O.A.R. (of a revolution) recently released their fifth studio album, Stories of a Stranger. I’ve included my thoughts below, as much for my sake as for the sake of anyone interested.
From the first words of the album’s first track, Heard the World, there is a marked departure from O.A.R’s previous studio releases. Most notably, Marc Roberge’s voice is strangely void of his characteristic, raspy intimacy which instantly enraptures the listener, and seems to add something of depth or humanity or passion to even the most mundane of lyrics. (In a random survey, one out of one music connoisseurs identified the lead singer of Stories of a Stranger as being a different singer than the lead singer of 34th & 8th.) I don’t know how to account for this sudden change in Roberge’s tonal quality, but it spans the entire album. Although at times hinting to that distinct vocal character so obvious on 34th & 8th, on balance Roberge’s lead vocals are smoother and more polished, –seemingly abandoning one of O.A.R’s greatest assets. And I did say lead vocals: Stories of a Stranger introduces female backup vocals to the mix, which does nothing to detract from the overall sound, but at the same time fails to add any appeal.
The vocals, however, are where the album’s consistencies end. Heard the World opens the album with O.A.R’s typical genre spanning style, also present in the third track, Wonderful Day (previously released in live format on 34th & 8th) and the album’s final, reggae sounding 52-50. The tracks in between, however, are as diverse as O.A.R. has ever produced. Not unlike Dispatch’s Four Day Trials album, Stories of a Stranger seems to explore a number of distinctly different musical genres. The album’s title track, The Stranger, strikes the listener as sounding overtly like a pop song. Lay Down and One Shot belong to yesteryear’s Ska genre. Program Director reflects a strong reggae influence, in both its Caribbean beat and its rhythmic lyrics, “program director / on the radio / won’t play my record / ’till a caller tell him so.” Perhaps the most surprising track on the album, Nasin Joon invokes a distinctive blues style, fitting for a laid-back coffee house, but not O.A.R’s familiar frat-house scene. The album’s ninth track, Daylight the Dog, calls to mind classic American rock’s distinctive electric guitar and vocals; O.A.R. is “ready to roll,” employing the verbiage of a decade long past. Finally, with Dakota, O.A.R. affects a style reminiscent of Sean Mullins’: quiet, intimate lyrics interplaying with the simple acoustic accompaniment.
In terms of lyrical content, I find Stories of a Stranger to be lacking, but perhaps appropriately so. The songs that are most similar to O.A.R’s typical style are also the songs that conform most closely to O.A.R’s previous themes of home, steady friendship and strength of character. For the other tracks, however, O.A.R. seems to have adopted the typical motifs of each successive genre they explored through the album, with all the convincing of an outsider attempting to imitate a natural grown style– O.A.R’s Nasim Joon is to Barry Manilow as a Mannerist print to that of a Renaissance master. Not that I’m opposed to this: even Picasso made his own renditions of the greats who came before him, but these themed paintings certainly aren’t remembered as being among his best. With this exploration of genres, I’m not surprised that the lyrics are less than compelling.
My initial reaction to the album was, honestly, abhorrence– finding it a rejection of the themes and styles that I’ve come to love and appreciate O.A.R. for. In fact, Roberge’s vocals and lyrics were, at times, were so markedly different that I found myself wondering if Roberge had been replaced by a lesser musician. After a second and a third listen, however, I’ve found the album to grow on me, although I doubt that even a thousand listens will place this album among my favorites. I’m hopeful, however, for future releases. Now eight years old, it seems that O.A.R. is exploring and questioning their style and direction as a band. Just as Four Day Trials preceded Bang Bang, I’m expecting a more confident and well defined O.A.R. with the band’s next release.
First and foremost the reason Roberge sounds nothign like Roberge is because he is well produced. I love his raspiness. We all do. At the OAR concert I had the oppurtunity to attend, however, his voice wasn’t nearly as polished as Stranger but definately had a cleaner feeling than any of the recorded albums I’d heard up to that point… My point of view, was nonetheless tainted by the fact that he was in fact a pretty boy lead singer whose physical appearance would fit much better in a boy band setting rather than lead singer of a band I listen to. Nevertheless, looks and loud blaring music aside, Roberge’s more polished feel at the time had a great feel, despite being different.
Production aside, lets face it. Bands are bands. They are composed of a few individuals, and these days its so easy to get any random group of musicians together and make a good song, sometimes even an album!
Even solid bands have this phase, where they feel like they’re stuck in a genre and need to break out, or even worse that we as listeners have assigned a band to a certain genre. OAR is too young (8 years is a while but its been 8 years of the SAME music)of a band for us to fairly judge whatever direction they want to go.
I’ll be the first to admit it. OAR’s lyrics (despite fortunately previously not being about love) have never been great. Most of they time, in fact I wouldn’t even classify them as good. “on the black rock, thats where i spend my time. Writing my lyrics and writing my rhymes…” come on… it sounds like a rhyme my brother came up with. It uses the age old rhyme of RHYME and TIME! Nevertheless, it is hands down my FAVORITE OAR song. Why? Because the kids can play. Let them see what they can do… Like you said… Four Day Trials experimentation let Bang Bang happen. Lets see what OAR can pull of next.
Hopefully something like what Coldplay is going to need after X&Y. Maybe they can all meet up with David Gray when he get his beat box machine back from Chris Martin.
For the record, track 2, Love and Memories, sounds an AWEFUL lot like Collective Soul. Compare it to Collective Soul’s General Attitude and you’ll see what I mean. If, in fact, OAR was trying for a Collective Soul-esque sound, then the theme of “love and memories” makes sense– the track wouldn’t be at all out of place on a Collective Soul album.
In so far as the lyrics are concerned, I’ll be the first to admit that generally OAR’s rhymes are a little trite. Roberge is no Wordsworth. But by the same token, I’ve often been able to identify and place myself into OAR’s music, which is part of the reason that I love them so. Songs like 3 AM, Black Rock, Conquering Fools and I Feel Home (these and many more) have always managed to resonate with a certain truth, in my opinion.