Adam Green Albums (6)
What The Critics Say
Adam Green, the Moldy Peach who's made a name for himself on the fringes of the singer/songwriter community with his playful, sometimes crude, sometimes sweet, lyrics, returns to Rough Trade for his fifth solo release, Sixes & Sevens. With 20 tracks, the album gives more than enough glimpses at Green's wide-ranging stylings and influences ('50s pop, country, folk, blues-rock, pop, even hip-hop), but it is this very range that is also detrimental. Green can certainly write a decent pop song, but his tendency to jump from one musical theme to another is more distracting and bothersome than anything else. Instead of showing off his ability, Sixes & Sevens is a disjointed conglomeration of different ramblings that can't quite coalesce around any sort of idea. This is only accentuated by the fact that Green's songs themselves generally don't say much of anything, more focused on complex internal rhyme than meaning. The tracks, albeit short (only a couple are over three minutes) seem to drag on indefinitely, and though the album clocks in at just under 50 minutes, it feels as if much more time has passed when the final chords of "Rich Kids," an all-in-all decent song, are played. Green has so many voices, it's hard to know which one is his own. Is it the Tom Jones-esque one on the Hanson Brothers-helped "Twee Twee Dee"? The Stephen Malkmus on "Be My Man"? The Paul Simon on "You Get So Lucky"? Perhaps it's in the middle, where the singer launches into a medley that recalls his folkier days and manages to come across as both sentimental and quirky (take the touchingly open "Homelife," for example)? Sixes & Sevens is too much, too disparate, too nonsensical, to bring together its parts, so even though strong individual moments exist -- "Getting Led," the aforementioned "Homelife" -- as a whole it never quite sounds completed. ~ Marisa Brown, All Music Guide
'Jacket Full of Danger'
Release Date 3/10/2006
Tracks 15
Label Rough Trad
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What The Critics Say
In his later years, legendary lyricist Sammy Cahn took to the stage to perform myriad of his songs solo, interspersing them with a running commentary that kept audiences enthralled, all captured for posterity on his An Evening with Sammy Cahn album. Adam Green's Jacket Full of Danger album casts a similar spell, even without a spoken commentary. The singer/songwriter may indeed be a Cahn for a new age; he has similar gifts for lyrical construction and turns of phrase. However, Green also graduated with honors from the story-telling school of songwriting, listing Hank Williams, Roy Orbison, and Chet Baker as inspirations. You can hear traces of them all in his vocal delivery, with a touch of Elvis Presley to boot. Musically, however, Green's far more eclectic than that roster implies, and his range of influences is quite extraordinary. The melody from Lou Reed's "Street Life" pumps through "Nat King Cole," a Chuck Berry riff barrels through "Hollywood Bowl," the drone of the Velvet Underground's "Venus in Furs" fires up "C-Birds," the Gershwins infuse "Drugs," while Motown soars with "Vultures." And it's Motown-styled orchestral strings that sweep through much of the set, to turn many of the song's arrangements inside out. In contrast, the lyrics reflect Green's jaded, cynical world view, along with a sometimes tart take on women, and a mouth that at one point is so foul it would make Lenny Bruce (or Ol' Dirty Bastard for that matter) blush. In any event, the songs instantly get under your skin, both musically and lyrically, and all told, Jacket is an exceedingly clever set, but one that doesn't call attention to just how smart it is. Definitely not your typical singer/songwriter, Adam Green is so much more than that, and this album has a classic, timeless feel to it, brilliantly drawing from divergent musical traditions (much like the Gershwins in that respect), twisting from them an unique but incredibly familiar sound. Green's past albums have all been enjoyable affairs. This one, however, is a masterpiece. ~ Jo-Ann Greene, All Music Guide
What The Critics Say
Musically, Adam Green is a strict classicist, a pop craftsman par excellence. He seems to be a very keen and very gifted student of pop music's vast and intricate rule book. Thus his music is not especially original in any way, though often sophisticated, tuneful, and clever. On Gemstones, the third and best of his solo albums, Green seems to have perfected his art. Some of the tracks here rank among the finest pop songs that are made these days. These tunes all have something in common: almost every one of them lasts for about two minutes, stripping away every possibly unnecessary part. They are also all pretty much arranged the same way: just acoustic guitar, bass, electric piano, and some tastefully arranged strings here and there. Green and his excellent backing band makes the most of that simple lineup on every track. Then, of course, there are the lyrics. Green sings the darndest things. Who else could write a great stomping cabaret-pop number with all clean and fun lyrics except for that one crucial line (and song title!) "Choke on a Cock"? This penchant of his for extremely obscene and downright childish lyrics can surely turn people off, but it seems to be an integral part of his artist persona. You do remember the Moldy Peaches, don't you? The contrast between his lyrical style and his voice sure is puzzling at times. How can this deep, warm, resonant, and utterly believable voice sing such poppycock? All that aside, just listen to the songs and be charmed. There's the wonderfully melancholic ballads such as "Losing on a Tuesday" and "Before My Bedtime," where he sounds like a dead ringer for Scott Walker. There's the catchy and fun, almost '50s-styled rock & roll such as single "Emily," while "Carolina" is another slice of wonderful cabaret pop, and on "Over the Sunrise" he suddenly goes all Jim Morrison on you. In other words, there's something for everyone here. In fact, all 15 tracks have strong musical qualities. An unusually strong, well-produced album of classic songwriting. ~ Anders Kaasen, All Music Guide
What The Critics Say
Adam Green is a funny one. He sings about Jessica Simpson and thinks it's hard to be a girl, but he's starstruck by your mom. Green's a charmer, that's for sure, and his second album of poetically quirky songs is amusing in that Tenacious D meets Ben Folds for brunch kind of way. Friends of Mine rides the waves of Jane Scarpantoni's string arrangements, and such a feature allows Green's smart-mouthed lyrics to be a little less jarring, but candid all the same. This is also Green's first album recorded entirely in a studio, and the warmth surrounding Friends of Mine makes that obvious. There's a little tender care sewn throughout, for Green loves his friends and singing for them, too. So if you don't find the love in "The Prince's Bed" and "Frozen in Time," you're a cold sucker. "We're Not Supposed to Be Lovers" reminds you of that childhood crush who didn't like you back and the fantasy of how you'd seek revenge. Green may be a bit dejected, but Friends of Mine is silently laughing. He lets it all come out on the bass-driven rockabilly romp "Salty Candy." Just when you think Green's one of those lovesucker saps who can't see beyond his broken heart, the kid mocks you and mocks you again. Friends of Mine is clever and the child lurking inside will deck the astute adult self taking over, so watch out. ~ MacKenzie Wilson, All Music Guide
'Garfield'
Release Date 1/1/2002
Tracks 14
Label Sanctuary/Rough Trade
See Album Tracklist and Review
What The Critics Say
Quirky songmaster Adam Green took a break from Moldy Peaches in fall 2002 to release his debut solo album, Garfield. Slightly sticking to his anti-folk formula, Green offers an ironic musical twist on Garfield, and it's surprisingly charming. While songs like the ragtime gem "My Shadow Tags on Behind" and the banjo romp "Her Father and Her" are poetically frank, Green is keenly aware of what socially surrounds him. He's barely in his twenties but comes off with a shrewdness similar to Lou Barlow and Green's favorite, Tim Hardin. "Dance With Me" is Garfield's brightest pop moment. Layered percussion twirls around Green's low vocal brooding and a hushing woodwinds section. Green sweetly describes a moment with a crush he once admired from afar and he's weirdly romantic in doing so. Garfield is Green's musical storybook of the bruised; Lou Reed/Iggy Pop-esque vocals and spiky riffs highlight love's defeat on "Baby's Gonna Die Tonight," but don't forget that Green is a lovesucker. He's also a humorist of sorts -- pay attention to "Mozzarella Swastikas." Garfield is an impressive departure from Green's Moldy Peaches persona. He doesn't even use the word "turd" in any of his songs. [Original versions of "Dance With Me," "Bleeding Heart," and "Computer Show" can also be found on Green's self-titled EP.] ~ MacKenzie Wilson, All Music Guide
