O.A.R. Albums (8)
What The Critics Say
With its slick mix of pop/rock anthems and radio-ready melodies, All Sides presents an important question: what happens to the quintessential college band after 12 years of touring and recording? Essentially, the college band grows up. It's been more than a decade since O.A.R. honed their undergraduate-friendly sound at Ohio State University, and the five bandmates are now pushing 30. Faced with the prospect of playing mellow frat rock for another ten years, O.A.R. took a different approach on All Sides, hiring producer Matt Wallace (the man behind Maroon 5's Songs About Jane) in an effort to crack the Billboard singles charts. Wallace cloaks Marc Roberge's vocals in reverb and adds thick layers of piano, strings, and guitars. Of course, nobody can fault O.A.R. for trying something new, but polished adult contemporary fare is probably not their forte. Thankfully, traces of the old O.A.R. show up during the album's second half. ~ Andrew Leahey, All Music Guide
'Live from Madison Square Garden'
Release Date 6/5/2007
Tracks 18
Label Lava
See Album Tracklist and Review
What The Critics Say
O.A.R. leapt to the majors in 2003 with In Between Now and Then, but the move didn't change their longstanding commitment to touring. The live show built their audience and crafted their sound; why would Atlantic's logo on their record change that? Ultimately, 2005's Stories of a Stranger doesn't change O.A.R.'s organic, homespun approach to pop, either. But it definitely refines it along the way, bringing the Maryland combo firmly into the adult alternative fold. Live, these songs will still have potential for jam band elasticity. But on Stories they're tightly wound, showing off Marc Roberge's dry vocal and urgent turns of melody. "Heard the World," "Daylight the Dog," and "Love and Memories" are full of guitar and yearning, like a less self-righteous Switchfoot or wordier Goo Goo Dolls. "Memories" in particular is a departure for O.A.R. -- co-written by Roberge with hired gun Glen Ballard, it amplifies every part of the band's sound, nearly guaranteeing a radio hit. There's quieter material here -- Jerry DePizzo's saxophone shines in the languid "Nasim Joon" -- and the band's knack for light and breezy island-flavored pop breathes in "Lay Down," "One Shot," "Program Director," and the irresistible "Wonderful Day." And yet it's the slick, gently insistent "The Stranger" (with backing vocals from Toby Lightman) that feels more representative of Stories of a Stranger. It's clear that Roberge is moving toward songs that will tell a story, make you smile, or make you think, but also have real appeal for casual listeners. There's nothing wrong with that -- O.A.R. proved their live mettle a long time ago, and they remain curious, crafty songwriters. Stories of a Stranger just presents everything that defines O.A.R. in a more concise package. ~ Johnny Loftus, All Music Guide
What The Critics Say
34th & 8th is O.A.R.'s second official live album. It's a two-disc affair like 2002's Any Time Now, but in a move befitting the band's jump to Lava/Atlantic, the tri-folding package includes a full-length DVD of the show and some snappy artwork. Recorded on the 28th and 29th of November during the '03 tour for In Between Now and Then, 34th favors the band's jammy side. To that end, oldies like "Black Rock" and "About Mr. Brown" dawdle past the six- and seven- minute mark, and disc one ends with a medley of "City on Down" and "Delicate Few." While fans of the more straightforward In Between Now and Then might balk at this approach, dilly-dallyers should know that what O.A.R. lack in brevity they make up for with boundless, addictive energy. Led by the relentlessly hopeful, invitingly grainy vocals of Marc Roberge and featuring the sax of Jerry DePizzo (not to mention a rhythm section capable of transforming reggae shuffle into plaintive pop in the slap of a bass string), O.A.R. spread the good-time vibes all over their jams. The result? Even for the wary or uncaring, this stuff is more inviting than a bus full of gypsy dress-wearing supermodels. "Let's bring this energy up a bunch," Roberge says at the beginning of 34th & 8th's second half, and launches promptly into In Between's urgent "Right on Time." That leads into a few more upbeat tracks ("King of the Thing" is a highlight) before the extended intro of "Toy Store" moves toward a meander again. As usual, fan fave "That Was a Crazy Game of Poker" ends the set. This time around it's over ten-minutes long, with solos galore and a dub-inflected breakdown with some heartfelt crowd participation. Those who know O.A.R. from their AAA blip "Hey Girl" probably won't understand this set. But there's a reason why the Hammerstein Ballroom was filled that Thanksgiving weekend, and it's got nothing to do with O.A.R.'s major label ROI. ~ Johnny Loftus, All Music Guide
'In Between Now and Then'
Release Date 5/27/2003
Tracks 15
Label Lava
See Album Tracklist and Review
What The Critics Say
Bursting with island grooves, passionate vocals, and tasteful instrumentation, In Between Now and Then is the musical equivalent of every friendly hippie you've ever met. It's accommodating and full of entertaining stories, and will get even the sourest of pusses on the dancefloor. Released just in time for summer break, the LP is such a rousing, good-timing affair, it might as well open the fridge and grab a beer for you. This is exactly the kind of musical hospitality O.A.R. has been providing since it first emerged on the college jam band scene in the late '90s. Building a reputation through energetic live gigs and a strong Internet file-sharing presence, the band finally opted for a jump to the big leagues, no doubt encouraged by the success of rootsy types like John Mayer. But unlike Mayer, who too often suggests a younger Dave Matthews, O.A.R. -- Marc Roberge (vocals/guitar), Jerry DePizzo (saxophone), Richard On (guitar), Chris Culos (drums), and Benj Gershman (bass) -- is more akin to the uplifting folk-pop of Guster or David Gray, albeit with a substantial debt to Bob Marley. Helmed by longtime O.A.R. collaborator John Alagía, In Between Now and Then wisely stays close to what the band does best, and doesn't worry about trying to impress new listeners with bells and whistles. Instead, it's sort of like an invitation for the rest of the world to join the party O.A.R. has been playing for its fans all these years. From the insistent reggae breeze of "Dareh Meyod" and irresistibly peppy "Risen" (sample lyric: "I never knew life could taste so good!") to the gentle jamming of ballad "James," In Between ambles through 13 tracks with the comfort and ease of a countryside bike ride. O.A.R. veterans will recognize first single "Hey Girl" as a holdover from the band's early days; it appears here in re-recorded form. Elsewhere, the band dabbles in free jamming ("Anyway," "Whose Chariot?"), but never does so in such an obtuse way as to alienate the casual backyard fan. In Between Now and Then is sure to have O.A.R.'s old fans -- of which there are many -- playing Frisbee with its soon-to-be-numerous new ones. ~ Johnny Loftus, All Music Guide
What The Critics Say
The passionate college rock of O.A.R. gets its first live showcase on Any Time Now, the two-CD album recorded in Washington, D.C., during the promotion of 2001's Risen. The band sounds great on the 17 tracks found here, playing their high-energy rock with a power that only young bands can really manage to muster. The only problem with the album is that it is truly for dedicated fans, as the lengthy songs tend to blur together and the live approach simply does not complement some of these tracks. Without their strong energy level, this album would be pretty dull, but they manage to squeeze as much out of the songs as they can. O.A.R. continues to develop, but at this point in their career there isn't much of a need for a live album. They have the power, but they still don't quite have the variety of songs to make a big project like this work. Still, fans should eat this right up as everything is done to the hilt, from the extended versions of the tracks to the visceral performance style of the band. But those unfamiliar with the music should be warned that this is definitely not the album to start a collection with. ~ Bradley Torreano, All Music Guide
What The Critics Say
O.A.R.'s second release, Souls Aflame, picks up where their debut album, The Wanderer, left off with one major difference, the addition of Jerry DePizzo's saxophone. Songs like "City on Down," "Night Shift," and "Hey Girl" continue the O.A.R. tradition of upbeat good-time party music with DePizzo's sax adding depth and diversity, allowing the band to further develop its sound. There is also evidence that the band is evolving -- "When Can I Go Home," "So Moved On," and "I Feel Home" depict a lyrical and musical progression that is more introspective and heartfelt than any track on the first album. These contradictory styles give the upbeat songs more punch and the slower tracks an even greater emotional charge. O.A.R. have successfully avoided the sophomore jinx by illustrating the ability to progress as a band rather than merely repackage their debut effort. ~ Erik Crawford, All Music Guide
What The Critics Say
O.A.R.'s debut album The Wanderer has three songs clocking in at over seven minutes, but you never gets the sense that you're listening to extended jams because the storytelling lyrics and musical changes create a feeling of several short songs within a single track. This good-time party band brings together a mix of reggae, folk, and ska to create a fresh sound that resonates long after the album is over. The second track, "That Was a Crazy Game of Poker" exemplifies all that is infectious about O.A.R.'s sound and is an instant classic that will surely become a staple of their live shows. Lyrically, the album often provides insight into the college experience. Road trips, hangovers, and poker games are just a few of the subjects covered on the album. O.A.R. is college-underground-alternative rock at its best. The looseness of the arrangements is evidence that there are merits to creating an album that is not overly produced. ~ Erik Crawford, All Music Guide
