Ingrid Michaelson Albums (4)
What The Critics Say
For nearly three years, Ingrid Michaelson toured in support of Girls and Boys, a popular release whose songs popped up everywhere from Old Navy commercials to prime-time TV sitcoms. Michaelson was similarly omnipresent, opening for the likes of Jason Mraz in Europe while headlining her own shows at home. It's appropriate, then, that 2009's Everybody -- her first album as a genuine star -- amplifies all the elements that made Girls and Boys endearing. Michaelson is no longer a part-time waitress with a songwriting habit; she's a seasoned road veteran, acutely aware of what it takes to invest her audience, and Everybody often plays like a greatest-hits album. The lovelorn ballads -- which comprised the bulk of Girls and Boys -- occupy less space here, and the ones that do make the final cut are smartly laced with strings and layered guitar. There's a sweeping feeling to such songs, a sense of grandeur that was lost in the intimate, minimalist performances of Michaelson's debut. Perennial live favorite "The Chain" also makes an appearance, having previously dotted the track list of Ingrid's stopgap release Be OK, and its climatic refrain points to the singer's ability to turn a slow ballad into something grand. Even so, Everybody's strongest assets are its upbeat pop numbers. Michaelson has graduated from the coffeehouse to the concert hall, after all, and tracks like "Soldier" -- with its deliberate phrasing and neo-military percussion -- aim for the cheap seats at the back of a venue, a place that Girls and Boys only occasionally reached. "Everybody," a campfire singalong fueled by strummed ukulele, could be the female answer to Jason Mraz's "I'm Yours," while "Mountain and the Sea" is nothing short of irresistible, its handclapped rhythm and buoyant chorus combining to create Michaelson's strongest tune to date. The only potential concern here is the absence of Allie Moss, Michaelson's ubiquitous touring partner and indispensable harmony vocalist, but Everybody rarely stumbles as a result, with Ingrid double-tracking her own harmonies (as she's always done on record) instead. Rarely does an independent album sound so assured, so polished, and so agreeable. ~ Andrew Leahey, All Music Guide
What The Critics Say
As the Hotel Café became a nationally recognized launching pad for songwriters in 2008, Ingrid Michaelson stood out amongst the venue's native artists, having already established her credibility through licensing deals and MySpace playbacks. Her second independent release, Girls and Boys, made waves one year prior when it toppled the iTunes charts, eventually selling over 740,000 digital copies of its lead single thanks to promotional help from Old Navy commercials and Grey's Anatomy episodes. Arriving in 2008, Be OK furthers her Norah Jones-gone-pop approach with 11 tracks. This isn't a proper studio effort -- rather, it's a benefit project (with proceeds going to cancer research) that takes its material from live performances, rarities, and several new tracks. Filled with handclaps and breezy guitar chords, "Be OK" is the album's flagship song as it bookends the set list with two different versions -- one filled with harmonies, keyboards, and percussion, and the other sticking close to the acoustic formula. Michaelson's voice is strong enough to carry such tracks alone, but her melodies sound strongest when flanked by buoyant harmonies, whether they're provided by the singer's own double-tracked voice or contributions from her touring bandmates. "The Chain," a longtime live favorite and perhaps the best song on this disc, even careens into an emotional three-person round, utilizing the harmony approach better than any Michaelson track since "The Way I Am." She leads the pack, advising her estranged lover to "glide away on soapy heels" while her melodies are echoed by Bess Rogers and Allie Moss. It's a simple song, but its passion and presentation make all the difference -- a telltale sign of a songwriter who knows how to breathe new life into a veteran genre. ~ Andrew Leahey, All Music Guide
What The Critics Say
Before her endearing single "The Way I Am" became the soundtrack for Old Navy commercials, Ingrid Michaelson was another anonymous, witty musician singing tales of love and loss to an audience that didn't yet exist. She funneled that uncalculated energy into Girls and Boys, her debut offering of clever, twisting piano pop. Released independently on the singer's own label, Girls and Boys is a rare treat -- an album created without the constraints of a label or the demands of modern radio, yet wholly able to woo both. Michaelson clearly favors well-crafted pop melodies, but she ornaments these hooks with fractured instrumentation, shifting between time signatures during the chorus of "Masochist" and allowing guitars to drop out mid-song in "Die Alone." When she saunters into full-fledged coffeehouse mode with "The Way I Am," she subverts the song's Norah Jones-styled progression by adding handclaps, echoing harmonies, and quirky lyrics. "I'd buy you Rogaine when you start losing all your hair," Michaelson croons with a hint of vibrato, making the sentiment sweet instead of condemning. Brainy turns of phrase pepper the rest of the album ("Glass" describes a make-out session in sexy detail, with Michaelson recalling how she "rolled around on kitchen floors [and] tied my tongue in pretty bows with yours"), and Girls and Boys ultimately remains true to its title, examining the relationships between both titular characters without delving into too many grown-up issues. Perhaps Michaelson will compose a thematic sequel entitled Women and Men in the future, but these well-voiced love songs leave little room for complaint. ~ Andrew Leahey, All Music Guide
'Slow the Rain'
Release Date 1/10/2005
Tracks 9
Label Ingrid Michaelson
See Album Tracklist and Review
