★ ★ ★ ★ 1/2 out of 5
It's been quite a hectic yet fulfilling last three years for GRAMMY-nominated American Idol runner-up Adam Lambert.
After becoming the first openly gay male artist to send an album to the top of the Billboard charts with 2012s Trespassing, the glam rocker found himself securing a guest role of hit TV show Glee, parting ways with his former record label, signing a new with Warner Bros. Record, working closely with hit-making producers Max Martin and Shellback, and fronting legendary rock band Queen on a successful worldwide tour.
The ups and downs experienced during his post-Idol career have led up to the anticipated release of Lambert's third studio album, The Original High, a darker and less bubblegum pop experiment when compared to his previous funk and campy efforts. Preceded by lead single "Ghost Town", the new project finds the talented artist travelling down music roads less traveled, with house, funk and R&B inspirations woven throughout the eclectic yet cohesive offering.
With the album opening with lead single "Ghost Town", listeners are instantly swept into an insane production mix of acoustic guitar and 90s dance/house beats while an infectious whistling breakdown captivates those who come across it. Produced by Max Martin, the track serves up some deliciously haunting vocal effects on Lambert's chilling delivery as he sings of heartache and the unsatisfying current state of Hollywood and the music business.
Title tracks are typically just filler. However, "The Original High" is anything but, in fact, it screams for proper single treatment. With a dance beat similar to, and as effective as, its predecessor, the title track effortlessly highlights the artist's beautiful falsetto as he searches for a love as strong as the one he's left behind. "Remember back in Hollywood, the medication flowing through my veins was you," Lambert belts on one of the many album highlights.
"Another Lonely Night" is a slightly tamed number that teeters on the border of traditional ballad and finger-snapping uptempo summery pop tune. Lambert looks back on a presumably lost love as he admits to doing anything to get them back by his side. The heartfelt track highlights the artist's somber emotions as an interesting mix of influences compose the backdrop for the upbeat, but unfortunately heartbreaking, chorus.
The surprisingly R&B-leaning "Underground" is a heartfelt, piano-driven ballad describing an unhealthy relationship Lambert currently finds himself entangled in. The sultry supportive beat is the perfect background for the glam rocker's smooth, emotional vocal performance as he puts his all into every line. As another candidate for a future, radio-friendly single, the midtempo ballad is a strong, unique release from Lambert.
Lambert has released brilliant, emotional ballads in the past ("Whataya Want From Me", "Underneath"), but the new, heartbreaking "There I Said It" takes top prize. The artist's fragile vocal performance takes on a whole new life and is at the forefront of the bitter, show-stopping breakup track. "So there I said it, and I won't apologize to you anymore, cuz I'm a grown ass man, and I won't live again," he boldly sings on the chorus.
One of the most anticipated collaborations of the year teams Lambert up with Swedish pop darling Tove Lo. "Rumors" is not what people may have initially expected, but the ballad/club track hybrid proves the two talented artists do indeed have some impressive vocal chemistry. The two can't seem to understand why they fuel the fire from the haters, instead of ignoring the gossip when it comes to their relationship. Good song, but more was desired.
The infectious, genre-hopping "Evil In The Night" finds Lambert tempted by the risky sexual seductions of his lover. With roots in the rock, electronic and dance genres, the artist, and his talented producers, effortlessly create a ballad-like stomper that wouldn't sound out of place on the dance floor or in the S&M dungeon hidden in your very own basement. Songwriting may get repetitive, but the focus on Lambert's exquisite vocals makes up for it.
Who can get a member of QUEEN to be featured on an album track? Adam Lambert can. Guitarist Brian May puts his seductive rock spin on "Lucy", a cautionary tale of a woman searching for something good, only to run into trouble. The artist's vocals are perfectly tailored for the rock-leaning, stadium worthy mid tempo number that excels due to its precise wailing, narrative lyricism and May shredding guitar on the breakdown.
Lambert has never delivered color-by-numbers pop music, however, "Things I Didn't Say" can be categorized as so. That's not necessarily a bad thing. The radio-friendly look back at deteriorating relationships could be the universal pop song that the artist needs to keep his commercial career moving forward. "So let the record show, I never let you go, can we get back on track?," he questions on the sentimental love song.
The 90s house vibe of the album's lead single is even more dominate on The Burning Man-inspired "The Light". Lambert uses many mystical, nature references of being the fire to someone's rain as a remix-ready production hypnotizes the listener, transporting them to the nearest dancefloor. At times reminiscent of a Madonna creation, the track takes the artist to new heights and musical territories not yet ventured. Lambert continues to surprise.
The standard edition of the album closes out with "Heavy Fire", a slower yet bold showcase for Lambert's ever-evolving vocal performance. From his lowest registers to his trademark belting, the artist highlights it all as he sings of playing the always confusing love game. "I don't wanna melt down in the heat, like I got the devil at my feet, just like a funeral pyre, taking on heavy fire," he sings on the hard-hitting, 80s-sounding ballad.
Opted for the deluxe edition? Three additional tracks reignite fans frustration with Lambert for tagging phenomenal tracks on a separate version of his albums. Remember "Runnin'"? Or "Voodoo"? The slow and steady "After Hours" is an intoxicating, sultry number that comes off effortless as fans get to hear Lambert is a different setting. "Shame" takes the artist down a more straightforward 80s retro-pop road that would make for a great, successful summer radio single. Vocals on point as always. On "These Boys", Lambert shows us he hasn't lost his love for camp and flare. The funky, guitar-driven track has a Scissor Sisters essence that demands to remain on repeat.
The Original High was a long time coming. The wait definitely paid off. Uncertainty arose after departing from his previous record label, but Adam Lambert stuck to his guns and put his all into a cohesive album that continues to show the many layers of the artist's persona and creative abilities. Max Martin and Shellback could have forced Lambert into a generic pop box, but luckily the three work together to create a solid effort that highlights the chameleon-like vocal styling of the American Idol runner up and intriguing production set ups that keep listeners on their toes throughout. While the album may not be as thrilling or exciting as his previous efforts, the new release allows fans to take a peak into the artist's darker, not always theatrical, personal life. The heartbreak, uncertainty and frustration on his pursuit of happiness definitely make for some heavy, powerful new music.
Tracks to Hear: "The Original High", "Underground", "There I Said It", "Lucy" and all three bonus cuts!
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