Friday, September 10, 2010

Sara Bareilles - Kaleidoscope Heart


I have angels that hand me music before I know that I need to hear it.
A few nights ago, Betsy (one of my generous music angels) popped the new Sara Bareilles record in my CD player. She gave me her standard adorable disclaimer, "You might hate it...".
From first note, I knew I wasn't going to "hate" it... and by the first full run... I was sure I liked it. Turns out, I'm absolutely in love with it.

A bit on Sara for the less familiar - she's a northern California native who has been active as singer-songwriter since early 2000's. Her launch into mainstream notability came from her 2007 album "Little Voice" - sprung from the single "Love Song".
Quick to judge as I am, I had my initial apprehensions about her (Me? Apprehensive?! Big shocker!). Not her voice or musicianship, not the production - just the emotional depth (or lack thereof) from first listen. "Love Song" made my head nod, but only skimmed my surface.
Sometimes all I need is a simple pop to be satisfied, but the first time I hear a pretty voice and a catchy song on the radio, I can't help but wonder if there's more to the picture. I've felt that way frequently and have been disappointed on several occasions by one-trick ponies or made-up pop stars. Other times that I've invested further in an artist than just that song or initial listen - and I've been impressed by the depth and range. This latter type of realization happened for me with Ingrid Michaelson, and certainly Sara B ("Little Voice" is a moving, well-rounded and respectable record).

Sara is a stealth bomber of a songwriter. She grabs listeners with more basic intellectual or auditory desires with her pop sensibility - but she delivers an incredible blow of musical and inflective sophistication to those who seek further gratification. I love pop by itself. I love when pop has more going on underneath it. Go Sara!

Okay, now I'm ready to reflect on her latest, "Kaleidoscope Heart":
Sara covers a range of subjects and styles under one roof on this record, and she does so seamlessly. She is boisterous and vintage with several tracks - they have a major-key doo-wop feel. What I like is that she deepens them with darker lyrics and subjects when she takes this upbeat approach; it's a fantastic contrast. She has several homey ballads with sweet laments and nostalgia-inducing dynamics. Throughout - Sara places foundational songs that demonstrate her trademark style - stompy, confident and soulful ear candy.

The music is dead-on... it moves the songs along with certainty, it is dynamically appropriate, and blends the unusual and modern (synth sounds, drum programming), with well-executed classic tones and instrumentation.
She always has a solid chorus to seal her deals. A major bonus - the woman has several bridges that compelled me unexpectedly - transforming a standard song structure into a delightful gut punch. I love to be surprised and knocked off my high horse of prediction and judgement.
Sara is fearless with vocal inflection and range, exemplary with harmony and background vocal placement. She is generally safe with lyrical content. Occasionally, she'll place an ironic or abstract line in her songs, but she is always comprehendible and relatable. Had I something to say about how I'd get more out of this record, it would be that she's so sensible with her songwriting, she could get away with being a bit more edgy lyrically. Sometimes she pulls a predictable word or line that borders on seeming lazy to me. Don't get me wrong, however - this is a woman who knows herself well, and knows better than most about how to create badass music.

Personally, I have often cringed when people compare me to other women musicians, because it sometimes feels as though the comparison is only founded on the fact that they are also women. Now here I am, about to say something that could easily be construed as the same generalization:

I hear a lot of well-known women artists shining through as influences on this record. Perhaps not influences to her in particular, but definitely hitting my ear as musical relatives. The first one that stood out to me was Ingrid Michaelson. They have very similar vocal and melodic stylings. (I also heard that the two are friends... which makes sense, at least in my musical mind).
I also hear Joni Mitchell on a few rootsy points. Fiona Apple and Alicia Keys come out in her soulful and sassy piano-prominence. Sarah McLachlan when she is vocally soaring and cutting through with meaning.
There I said it. She sounds like a lot of other women artists.... but now... my justification on why there's more to my insight than just generalization:
Sara B sounds like the best qualities of several other successful women artists, while her originality remains intact. Her recollection of other artists doesn't cheapen her sound or those artists - it honors them, and it makes her all the more brilliant. A musical Wonder Woman hybrid.

The record is impressively delectable all the way through. The first and last songs send me on my way in and out... and everything in between is meaningful; though I certainly have my favorites:
"Hold My Heart", "King of Anything", "Let the Rain" and "Breathe Again".
I'd give "Kaleidoscope Heart" 9.5 out 10 (lacking .5 because of those tiny lyrical weaknesses). She would have me sold all the way live, I know it. Acquire this record. And hug your local neighborhood Betsy Adams. (If you don't have one, find a photo of her online and kiss the screen. No one will think you're a creepshow, I promise).