presenting it to some friends and family, it can be interpreted as any sort of adversity or challenge or obstacle, whether it be star-crossed lovers like Romeo and Juliet or Bonnie and Clyde running from the law or Thelma and Louise. It's kind of that lamentation of being on the run.”
The arrangement on this is very similar to that of the debut performance but has more of a beat to it, which I think it ages it a touch. Adam's gentle mournful voice is so soothing and has harmonies as backing on the choruses. There are marked differences in his voice towards the end, changing into strong and defiant rich tones, then back to resignation. The lyrics are uncomplicated and sincere with a strong message, making this a potential anthem for LGBT rights.
Oh, nowhere left to go
Are we getting closer, closer?
"No," all we know is "No!"
Nights are getting colder, colder
Hey, tears all fall the same
We all feel the rain
We can't change
Everywhere we go, we're looking for the sun
Nowhere to grow old, we're always on the run
They say we'll rot in hell, well I don't think we will
They've branded us enough, outlaws of love
Scars make us who we are
Hearts and homes are broken, broken
Far, we could go so far
With our minds wide open, open
Hey, tears all fall the same
We all feel the rain
We can't change
Everywhere we go we're, looking for the sun
Nowhere to grow old, we're always on the run
They say we'll rot in hell, well I don't think we will
They've branded us enough, outlaws of love
Aaah...
Everywhere we go, we're looking for the sun
Nowhere to grow old, we're always on the run
They say we'll rot in hell, well I don't think we will
They've branded us enough, outlaws of love
Outlaws of love
Outlaws of love
Outlaws of love
Outlaws of love
13. RUNNIN'
Writers: Adam Lambert, David Marshall, Fred Williams, Catt Gravitt, Robert Marvin
Producer: Robert Marvin for Kustom Thrills
The intro leads me to think of 80s/early 90s sci-fi action movies until Adam's voice comes in, which gives me one hell of a shock. The sustained low tone is unlike anything else I've heard from him before. It's rich and gravelly and a joy. The verses sound dark, describing an undesirable predicament but it takes flight during the choruses when he decides to take action. It's so satisfying when Adam lets his voice rip. Apart from a few electronic bits, it's a big uplifting rock ballad with a frenetic hammering beat at the bridge that makes way for the peace of a hymn-like break. This feels like perfect soundtrack material but I can't help feeling that the production is disjointed with the rock and electro elements not quite consolidating. Good as a bonus track.
Steel to my trembling lips
How did the night ever get like this?
One shot and the whiskey goes down, down, down
Bottom of the bottle hits
Waking up my mind as I throw a fit
The breakin' is takin' me down, down, down
My heart's beating faster
I know what I'm after
I've been standing here my whole life
Everything I seen twice
Now it's time I realise
It's spinning back around now
On this road I'm crawlin'
Save me 'cause I'm fallin'
Now I can't seem to breathe right
'Cause I keep runnin', runnin', ... ... ... ... ... ...
Runnin' from my heart
Round and around I go
Addicted to the numb livin' in the cold
The higher the lower the down, down, down
Sick of bein' tired and sick and ready
For another kind of fix
The damage is damning me down, down, down
My heart's beating faster
I know what I'm after
I've been standing here my whole life
Everything I seen twice
Now it's time I realise
It's spinning back around now
On this road I'm crawlin'
Save me 'cause I'm fallin'
Now I can't seem to breathe right
'Cause I keep runnin', runnin', ... ... ... ... ... ...
Runnin' from my heart
Oh, I'm coming alive
Oh, I'll wake up now and live
Oh, I'm coming alive
A life that's always been a dream
I'll wake up now and live, oh
I've been standing here my whole life
My heart's beating faster
I know what I'm after
I've been standing here my whole life
Everything I seen twice
Now it's time I realise
It's spinning back around now
On this road I'm crawlin'
Save me 'cause I'm fallin'
Now I can't seem to breathe right
'Cause I keep runnin', runnin', ... ... ... ... ... ...
Runnin' from my heart
'Cause I keep runnin', runnin', ... ... ... ... ... ...
Runnin' from my heart
14. TAKE BACK
Writers: Adam Lambert, Busbee
Producers: Busbee, J. Bonilla
The piano intro is a bit deceptive, leading me to think that this might be another stripped down emotional song. Then the pulsating beat kicks in and I know it's another one for the dancefloor. The verses are beat-driven, surprisingly there's is no melody in the first few lines as Adam sings it monotone. The panting "Eh eh eh" sounds in between are sexy though. The choruses remind me of NCOE's with the bass zipping up and down and a beat that I'm not too keen on. The vocals are fantastic though, especially at the bridge where sultry turns to the gritty powerbelting chorus. Unsurprisingly it's a song about wanting to undo something so I find the choice of an understated and restrained "Oh My" in the lyrics to express this as a source of amusement because for me it would be expletive-ridden. It ends on what sounds like an Irish folk trill to me. There are other songs I prefer from this album but this is one that will get me up and moving.
All you ever think is gimme gimme
But you'll never give back
All I ever do is overthink and drink
Until I attack
We know how to talk it into the ground
We know how to wear it out
If we ain't gonna save it
Gonna end up in the grave and baby
How do we take back what's been done?
What's been said?
Oh, my
How do we take back 'cause no one wins
When love breaks down
We both die
And I would give anything
Just to chase the dark away
And start all over again
How do we take back what's been done?
What's been said?
Oh my
I fed you a fantasy
But you been drunk on reality
All you want is to be wanted
Long as you get it outta me
We used to be a jungle, sticky and wild
It used to be we owned the night
All the stupid games we're playin'
All the shit that we've been saying'
How do we take back what's been done?
What's been said?
Oh, my
How do we take back 'cause no one wins
When love breaks down
We both die
And I would give anything
Just to chase the dark away
And start all over again
How do we take back what's been done?
What's been said?
Oh my
Remember remember the first time we collided?
We lost it we lost it
Yeah
How do we take back what's been done?
What's been said?
Oh, my
How do we take back 'cause no one wins
When love breaks down
We both die
And I would give anything
Just to chase the dark away
And start all over again
How do we take back what's been done?
What's been said?
Oh my
14. NIRVANA
Adam Lambert, Josh Abraham, Oliver Goldstein, Stephen Wrabel
Producers: Josh Abraham, Oligee
The opening chords are pleasantly dark-sounding as Adam describes the negativity that love overcomes. The choruses turn into a smooth ride over a flowing piano but something doesn't quite hit the spot for me at "In nirvana stay". I think it's the melody or the forced rhyme which shifts the focus off "nirvana" to "stay", taming the impact. I still enjoy the uplifting feeling it generates though. The calm is broken momentarily as Adam soars thorough the clouds at the bridge with the most beautiful of notes, modulating from a hard gritty timbre into one that floats lighter than air. I love what he does with his voice towards the end, bringing it fully to life. It's a mellow end to the album leaving a feeling of contentment.
When the stars are too cold
Frozen over their glow
On the edge of the night
We can be their light
So give me more than your touch
And give yourself to the rush
Just keep holding my hand
As we're taking off
I know where we'll land
We can escape to a higher plane
In nirvana stay
Where the dreamers lay
I'll lay you down, lay you down
Safe on a higher plane
In nirvana stay
Where the dreamers lay
I'll lay you down, lay you down
Through the dark there's a way
There's a love, there's a place
Where we don't have to hide
We can dream all night
So follow me through the sky
And watch the oceans collide
Just keep holding my hand
As we're taking off
I know where we'll land
We can escape to a higher plane
In nirvana stay
Where the dreamers lay
And I'll lay you down, lay you down
Safe on a higher plane
In nirvana stay
Where the dreamers lay
I'll lay you down, lay you down
Oh, we don't need any diamonds or gold
Watch the mystic and cryptic unfold
As we fly high
We can escape to a higher plane
In nirvana stay
Where the dreamers lay
And I'll lay you down, lay you down
Safe on a higher plane
In nirvana stay
Where the dreamers lay
I'll lay you down, lay you down
I'll lay you down, lay you down
I'll lay you down, lay you down
Zips and leather aplenty, Adam rocks up for the opening number all in black understated chic (but couldn't resist a sparkly electric blue belt). He's joined on stage by Sam, Nile and his band, which includes some original members of Chic and the drummer for Let's Dance. After 50+ versions from the AI tour, I love hearing this arrangement that's so close to the original. This full band version sounds much better than the hollow light-rock AI ones, or the funkless electronic VH1 version. Sam appears to have trouble with his mic, which seems to be on near-silent mode for much of the time. There's only one natural showman though, even with his back to the crowd doing dorky dance moves, such as using an invisible towel to scrub his rear. When Adam comes in for the solos, his voice surprises me by its softness and it's very very sweet. Makes me realise how shouty the early versions were in comparison. It lends extra impact to the sparingly-used big high notes, making them even more goosebump-inducing.
Shady is the one I've been waiting so long for, and my expectations were that this would be a special one. After a number of close calls of being in the same place but different day last year, Adam, Nile and Sam would finally be united on stage for a performance. There's an endearing familiarity between them on stage, the banter beforehand like that between old friends. I can only imagine how enjoyable it must have been to create this together. I love the sound of the dirtier bass and Nile's funk guitar. The tempo is much faster and it really bounces along. Aside from Sam's sound issues, the vocals are perfect, backing harmonies great and that panting part is delicious enough to tip anyone over the edge. I spot the return of the flaily-arm woman (of Glam Nation DVD infamy) right at the front of the stage doing her thang but thankfully the arms aren't overly obstructive. The brass section adds some light jazzy pizazzy fun, with the instrumental section inducing stank faces and impelling hips to get a groove on. In keeping with Adam's penchant for mixing songs (Naked Love + 100% Pure Love, Pop That Lock + Smooth Criminal) there's an inclusion of En Vogue's Free Your Mind in the mix too. There's so much more energy and vigour on stage than previous renditions, but at the same time there's an ease and a natural chemistry as talented musicians just having a jam.
