Volume One
This is the musical debut from M. Ward and Zooey Deschanel, paired together by director Martin Hayens to perform the Richard and Linda Thompson ...
This is the low-pitched entrance from M. Ward as well as Zooey Deschanel, interconnected together by executive Martin Hayens to perform the Richard as well as Linda Thompson balance “When we Get To The Border” for his film “The Go-Getter”. Their compare sparked the thought for “Volume One”. Limited furloughed this spring.Some of us initial fell in adore with Zooey Deschanel’s particular as well as desirable voice when she crooned, “Baby it’s cold outside,” with Will Ferrell in their 2003 movie, Elf. Then, in unison final summer, M.Ward invited
Rating: 
(out of 111 reviews)
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Review by S. Yates for Volume One
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Zooey Deschanel is definitely a child of California’s better nature. On her and M. Ward’s first record, she harks back to the golden era of the Golden State, somewhere between Sweetheart of the Rodeo and Heart Like a Wheel, when singer-songwriters from all corners of the US, Canada, and Britain were all in Cali making laid-back, radio-friendly records with a country bent. From the first listen, it’s clear how steeped she is in her parents’ record collection. (They were both active in Hollywood during that time, so I’m assuming it’s their influence. NB – Her father Caleb did the cinematography for A Woman Under the Influence. +1000 Cali points.)
OK, so that might not be everyone’s cup of tea. I’ve seen 1-star reviews on here deriding this record as pedestrian fluff, and fair game, I suppose. A lot of great records are pedestrian fluff by that reckoning. Carole King’s Tapestry, for instance, divides a lot of music lovers. Is a record “Easy Listening” just because it’s easy to listen to? Some people prefer mutton to lamb because they like to have something to chew on, and who am I to tell them that’s wrong?
It’s really about what you grew up with. Put on Simon & Garfunkel – Greatest Hits in a room full of people and you’ll immediately separate the teary-eyed from the disinterested. That’s the same kind of reaction this record seems to be generating. Maybe some people didn’t really grow up with music, and their only touchstones are the Postal Service and the Shins, and so they’re disappointed that this record doesn’t strike any chords with them. But for those who love Gram Parsons, Loretta Lynn, Diana Ross, Kate and Anna McGarrigle, and – oh, let’s say the Shangri-Las – then this record is sure to feel warm and familiar.
Part of that is the “sound”. Nice touches abound, including choice backing vocals, strings, pedal steel, pianos, etc., but M. Ward’s production thankfully doesn’t sex it up too much, instead faithfully showcasing the lovely voice of Ms. Deschanel. She sings about as pretty as she looks (and about as smart as she talks), which will be obvious to anyone who has seen Elf or, more recently, her movie-stealing minor turn in The Assassination of Jesse James by the Coward Robert Ford. Her songwriting is also remarkable, partly because it’s surprisingly good and partly because it’s so very anachronistic. It sounds like she went around collecting songs with a time machine.
A few choice covers polish it off. “You Really Got a Hold On Me” carries on the very California tradition of covering or writing for soul musicians, as per Janis Joplin, Carole King, the Flying Burrito Bros, though it’s mostly done in the same vein as M. Ward’s weeping-willow cover of David Bowie’s “Let’s Dance”. A lilting luau rendiditon of the Beatles’ “I Should Have Known Better” would feel right at home on Ry Cooder’s Chicken Skin Music. She curiously closes the record with the Negro spiritual “Swing Low, Sweet Chariot”, a fairly innocuous choice which puts the record to bed.
Overall, this record is just an unexpected treat for fans of Ms. Deschanel. As for the criticism that’s going around, like that her stage presence isn’t great in youtube videos of her first ever live performances of her own songs, it seems a bit harsh. The “pedestrian fluff” argument also seems a bit off the mark, since to me that would mean doing the kind of Michelle Branch-style acoustic rock that most females with guitars seem doomed to play. On the contrary, Volume One is a smart, disarming record that manages to be sweet without being precious, smart without being self-conscious, and retro without oversimplifying or resorting to gimmicks. 5 stars sounds about right.
Review by Invisigoth for Volume One
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I agree, it’s not exactly re-inventing the wheel but Volume One from She & Him is a solidly enjoyable listen. Zooey Deschanel channels Petula Clark while M. Ward duly fills in the 60s blanks. What’s not to like? The production is lovingly detailed, creating cozy spaces for the listener to relax. The opening track, “Sentimental Heart”, is a good example. Try listening to it on headphones and you can enjoy the dueling piano and staccato violin that build up to the bright sunshine of the outro. “I Was Made For You” is another highlight, though not wholly original. If you’ve cruised by an oldies radio station, you’ll swear that the drum, guitar riff, and backing vocals have been nicked from somewhere else and you’re probably right. But come on, look me in the eye and tell me it doesn’t rock, motherf%#!
There are a few covers scattered here and there but Deschanel gets full songwriting credit for the bulk of the songs, which is quite impressive. The songs are thoughtfully constructed, the melodies strong, and the lyrics heartfelt. The only negatives are that Deschanel’s vocal range is limited (or perhaps not on display) and she has a goes overboard on belting out certain syllables. Still though, I think pretty much any musician would be envious of Deschanel’s singing and songwriting talent.
Lastly, it’s nice to see Hollywood types crossing over to the music realm in a non-painful manner (for once). I mean, sweet merciful Allah on a cross! What on earth were you thinking Scarlett Johansson?
P.S. To the reviewer who commented that the vocals sound like she’s singing into a toilet: it’s called plate reverb.
Review by Moten Swing for Volume One
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Let’s stop talking about who she is, and let’s focus on how she does. Ms. Deschanel does not have a strong voice, but it is sincere and sweet. I’ve read reviews of their shows, and she can be nervous at the start–likely because she doesn’t project that well, but also because these songs are very dear to her. There is no irony here, nothing sardonic–no hiding behind the cool pose. She puts it all out there, as best she can, and it brings back the California/country AM radio of the 1970s. It’s very likable, if not too profound or ambitious.
Review by Cale E. Reneau for Volume One
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Like most people, the first time that I had my suspicions about actress Zooey Deschanel being a talented vocalist came from that scene in Elf where she sings in the shower as Will Ferrell’s character listens. Volume One is not a collection of Christmas Carrols, and Will Ferrell is not the “Him” mentioned in the band – that title goes to the somewhat reputable, M. Ward. Unsurprisingly, the “Him” is pretty deemphasized on the album, letting Zooey shine as a vocalist and a songwriter. The result is a surprisingly solid, moderately impressive debut from a woman that proves that she’s more than just a dumb crossover act.
Most of Volume One is filled with songs that throwback to classic pop and country sounds, and all of them are at least partially written by Deschanel, herself. “I Thought I Saw Your Face Today” just makes me think of Zooey singing this song in a long dress through one of those old-timey radio microphones. Sweeping strings and subtle guitars emphasize the right moments, and carefree whistles really add a sense of playfulness that make the song feel more authentic. “Change Is Hard” conveys more of a classic country picture, like the obligatory scene in every music biopic where the artist plays in a radio studio over the air for the first time as stunned personnel look on in awe. Deschanel’s lyrics are often a bit simplistic, but Ward, as producer, is able to utilize them in ways that mask their mediocrity.
That’s never more apparent than on the album’s standout track “Why Do You Let Me Stay Here?” Zooey sings, “Why do you let me stay here all by myself? Why don’t you come and play here? I’m just sitting on the shelf.” First off, rhyming “self” with “shelf” is one of the easiest and most-overused schemes in songwriting. It rarely makes any sense, as is the case here. I mean, who actually sits on a shelf? Small gripe, I know, but the point is that the lyric – which is pretty pivotal in the song – is barely a bother because the song itself is so fun and captivating. Ward’s production, filled with dancing pianos, wonderfully-used guitars, and some of the best background vocals I’ve heard in ages, manages to wipe away any blemish that Zooey might have brought on herself.
But Volume One is never an album that tries to be overly complicated or impressive. As a side project for both artists, it more or less feels like they just set out to had fun. That feeling is conveyed pretty often too. Album opener, “Sentimental Heart” is just begging for you to add your own vocals, and “I Was Made For You” doesn’t even come close to being a meaningful or memorable song. It’s simply a way for the two musicians to have fun. Fans of Ward’s vocal work may be a bit disappointed with the album, as this is really Zooey’s chance to shine, but there are a few moments here and there (like on “You Really Gotta Hold On Me”) where he peeks his head above the water and makes his presence clearly known.
Sadly, as I hinted above, Zooey’s first musical endeavor is not near as quirky or interesting as the characters she often plays in the movies. There seems to be this trend in the indie music world for female musicians to pay tribute to , or imitate the classic artists who influenced them. Like Jenny Lewis’ debut solo LP, Volume One isn’t going to sound very original or inspired and as a result it isn’t all that memorable either. Let’s be honest, folks are going to pick up this album because it’s Zooey Deschanel and they may even give it some solid spins for a few weeks, but it’s lack of originality might just serve as it’s downfall. Still, Zooey’s voice is just as charming as ever, and her personality manages to seep its way into every song on Volume One. That alone is enough reason for me to give it a solid recommendation. Needless to say, if you found yourself falling in love with that scene in Elf, She & Him might just be worth checking out.
Key Tracks:
1. “Sentimental Heart”
2. “Why Do You Let Me Stay Here?”
3. “This Is Not a Test”
4. “I Thought I Saw Your Face Today”
5. “Black Hole”
7 out of 10 Stars
Review by Todd and In Charge for Volume One
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I agree with the reviewer who said this record requires a few listens before its charms open up — it’s a subtle record, but there is a lot going on beneath the surface.
Zooey is quite clearly a talented singer and songwriter. Anyone who heard her sing “Baby It’s Cold Outside” from Elf, or the songs she sang for the soundtrack to “Winter Passing,” knows she has the voice.
On this record, she cuts a number of absolutely charming, quirky tunes, but ones that require some active listening to appreciate. M. Ward provides deft, responsive backup and arrangements.
My primary gripe here is with the production — for some reason the producers put Zooey’s voice a bit too far back in the mix, and it on occasion can sound a bit thin — this is in contrast to the full-bodied voice we heard on Elf.
Next time, get a production who can add some fullness to the production all-around, but for a first record this one is a winner.
Zooey, you have my “Sentimental Heart” without question.