Upon first listen, I was impressed by Falling Stars. The pop, rock, and alternative songs that precede it surround his voice with instrumentation and don’t allow him to evoke that intimacy we know David is unmatched in conveying. For the first time on The Other Side of Down, we hear that unique, pure timbre in his voice, simultaneously sharp and round, as he sings the first verse.

Although David’s strength is with the ballad and evoking pathos, this was not a standout for me on the album. On an album that has as one of its strengths that it reflects David thoughts through its lyrics, this song does not succeed in that regard, largely and most obviously because it is one of the two songs (the other being Complain) that was not co-penned by David.

I view this song in much the same way I viewed You Can from David’s freshman effort: while very pretty, it is about an experience of romantic love that David has not yet had. To the subjective mind of this author, this is more “a song for David to sing,” than it is “David’s song.” Certain lyrics (“You are so beautiful”) strike me as overly conventional, and a bit lacking of the witty, sideways manner we know David is capable of. (And when he chooses to be conventional, as in Things Are Gonna Get Better, he jumps in unapologetically with both feet.)

Serving as contrast, Good Place (one of my very favorites songs off the album, and one which David co-wrote), also touches on the same theme of losing the joy of the moment. But that song can be as much about family, his career, or any pleasant emotion as it can be about romantic love—and, though David goes a bit darker (even downright fatalistic) with his lyrics Good Place, the song still shimmers with buoyancy and optimism. To paraphrase Rascal’s comment about Something ‘Bout Love: David knows that it’s often best to show the light by contrasting it with the dark. And if there is a common theme to this album, it is that.

For me, Falling Stars is just very sad. And if that’s how love is supposed to feel while one’s still in love, perhaps I won’t subscribe to it lol.

Contigo en la Distancia was not written by David, and neither was Imagine. Still, those were two songs that David fiercely connected with and allowed him to “get into” the song, and they played to his vocal strengths. This album attempts to find a halfway point between David’s vocal strengths and the pop market, and it sometimes comes off as being not enough of either. After the first chorus, other instruments kick in, we get this wall of sound, and the song begins to swell and build up towards something bigger… but it doesn’t quite get there. Perhaps in a future album effort, or when catering to another market (Spanish album anyone? ), we might get some more of that “David Kick” that can elevate his ballads to that higher place we know he’s capable of.

Sorry to be a bit of a downer, but that’s my take on this particular song. Your mileage may vary. But heck, if this brings out some FS partisans, then I shall welcome the lively discussion. Bring it on!

- Ronaldsf

Falling Stars

When you forget me
When you don’t remember my name
Not even a memory
Somewhere in the back of your brain
I won’t be offended
‘Cause I always knew that the day would come,
When I’m not enough to make you stay
You tell me it’s not possible, no way that we could break
But nothing is illogical, believe me
Like falling stars over your head
We were bound to burn out, burn like crashing cars
I’ll never get over you, never over you
‘Cause you are so beautiful, yeah
The world is turning
And time keeps on lingering on
The sun will be burning
Eventually you will be gone
I’ll always love you
Oh, believe it or not
But baby, that’s not enough to,
Not enough to stop these…
Falling stars over your head
We were bound to burn out, burn like crashing cars
I’ll never get over you, never over you
‘Cause you are so beautiful, yeah
When it’s all said and done
I’ll be just a speck in the galaxy
Floating farther away by gravity
Tell me it’s not possible, no way that we could break
Like falling stars
Like crashing cars
Like falling stars over your head
We were bound to burn out, burn like crashing cars
I’ll never get over you, never over you
‘Cause you are so beautiful
You are so beautiful, yeah

Click to Listen:

Being a fan during the TOSOD Era^© is a different animal now than it was during American Idol. While on AI, the unique quality of David’s voice hit you like a mallet, but in David’s pop offerings we find that his voice becomes more like an ingredient instead of the main course. But David’s much more extensive involvement in the crafting of TOSOD means that we can see what is uniquely “David” in the songs themselves.

Elevator

Contrary to what seems to be a prevailing opinion on these boards, I would like to come out and admit that Elevator is one of my FAVORITE songs on the album. True to David’s philosophy that this album will reveal more quirky and fun side, Elevator is a unique burst of creativity that bakes a sing-song pop ditty out of a dough of spaciness and confusion. Who da thunk?

The melody goes up and down like a carnival balloon. The rhythm of the notes is infectious. The lyrics paint vivid mind pictures and meld wonderfully with the melody. It’s clear that one way David deals with the ups and downs of his life is to step back from it all and whistle a happy tune, and a catchy one at that.

Mike’s rhythmic guitar hook sets the mood from the beginning, at a somewhat hasty tempo. (I especially the love the guitar lick you hear for the first time right before David sings “I had a dream…”) And then David, always expressive and deliberate with his singing choices, comes in with that flirty quick vibrato in his voice that adds a bit of soul and playfulness into what would otherwise be straight pop. (Compare the first lyric he sings to how it would sound if someone banged it on a piano.)

If we’ve seen Weighty, Mature, Full-Of-Gravitas David in the past, then this clearly must be Playful David. This is “Works for Me” David. This is another refracted view into the mind of a young man with many dimensions, who can write in several musical genres, who sees music as a field for expression and play.

The verses are a carousel ride, with imaginative lyrics, and the melody going up and down is a nice tie-in to the song’s metaphor. But I’m not a fan of the chorus: it delves a bit into generic territory. If the thought was that it might help to make it easier to sing along to, for radio purposes, then I think this was a misstep – it’s the playfulness in the verses that are the actual hook of the song. (Also, in the Regis & Kelly video below, David sings the “High…” line right after the bridge, which I think was a missed opportunity in adding a great hook to the song, perhaps starting with the end of the 2nd chorus.) However, the last chorus is a wonderful mixture of all the melodic lines from the song coming at you at once.

Making It a Single

The first leak of Elevator divided the fan community, and it hasn’t been a hit. But perhaps I can venture as to why the decision to release it was made.

David’s challenge at this point in his career is a more difficult one than it was in 2008. Back then, while riding off his post-AI exposure, he just needed a solid, catchy song to find commercial success.

But today, he has two simultaneous yet contradictory goals: first, to find a solid, catchy pop song (that brings him back from relative obscurity), and second, to find a song that “sells” David as an artist for the long term, that shows how unique he is and makes him “relevant” to a new and young generation. But how to “sell” his “brand,” when his very essence is his eclecticism, both musically and personally?

With Something ‘Bout Love, his management tried to have David “break out” as a dance/pop artist. Now with Elevator, they hope to have David “break out” as a pop/alternative artist. (I’m probably misusing these labels, but you get what I mean.) And now we have the recent press coverage that clearly shows they’re playing up his “silly,” “dorky” side, and Elevator definitely shows this. Elevator is, without a doubt, unique. (Would any other artist have come up with something like this? ) However, that elusive magic combination of popular-but-defining has not been discovered yet.

As for why Elevator song hasn’t hit, the main reason for me is that its message is a bit obscure. One can hear that same melodic, expressive male alternative/folk/pop vibe, a la Jason Mraz’s “I’m Yours” and Train’s “Hey Soul Sister,” but those songs also had the advantage of being about romantic love. David, though several years these other artists’ junior, is exploring more serious themes, I’m afraid.

The Regis & Kelly Performance

Ahh, but we will see. Although lightning hasn’t struck yet, there is much… ahem, simmering beneath the surface. A look at David’s recent performance of Elevator reveals a leather-clad, markedly older and gosh-dang sexier young man than we haven’t quite seen before. But he’s that same unique, whistle-when-life-brings-you-down, jaunty David that we all know and love. Although David works very hard not to work it, it doesn’t work and he just works it.

Sexiness aside, this is a phenomenon we’ve seen before: once David gets into a song that feels like his own, he becomes another persona. And of course, this song is his own! But more than that, with Elevator we have a song that brings out that confessedly-dorky-and-playful, I-think-it’s-alright-to-just-be-myself David. It brings out his inner extrovert. He is markedly more relaxed and at ease, pumping his shoulder and flirting with the camera. (I especially love 2:26 to 2:30.) And it doesn’t hurt that this more confident David is newly yummy and schmexy.

Although Elevator hasn’t “hit,” it’s nice to see that it is showing the world more of that real David his fans already love. And it stands as another landmark for his own evolution.

Click to Listen:
Elevator

At a loss for words, David said his hope was simply that fans “like it, that they enjoy listening to it.”

Little did he know that Crush would premiere at #2 on the Hot 100 and go double platinum, and that his album would go gold. And little did he know that this date marked the beginning of an era in which David would make an indelible impact on an industry. Already today, after just two years (not a long time, but what must feel like several lifetimes of experience to him), David has come to meet success, validation, and greater confidence and maturity. He has grown quite a bit since that day in 2008, but looking back at this moment we still see the same humble, generous guy we’ve grown to love.

So it’s time to re-watch an oldie but goodie and reflect on how far David has come. Were you a fan when this happened? And where were you?

-Ronald

NEW: FULL-LENGTH VERSION AT DAVIDARCHULETA.COM!

http://www.davidarchuleta.com/news/listen-something-bout-love-now

Oh. My. Gosh. It’s here.

David has just sent out a message via Twitter and to those who get his text-message updates, that a preview of his next single can now be heard at his hotline, (801) 386-8196.

It’s hard to pass final judgment when the audio is so poor, but if first impressions are any indication, the song sounds like it can be a hit and that it will satisfy the fans. It’s got an upbeat pop vibe, it’s catchy, David’s vocals are front and center, and it has a nearly Zero Gravity-like energy. Most of all, something about David’s vocal communicates the full feeling of joy mixed with pain that love brings: “Something ’bout love just breaks your heart… woah oh oh oh….”

NEW! High-quality 30-second snippet at FMQB: 30-second clip

Give it a listen:

Here’s a link to good-quality MP3, captured by MJ’s Big Blog.

Given that this preview is only a taste of the fully-mastered studio version in all its glory, this has gotten me not only salivating but also bouncing off the walls in a frenzy.

So… WHAT DO YOU THINK?

David, who usually expresses uncertainty when talking to fans about his upcoming music, is overcome with excitement in his latest video blog when talking about his upcoming album:

I just can’t wait for you guys to hear these songs! … I feel you guys will really get to feel me in these songs because I’m… a part of the writing, and so part of my ideas and just how I feel are in these songs.

Aside from the involuntary joy one feels while viewing a David video blog, one can’t help but feel enormous anticipation with this one as well. For David—who is a perfectionist in many things and admires the musical greats of the past—to feel a sense of accomplishment and joy in sharing his own musical production can only bode well for the quality of his second pop venture. David’s unique choices in selecting and styling his songs reveal an impeccable musical instinct.

How many frikkin songs has David written already? It seems like it’s almost every day we receive a tweet announcing a new song that David helped write. David’s first album was largely written for him, and recorded in hasty sessions at different stops over the course of the 2008 Idol Tour. David had very little time and/or experience to “find his voice” in the decision-making process regarding the larger choices for the album. Now, David’s initial forays in wielding a hand in his own destiny in both business and music will show their first fruits. David, Part Deux promises to surpass the original.

Okay, so David says that the next album will better reflect him? That we’ll “really get to feel” him in these songs? What will come from David’s self-admittedly and wonderfully “weird” and “spacey” mind? What should David’s confession of “me-ness” tell us about the musical styles and lyrics we can expect on the album?

Hardly anything at all, I’m afraid.

We have even less of an idea of what music is in store this time around, precisely because David has had such heavy involvement in the process. Any look at David’s musical and thematic inclinations will show that they are wildly varied. He can command a variety of genres, best exemplified during his American Idol days. One of the sources of excitement in following a young prodigious talent like David is the constant potential for surprise and discovery.

David has provided us with no hints. We’re left with looking back at what David has written or helped write in the past, to get any idea of what might be on the menu for his next album. So, shall we?

1. “Works for Me” – Sassy, Bluesy, Attitudy David?

How many of us thought David had a song like “Works for Me” in him? The song was co-written with Daniel Bedingfield and, with its soul influences and bluesy guitar hook, calls for strutting and finger-snapping. We also hear little bluesy, soulful touches that David brings on in full glory in his covers of “Crazy” and “Waiting on the World to Change.” All that’s missing is a glimpse of the Archuneck that David whipped out while singing “Shop Around.” In one interview, David has said that his new album will show more how he thinks. Looking at the lyrics to WFM, we see a witty, confident, and humorous side of David. Perhaps we’ll get to see some of this David in the album?

2. “Somebody Out There” – David the Love Balladeer?

Surprisingly, David’s first album did not include a ballad that had strong radio potential, especially given that this genre was the box many people put David in after his singing “Imagine.” It will be interesting to see whether David and the label opt for a strong ballad as one of his singles this time around. I thought that “Somebody Out There,” co-written with Mike Krompass, may not have had the potential of becoming a pop hit, but still it was the most musically interesting and lyrically strong of the three love ballads on David’s first album (though this was only on an extended version of the album). The lyrics and music expressed a simple, earnest, generous affection, spoken as if in an intimate conversation, that one doesn’t hear in many love ballads. Perhaps we will hear David bring some new ballads on his next album. The pop world needs a fresh, sincere voice like David’s.

3. “Don’t Tell Me” – The Rhythmic Pop Supah-Dupah Star?

This is another possible route that David and his management could use to establish some early commercial success off his album. While a young teenager, David apparently wrote the melody and lyrics to “Don’t Tell Me” while another musician filled out the arrangement. With a catchy melody that progresses well from one section to the next, it is an amazingly proficient piece of pop work, especially considering it came from such a young artist. When I first heard this, I immediately thought it was influenced by Christina Aguilera’s “Stripped” album – David probably could rock some rhythmic pop if wanted to. The verses to “A Little Too Not Over You” – also co-written by David in tandem with Mike Krompass – also show his melodic creativity in this mode of music.

4. “Falling” – David the Soul Artist at the Piano?

In my opinion, this song, though it didn’t cause a sensation in the fandom (see #5), gives the clearest glimpse of the heights David can potentially reach with his music. The MUSIC (ahh, the music!), with its dramatic chord passages and his tenor voice soaring above them, show a David that is prepared to and entirely capable of bringing forth big emotion in his music. Perhaps David will bring us something spiritual and transcendental? A message of social relevance? Or something exploring the painful side of the human experience? We shall see.

5. “Zero Gravity” – David the Club King?

Ahh, “Zero Gravity.” Did any of the fans expect David to produce a song that, with the right production, would comfortably fit on the same station with Ke$ha and Lady Gaga? Like “Don’t Tell Me,” ZG’s catchy hooks and natural progressions from one section to the next make it a very strong pop song. But even more than DTM, ZG is such an earworm that it just has you singing along after a few listens – which is a key ingredient for a pop radio hit, and means that this was possibly a lost opportunity for a second successful single. With pop music becoming increasingly influenced by techno and other kinds of dance music, one can see David and his label trying to experiment with a dance track or two on the new album, at least as bonus tracks.

Given David’s wide range of musical inclinations, one wonders how he and the label will come to an agreement as to what will be on his next album. Perhaps David’s album will be eclectic? Or perhaps it will be a cohesive mission statement that declares, “This is me”?

On that, we don’t have an answer either(!). And perhaps everything I have said has been worthless drivel based on wild speculation.

But that doesn’t make speculation any less fun.

So everybody join in!! What do you think will be on the menu? And what are you craving!

-Ronaldsf

The recent discussion surrounding David’s own personal Twittergate has brought to the surface, yet again, the political differences that lie among David’s fans. This debate has prompted heated exchanges and caused hurt feelings.

As crazy as it sounds, that only means that David must be doing his job.

In the course of David’s young, incipient career, he has accomplished the highly unusual feat of bringing together people from a wide variety of backgrounds and viewpoints under a single umbrella. His enigmatic appeal draws in young and old, socially conservative and liberal, men and women, straight and gay, and people from different cultural backgrounds and nations.

Many of us were struck by David’s performance of “Imagine” on American Idol, and felt his hope for a better world. But what was that world we imagined? It was a world “without religion.” Or a world with religion. Or a world of peace and cooperation. Or a world without the injustices that divide us. Or a world that upholds principles and morals. Or a world that embraces change and diversity.

In a word: a million-and-one things.

A song is not a conduit to a spiritual world that lies outside of this one: it is a call upon our imagination. It is a channel—in David’s hands a powerful, direct channel—to thoughts and emotions we otherwise could not access.  When David sings a song such as “Imagine,” we feel connected once again to our own hope in humanity, our own courage that we once thought lost, our better natures.

David’s greatest crime is that he does this so well, for so many. And the kicker is that David’s extraordinarily generous and compassionate nature means that his fans project all of their hopes not only onto his music, but onto him—he becomes each fan’s paragon of virtue. And so, in each fan’s eyes, David becomes that disciple who can most effectively spread to those who would otherwise live in darkness the “good word,” whatever that should be. He becomes that person on whom we can project our deepest and sincerest hopes for the world.

And so it should surprise absolutely no one that David walking into a gay bar and then responding to rumors with some inartful statements have aroused passion. Not only were fans’ differing political views placed in direct conflict, but hopes we had kept in our heads had slipped away as well. While there remains much disagreement, there is one thing everyone can agree on: no side can lay exclusive claim on David as their angel, which he never was in the first place.

The ongoing exchange here at TDC has not been without some hurt, but it has also fostered greater understanding among people who otherwise would never talk so frankly, let alone be in the same room. That would never have happened, had David not initially united us. Thank goodness that David, when communicating, is not limited to 140 characters.

Perhaps the process of creating a more harmonious world is nowhere near as harmonious as singing “Imagine.” But in our case we did get somewhat closer. And starting us on this journey did require a boy to sing.

-Ronaldsf

Let’s do an exercise, shall we?

As we embark on a new chapter (or, rather, volume) of David’s journey, how about we look at David’s first and last performances of Imagine on American Idol, including his 2 conversations with Ryan Seacrest afterwards, and share our impressions?

The point of this exercise is not to say which performance is better (which is pretty pointless – they are the same person for Archusakes!), but to reflect upon how David has changed (or stayed the same) over these 2 years, personally and musically… and to reflect upon our own parallel journeys as fans.

I have some thoughts of my own of course, but I’ll save them for later. See you on the other side…

February 2008:

April 2010:

This is the most excited I’ve been about an Archuperformance since Contigo en la Distancia.

We already know that David’s reiteration of Imagine will be transcendent, and that David will bring to this cheesy reality show a good dose of his old-school, heart-stirring soul.

And we can already predict some of the buzz that will come in its wake. Singing the very song that catapulted him into international consciousness just over 2 years ago will invite the inevitable comparisons. Unless he gets the being-on-AI jitters again (which I doubt—Imagine is one of those songs David loves and was made for singing), David should succeed at demonstrating his growing significance as an artist. The vast majority of the AI viewing audience has not seen what we have seen: David’s tremendous growth in stage presence, command, and vocal depth and power over the past couple of years.

Of course, this is not about silly comparisons and petty debates. This is an opportunity to appreciate the purity and beauty of this anthemic song in David’s masterful hands once again. And it is also an opportunity to celebrate another milestone in the growth of a young artist into manhood. Something is telling me that this is a fitting occasion to bring out the champagne glasses, as well as the kleenex.

(Anybody else excited?)

- Ronaldsf

It’s time for a Patty Day lim’rick,
‘Cos Dave’s album, now that I think of it,
Is months down the road—
I’m writing an ode
To help pass the time cos I’m sick of it.

This Archudrought simply can’t stand,
No new Archumusic, no band.
And singing for Haiti
‘s not the same, baby,
Your album’s now wot I demand.

You’re writing in Nashville, that’s fine,
Your muse will soon come in due time,
But don’t wait too long,
I don’t care if your song
Is cheesy—for sure it’s sublime.

Your book I will buy, dontcha know,
But waitin’ till June? That’s too slow.
And singin “No Air,”
After weeks, that’s not fair,
Must hear you more frequently, bro.

I’ve now grown way beyond bitter:
Although it’s nice havin’ me Twitter,
It’s not the same thing,
Much rather you’d sing
‘Bout having to change your cat litter.

So wot if I come off too rude?
I’ve lost me once angelic mood,
So “Hey and ho ho,
This delay’s got to go!”
This Angel’s got new attitude.

I’ve worn out me copy of “Crush”—
Although it still gives me a rush,
I’d much rather hold
An album of gold
In me hands, is that asking too much?

A new delay of your album, I fear it,
So in the name of Ole Patty’s spirit,
I’m plucking me clover,
Wishing luck holds me over,
Awaitin’ the day I can hear it.
-Ronaldsf

When David revealed on Twitter March 5th that “She’s Not You” was from “a while back”—and therefore wasn’t a candidate for the second album—I felt relieved.

No, no, no… it’s not that I hate the song. I like it: it’s catchy, and in particular the melody and the guitar in the verses create a nice vibe. (Though the chorus is a bit too bland for my liking.) When I first heard it, I felt anxiety about the second pop album… was this the direction it was headed?

We now know that it was a track recorded for David’s first album, but still my day or two of not knowing this made it a useful reference point for thinking about where David’s studio production was at 18 months ago, and what new directions it could and should go in now.

“She’s Not You” resembled much of the first album in its level of quality, and in that it was quite conventional—it dealt with simple young boy-girl love, and fell squarely in that space between R&B and pop that characterized much of the album. This approach made sense at the time—it was perhaps the smartest thing to try first to create commercial success, and after all there was little time for David and the label to define jointly the best approach for the album. But now David and the label have the benefit of time to create an album that paints some bold strokes—bold, first in the sense of having some particularly strong, standout songs, and second, bold in expressing who David is as a person and an artist.

Because, let’s face it: we, his fans, know that David is capable of greatness. Still, we have yet to see a musical composition that summons an emotional gravitas that is commensurate to David’s ability to convey it. I am not asking that the perfect song be on David’s second album. However, it is fair to want and expect that a genuine attempt be made.

That means songs that feature David’s voice. Songs that David can connect with. Songs that can summon some of that earth-shaking emotion we know David is capable of delivering.

This doesn’t necessarily mean abandoning the pop route—in fact, if we are to speak of industry formulas, it seems to me that a pop power ballad, putting that stellar voice on a pedestal, would be the best approach. But what can I say? When it comes to what makes a song a hit, I’m not an expert. Still, as amateur fans we know enough to know that some things work for David that should be done.

In terms of arrangement and production, David’s fans are now more aware than before that, when it comes to David, it is often true that less is more. The bare instrumentation of “Contigo” put David’s voice front and center. As listeners, we honed in, not on the melody or the instruments, but on the subtleties of David’s voice. No fancy, expensive studio tricks, no synthesized hooks vying for our attention. Just us, and The Voice—a direct emotional conduit between the listener and the artist.

Another aspect of “Contigo” and of other songs (“Fields of Gold,” “Prayer of the Children,” “Imagine”) is that they were dear to David, on a theme that David could relate to. In my opinion, “Somebody Out There” was a much stronger ballad than either “To Be With You” and “You Can,” which I think comes down to the fact that David co-wrote SOT and could relate directly to what it said. “Falling” is gripping because we know these are David’s words, and that this music comes directly from his heart.

So I hope to see some movement in these directions with the second album. I am not saying that the album should be comprised entirely of soul-wrenching ballads. (Though I actually wouldn’t mind that.) In fact, I am hoping that there is some freedom given to David to express his rich musicality in a variety of musical genres.

In the first album, there was some variation in styles in the official twelve-track version, but they were a bit outside of David’s own inclinations. Unlike songs such as “Desperate” or “Running,” which because of the production were kind of hybrids of other styles, a conventional-pop melody with some stylistic dressing—some of the compositions David himself worked on, from the sassy “Works for Me,” to the club-thumping “Zero Gravity,” to the intimate “Somebody Out There,” jumped fully into the genre, spoke its language, and expressed a clear idea both lyrically and musically. Thus, a unity between words, music, and artist.

The most promising fact about the second album has been David’s extensive involvement in the writing process. This suggests that the folks at Jive/Zomba are trying a different approach and want this album to express David the Individual, whoever that may be. It is thrilling to think of what might be in store.

For now, “She’s Not You” is my new David music fix to sustain me through this long, extended Archudrought. Still, I do this with full knowledge that this isn’t the David that made me fall obsessively in love with him in the first place. Greater things await.

If this song were a person, then it would be the musical equivalent of a rebound—entertaining and pleasant enough for now, but just someone to hold me over while I’m really thinking about someone else.

“He was really nice… but he’s not you, David. I just know you’ll come back to me. I’m burning a candle in the window…”

-Ronaldsf