Artist: She & HimAlbum: Volume One
Oftentimes, when actors turn into musicians, the result is sub-par at best. It seems the only reason the albums are issued is because of the names they have already generated for themselves, not for the talent they deliver on their new musical ventures.
She & Him, on the other hand, has given me hope for this new breed. “She” is the actress Zooey Deschanel (Almost Famous, Elf) and “Him” is the already critically acclaimed M. Ward. It is no surprise that a new album featuring M. Ward is more than a valiant effort; what is surprising, however, is Deschanel’s ability and craftsmanship on her first offering.
The duet met while they were asked to work together for 2007’s The Go Getter, and then retired to Portland to work on original material. Nine of the dozen songs that make up the album are Deschanel’s own originals of heartache and attraction; it is here where the album shines its brightest. The album’s sound is reminiscent of a combination of early 60s folk and a hint of good 50s pop. It’s a sound that is familiar the first time and gets better with each listen.
The opening track of the album, “Sentimental Heart,” is the first showcase of Deschanel’s unparalleled voice, a perfect match for Ward’s awkward yet elegant strings. The next few songs equally match up to the quality of the first. “This Is Not A Test” and “Change is Hard” blend everything that is wonderful about the duo together, from Ward’s delightful strumming to Deschanel’s powerful and emotional voice. These songs feel as though you’ve heard them 100 times before on the first listen, and you could stand to hear them 100 times more.
Where the album strays from its brilliance is on its two covers, which feature both Deschanel’s and Ward’s vocals. Ward’s gritty, reverb-filled voice works well for him on his solo albums, but it takes away from the bigger picture on Volume One. Their renditions of Smokey Robinson’s “You Really Got a Hold On Me” and The Beatles’ “I Should Have Known Better” sound fine, but they don’t necessarily add anything special to the originals.
The album regains its focus on some of the later tracks, with “Black Hole” and “Sweet Darlin’,” which are back-to-basics grassroots pop songs — what Deschanel seems to do best.
Volume One is an excellent first try and a breakaway from the pack of other actors crossing the line to the music industry. This one might just be able to quit her day job.
