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:
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!

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:
"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.

Monday, 23 November 2009

Jaw-Dropping Show-Stopper


After what seemed like an incredibly long wait, Adam showed up with pimp-spot timing on the red carpet. The look was very understated in terms of sparkly embellishments and was one of the simplest I think I've seen from him. The look consisted of a skinny black tie and button-down shirt with pointy collars, underneath an elongated jacket with thin slivers for lapels. The bling was provided by patent leather boots and a knuckle-duster of garish chunky rings. His hair was styled in a high pompadour which I find smarter and more appropriate for the red carpet than his spikes. I thought he might have arrived in something more outrageous but because he didn't, it made me all the more curious about what he would bring to the performance. He looked fabulous nonetheless and was his usual charming self.



The expectations for this were virtually insurmountable as the hype grew with each ad break thanks to the AMA voice-over which I really didn't appreciate. The pressure must have been enormous. As the evening of bad sound and vocals progressed, my first doubts started to creep in but my confidence in Adam's performance skills swept them away until the performance. That Adam wasn't at his best made the viewing a little uncomfortable and less-than glowing performances are always the most difficult to write about but here you go.

Seeing Adam's name in lights was incredible and gave me a lump in my throat. Everything was dark apart from that and a dim spotlight locked onto the lone but powerful figure at the centre of the stage. The bright sparkly keys gave off a slightly oriental melody as Adam began to sing. It took a very dramatic turn, sounding like the score for the villain's entrance in a silent movie as Adam surveyed and sneered at his subjects. We got a close-up of his outfit, which possibly ranks as my favourite. I think it hit the spot that the Sebree look homed in on but missed. I loved the camp glittery silver three-piece suit and the gold tie that were complemented by the hardness of his glove and shoulder spikes. It was a grand opening full of theatrics and strong vocals and he commanded every one of us - I absolutely loved it.

With such a strong start, I had high hopes for the rest of the performance. But soon after the band kicked in, the thin and shaky vocals upset my engagement of the performance and I just couldn't get back into it. The rest went by in a bit of a blur. It was frustrating because the stream wasn't particularly good, there were silent spots, there was a lot of glare and the camerawork was a bit of a failure. The things I remember were swelling with pride, a huge mental 'Yes!' and cackling with glee at his sexual predator moves, wincing when I heard the backing singers, wondering if rolling on the floor was part of the plan, and thinking 'WTF?' when I thought I saw him snogging Lisa, the band's keyboardist.

It's only on subsequent viewings was I able to take it in properly. FYE isn't a song that sells Adam's vocals well with the verses in a low range that sits outside his sweet spot. I think it needs big notes to impress as a live performance otherwise it lacks power. There may have been some nerves but as he pulled the dancer across the floor, he wasn't really able to sustain the quality of the notes and think he would have perhaps done better in a higher key at the expense of a growly tone. He gyrated and prowled around the stage and I loved the visual of his whipping the dancer gimps on leashes, as if there were any doubt as to which bitch was in charge. I find myself bemused by the highly exaggerated claims of simulating fellatio and annoyed that not only was it muted, but the cameras were made to pan out to the audience. Do these people not understand what a blow-job is? That was nothing more than Adam rubbing a willing face into his horny crotch, that lucky bastard!

I still wince when I hear the backing singers kick in with the voices both dissonant and out of time I can't imagine how distracting it must have been for Adam. There was a crotch-grab before he tripped and did his best stuntman roll. It was only after multiple slow-mo replays that I've decided it wasn't intentional but a great cover-up. He fell a little hard on his knee but he expertly picked up the cane and rolled with it. It makes me wonder how he was supposed to pick it up and whether there was some sort of alternative roll involved. He seemed a little thrown by it and for some reason skipped the lyric 'Take the pleasure' but did recover. The interaction with the dancers after Adam walked through the mirrored door was the best part of the choreographed routine and was one of the only parts where the camera did it justice. He appeared to have some trouble finding the right pitch during the following high note which started quite flat but he managed to tune it back up towards the end. I intially had no idea what Adam was doing with the dancer's crotch at the chair until a HD replay, but it wasn't as lewd as it might have appeared and would have benefitted from a closer shot. He attacked the next high note and nailed it with a look of wild ferocity. The feel of the performance got aggressive, especially when he devoured Tommy with that violently passionate kiss. Had the camera been up closer, it might have taken the edge off the seriousness as Adam lit his eyes and raised his eyebrows singing 'Can you handle what I'm about to do?' before going in for the kill. It felt like Adam had gotten carried away in the heat of the moment and it was an expression of his frustration that the performance wasn't going well. The rest of it was much better as he let out more of his trademark big notes, especially the end note that was filled with plenty of emotion and grit. When I saw Adam's face at the end and he seemed out of breath, my heart sank and I felt sad and disappointed for him as he obviously knew the performance wasn't up to his usual standard.

As much as I try to convince myself otherwise, I found the performance disappointing because it wasn't well executed and I couldn't really connect with it. The sound was bad, the lighting glare and camera work made it much more of an effort to watch, detracting from the performance, and Adam was vocally below-par. It felt as though it was targeted at the theatre audience rather than the television one because the screen just seemed too busy. I wanted more focus on him and think the lighting should have enabled that. I did get the feeling that Adam was being destructive in mauling Tommy as my instinct was that it might cause awkwardness within the band.

I can see what he was trying to achieve with that performance though, which was unmistakably Adam. I liked the way the dancers moved in their kooky costumes even though due to having seen them in the spoilers I paid them little attention. I liked the colours of the performance with the set and costumes all reminding me of Duran Duran's 'Wild Boys' video. I liked the raunchy S&M bondage theme and the provocative character Adam assumed, although the anger/aggression could have been toned down a notch and the fun cranked up a few. I'm proud and love that Adam didn't shy away from taking such a risk and it was a ballsy, subversive 'Fuck you!' to generic bubblegum pop and to anyone who thinks he's de-gaying to pander to the audience. I do think giving the finger wasn't necessary though, and it should have remained implied. I so wanted that statement to have been made without giving the critics any ammo but the standard of the vocals lessened the impact. In that respect I can't place it with RoF, which was technically flawless. Although the kinky sexual nature might have been too shocking and gratuitous for many, I just think it was a bit of harmless groping, no more. It's similar to what he did for the Zodiac Show, which had plenty of grinding and crotch-grabbing and sexually suggestive moves. I don't see it as a cheap attempt to get headlines because he's staying true to himself bringing underground performance art to the masses and I hope he succeeds. I did feel uncomfortable watching the FYE because it didn't go smoothly and didn't do justice to Adam's mind-blowing talent. I was worried he might have ended up kamikaze-ing it after feeling it slip away a little and was sad for him. After watching the post-performance interviews though, it seemed fairly upbeat, which left me feeling reassured and more positive.

Being invested fans, we've been building up our expectations over a period of months and this performance got blown into a massive event. Perhaps we rested all our hopes and attached too much importance onto this debut performance. Yes this was a stumble and he may have alienated many, but I think the re-branding was successful and he couldn't distance himself any further from cookie-cutter Idol. He's shown that he can hold his own against established stars despite being sub-par. The result is it's grabbed plenty of headlines and gotten people talking. As their curiosity has been stoked, there will be many more who'll be wondering what he does next. Some of them will have opened Pandora's box by Googling him and seeing other amazing performances. Some may even have stepped off the precipice and been swallowed into this obsession. Adam is a brilliant rainbow and it's his spectrum of colours that's one of his greatest strengths. It's rare for anyone to like every colour so if you didn't like his vision for this performance, there will be many more to come that'll show off his other colours.


Apologies for the delay, it's been a tough day with the end of a relationship.

Sunday, 22 November 2009

Countdown


This is what we've been eagerly anticipating since May when Adam would once again explode onto our screens. I almost heard the collective intake of breath as we realised that he has the pimp spot at the AMAs. The excitement is palpable and I am already holding my breath amidst my dusted-off but familiar feelings of anticipation.


How's he going to change up the song? What's he going to be wearing? How's he going to style his hair? What kind of dance moves does he have planned? What are going to be the colours of the performance?  What's going to be the feel of the performance? What kind of vocal improvisations are we going to hear? How's the arrangement going to be different to that of the single? What's the band going to be like? Will the band give it more of a rock rather than electronic sound and will they be doing much improvisation? Is he going to give us another provocative pivotal TV moment that's going to get everyone talking? One that's going to leave pearl dust all over the floors of conservative America? One that's going to cause a major earthquake as the whole of the US is collectively spasming in Adamgasm? Will they appreciate the message he's trying to put across? Will they be shocked in a good way or will they consider it gratuitous? Will it cause outrage? Will he push it a little too far? I can't freakin' wait! Get those defibrillators at the ready!


Many of these questions I found myself asking before the AI final but now I'm asking them again with the added bonus of feeling like Adam's already won. That he has the pimp spot is a major coup and speaks volumes about the confidence the show's producers have in him giving us a show-stopping performance. It's the perfect platform on which to promote his music and reach out to music fans who were too cool for AI. It's a chance to widen his fanbase but it's also possible he might alienate some.

The performance is supposed to be an extension of the music video, which contains plenty of scatily clad dancers dressed like they just walked off the set of Mad Max, or a Camden of warmer climes, writhing around in decadence in dark and opulent surroundings. From what I can tell of the rehearsal footage, it's going to be one sexy sizzling performance with pyrotechnics and dancers each doing something different. I think there's a light bondage theme in the costumes, with rumours of people on leashes and Adam wearing nipple tassels. I expect he'll be the dominator spanking up a storm with a cane or a whip, making us crawl on all fours screaming in agony for more. On the video, I can hear some changes that have been made to the song, including a new glory note and there are rumours of it starting a cappella. I've always preferred his live performances to his studio recordings so I expect the energy will be explosive. I have no doubt the performance is going to be deliciously risqué and hope it's well received. I'm looking forward to being blown away, screw sleep!


This performance signals the birth of post-AI Adam. This is where he's going to be re-branded and I realise that THIS is his fucking coronation! It's back to the same Nokia stage but not as the winner from a load of wannabes on some reality karaoke show dialling it down and singing a crap song, but as a fucking SUPERSTAR with his own awesome ideas, singing how he wants to sing his own awesome shit, crowning off a night of established stars. And it's a coronation with style. Fuck confetti, give me fire and bondage!!!

Thursday, 19 November 2009

Out of Order


Much has been said of the controversial letter by Aaron Hicklin, Editor in Chief of Out, addressed to Adam Lambert. His veiled criticisms of Adam through his management, accusing them of toning down his gayness has annoyed many. Whilst it won't get me spouting vitriol, I don't think the letter has done Out any favours. It was an irritation that this came on the day of the album's streaming and overshadowed it a little.

I think Hicklin did have a valid point to make, but it lost support because he stuck the knives in before rolling it around in bullshit. After reading the interviewer's response, the heart of all the controversy seems to have been triggered by Adam's publicist not wanting the interview to sound 'too gay' and wanting to stay away from politics. There was no clarification of what exactly 'too gay' meant and we don't have the full context. Had Adam evaded talk about being gay in the interview, then Hicklin would have had a case. As it was, Adam gave a fascinating, enlightening and frank interview, talking openly about matters relating to his homosexuality. It's interesting, and perhaps deceptive, that the article in print is an edited version of the one online which I think has been spun to lend support to Hicklin's letter. From the results of the online interview though, there's scant justification for launching into a tirade about how Adam's management has been de-gaying his image. From all the evidence of his work so far, whether it's his song lyrics, his appearance or his album cover, this rant just makes Hicklin appear ill-informed. I can see why Hicklin took exception to the publicist wanting Out to tone down the gayness, but considering the results, it's a complete a non-issue. Laying into him for the Details article for not mentioning gay fans just seems petty and smacks of sour grapes. I mean, seriously, would only a public display of sodomy be enough for him? There are a multitude of reasons why Adam's management may have chosen to turn down the cover but Hicklin went for headline-grabbing homophobia. Coat-tails anyone?


While I think Hicklin has done his cause no favours through his bitchiness and inability to demonstrate his backing of an emerging gay artist, Adam on the other hand, I think has done plenty. He's played a part in challenging a number of gay stereotypes and has done much more for awareness — by living openly and unapologetically and in doing so, encouraging others to not be afraid — than by getting on any soap-box. The problem Adam faces is that, like it or not, and despite stating that he doesn't want to become the poster-boy for gay rights, he won't be able to completely escape the politics and the burden of responsibility thrust upon him. That could have been one of the many reasons for turning down an Out cover. The pressure of being put on a pedestal to represent the gay community must be immense and is not something a heterosexual counterpart is required to bear.

We should respect that Adam doesn't want to be a political figure and just wants to make music now. It's out of order to expect him to follow paths that we dictate or to feel disappointed when he doesn't. Entitlement is not sexy. It may be frustrating for those who want Adam to champion their causes because the set of qualities that create such buzz around him would put him in good stead for being a successful torch-bearer. He makes a great role-model and I can see why some would want him to front their campaigns. Looking at the curt reponse he tweeted, it was perfect: mildly sympathetic, assertive, sarcastic and with the right amount of venom for an appropriate bitchslap. Not only does he handle himself expertly in the media, but he comes across as thoughtful, articulate, intelligent, honest, bold, proud of his sexuality and a great orator. He possesses the exceptional ability to inspire, and right now he's choosing to do that through his music.