Matt Nathanson Albums (8)
What The Critics Say
Singer/songwriter Matt Nathanson has been playing the college circuit for quite a few years now, impressing coeds with his energetic live show (which often includes a collection of well-known covers) and heartfelt guitar playing. So those already enamored of Nathanson should have no reason for complaint on his second major-label release -- and sixth overall -- Some Mad Hope. The same themes he's dealt with on his previous albums -- regret and desire, roughly -- are here, the same sentimental lyrics and sweet descriptions of past loves, presented in major keys and with clean production. It's typical stuff but it's done well, mixed so Nathanson's emotive voice comes through clearly. But for these same reasons, those unfamiliar with the musician's repertoire may be unimpressed by his overall ordinariness. His melodies, his lyrics, and his arrangements are hard to distinguish from all the Howie Days, Jason Mrazs, Mat Kearneys, and Ari Hests out there. While Nathanson occasionally has a good line or two ("September took the tourists and settled in for good/We could hear the trains again/Brooklyn girls in scarves"), his lyrics neglect subtlety and nuance completely, opting instead for the obvious and straightforward. Not that everything needs to be shadowed in gray and distant allusions, but yet another "Come on and drive me wild" or "I want to be somebody else" is boring and unoriginal and gets lost in the immense pile of clichés, limiting the album's reasons to be listened to. There are a few bits that stand out (the stripped-down "Bulletproof Weeks," the interesting emotional semi-detachment of "Gone"), but most of Some Mad Hope is inoffensive and unremarkable -- certainly not bad, but only good enough to satisfy longtime fans and not win any new ones. ~ Marisa Brown, All Music Guide
'Beneath These Fireworks'
Release Date 10/14/2003
Tracks 12
Label Universal
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What The Critics Say
San Francisco's Matt Nathanson has released five independent albums and an EP in the past ten years, and through steady touring and a dynamic stage presence, has built up a loyal fan base. Beneath These Fireworks, produced by Ron Aniello, is Nathanson's major label debut, and he doesn't waste the opportunity, cherry picking a trio of songs from his earlier releases ("Bare," "Bent," "Lucky Boy") to re-record, and with some radio-ready new material, the result is an impressively cohesive pop album. Nathanson's songs are full of the fractured hearts and broken confessions of unhealthy relationships, and while his lyrics stray at times into an ornate despondency, the sheer pop smarts and giant hooks in the arrangements more than compensate. The brief opening track, "Angel," sets the tone here, with Nathanson's smoky tenor conveying a kind of knowingly pleading intimacy, the sort of thing Paul Simon does so well in his songs about relationships gone slightly askew. At other times, the cynical pop energy at work here is reminiscent of Marshall Crenshaw, with bright arrangements masking deeper concerns. The gorgeous "Pretty the World" is the real gem on this release, and its desperately infectious chorus ("show me how pretty the world is") deserves to be all over the airwaves. ~ Steve Leggett, All Music Guide
'Still Waiting for Spring'
Release Date 1/1/2000
Tracks 10
Label Acrobat
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What The Critics Say
Matt Nathanson's latest release Still Waiting for Spring masterfully mixes youthful pop exuberance with singer/songwriter maturity. While Nathanson provides the acoustic styling on the album via his trademark 12-string guitar, a majority of the electric guitar, mandolin, and pedal steel came courtesy of David Immerglück of the Counting Crows. This collaboration proves fruitful, spawning the instantly likeable "Wings," the playful but driven "Lucky Boy," and the pop anthem "Answering Machine." Nathanson often hides his despondent lyrics regarding the heartache of unhealthy relationships behind the upbeat nature of his music. However, he does open up and unveil his soulful side with "Everything You Say Sounds Like Gospel," and delivers a striking duet with Ellen Turner on the standout ballad "Loud." He closes the record with "Little Victories," an acoustic ditty accentuated by the cello playing of Matt Fish, that lets us know that it's the little things in life that matter. Still Waiting for Spring compiles a palatable collection of songs that plays well against any backdrop, and is a must for anyone who delights in the music of Howie Day, O.A.R., or Jason Mraz. ~ Erik Crawford, All Music Guide
'Not Colored Too Perfect'
Release Date 1/1/1998
Tracks 10
Label Acrobat
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