Adam Lambert’s Trespassing: the vocal review

Thank you to all Adam’s fans for supplying the beautiful pictures of him for this review.

We may be forgiven for thinking that pop music rules the world these days. It’s everywhere, isn’t it? And it seeps into our consciousness as we go about our daily business. But what is extremely rare, is a pop album presented in such a way that every single track sticks in your head, one more scrumptious than the previous, apparently rivals for attention and begging for favouritism.

Such an album has recently burst on to the music scene. Trespassing is Grammy nominated singer/songwriter and performer extraordinaire, Adam Lambert’s new album. And with it, he seems to have passed the difficult second album test as Trespassing continues to receive overwhelmingly rave reviews from both media and fans around the world.

Overall the album continues to expand on some of the futuristic sounds from his first album, For Your Entertainment. But with this album, the production techniques are on a whole other level and Adam, who was the executive producer on Trespassing, appears to be taking pop music on to a new level of legitimacy – musically, lyrically and vocally. The fusion of genres within the same songs has almost created a genre in itself. A recent tweet from him should tell us all about the genres on the album: “TRESPASSING is ElectroFunkStepEmoPOP realness…”

In a recent interview, Adam said this of the album: “The whole process was extremely positive and I think it represents me really well. There is a concept to it in the sense that it reflects the two sides of me that we deliberately explored in the video for the album’s lead single, Better Than I Know Myself. With me there is a dark side and a light side and the two need each other for me to exist. I wanted to bring that out in the record so Trespassing is one-half celebratory, fun, disco, funk, electro pop, dance music and the other half is this dark with a much more vulnerable moody side.”

The album boats well-crafted pop music and some mind-blowing ballads and each song tells its own story with a clear beginning, middle and end – something we’ve come to associate with Adam as a master story-teller.

I’ll leave the reviewing as a pop album to those more accomplished to doing it. Instead, however, I would like to look at one of the aspects that always take everything Adam sings onto a higher level: his voice. How he uses his voice on Trespassing is even more interesting than the creation of a new genre. And is that any wonder? Adam Lambert seems able to turn his exquisitely beautiful voice and his exceptional artistic mind to any genre and create exciting, imaginative and remarkable art.

Trespassing is brimful of example after delicious example of Adam’s vocal versatility and displays perfectly his ability to sing authentically in just about any style he chooses – even some of his own making. He introduces us to unexpected and innovative ways of using phrasing, sounds, breath, consonants and vowels. Consequently he has created a smorgasbord of astonishingly sophisticated, original and often subtle, colours, shapes and textures, often surprising but perfectly suited to the songs they’ve been created for. I suspect it is partly a deliberate artistic experiment and partly an innate creative ability, and it is pure genius.

  1. The title track, Trespassing, a personal favourite of mine, was co-written and produced by Pharrell Williams, and it’s a terrific start to this album. Adam delivers the ballsy lyrics with great gusto and it is a particular treat to see him perform the song live.

It’s interesting to note, first of all that even though, mostly because of a great bass line, it sounds as though he is singing more staccato than we are perhaps accustomed to hearing from him. But tune out the music and listen to his voice only, and you may be surprised to hear that the legato line is still there. By jumping off the consonants, and thereby emphasising the rhythm, he creates a line that sounds more punchy, and therefore more staccato. And by shortening some of the consonants dramatically and using explosive, short out-breaths, he further creates a sense of staccato which works wonderfully well with the music, as it emphasises the pounding beat, and gives great energy to this song.

His fabulous harmonies above and underneath matches the melody line note-for-note and word-for-word, which creates a delicious pure multi-Adam-layered sound. And apart from the fact that this is a fantastic dance track, we can still hear wonderful rock-type vocal riffs from Adam in this song as well.

This is what Adam recently tweeted about Trespassing: “Not following any of these lame ass rules. Look out bitches.”

Snippet of Trespassing

Well I was walkin for some time
when I came across this sign
sayin “who are you and where are you from?”
We don’t like when visitors come.
“No Trespassing” that’s what it said
at least that’s what I could read.
No Trespassers?
Yeah, my ass!
Wait till you get a load of me!

One day I was trippin and that’s when I could see
that the ether I had tapped into could be reality
It was great, that’s when I climbed that optimistic vine
Once I hit that mountain peak I began to lose my mind
I don’t need no sympathy. I won’t cry and whine.
Life’s my light and liberty
and I’ll shine when I wanna shine.
Make their faces crack
there’s no turnin back.
Let’s GO!

Well I was walkin for some time
when I came across this sign
sayin “who are you and where are you from?”
We don’t like when visitors come.
“No Trespassing” that’s what it said
at least that’s what I could read.
No Trespassers?
Yeah, my ass!
Wait till you get a load of me!

I ain’t got BS in my bag
that’s the one thing you can believe
my heart is gold, my body is glass
come on baby, can’t you see?
I don’t need no GPS
to show me where to go
But I can turn into the North Pole
and show u what is cold

I don’t need no sympathy. I won’t cry and whine.
Life’s my light and liberty
and I’ll shine when I wanna shine.
Make their faces crack
there’s no turnin back.
Let’s GO!

Well I was walkin for some time
when I came across this sign
sayin “who are you and where are you from?”
We don’t like when visitors come.
“No Trespassing” that’s what it said
at least that’s what I could read.
No Trespassers?
Yeah, my ass!
Wait till you get a load of me!

I ain’t stayin’ at home
I got places ta roll

Yes, Adam, we got a load of you and you’re fierce!

2. The next song, Cuckoo, is a fabulous club dance song which I can just imagine being played in the clubs in Ibiza!

This song takes us even further into the electro-pop that Adam says he likes to listen to. Again, whilst still singing legato lines, because he’s emphasising the rhythm and jumping off the consonants, it sounds as though Adam is singing in a much more staccato manner than we’re used to hearing from him.

What is interesting is that even in a song like this, which clearly doesn’t present him with any real vocal challenges, he continues to sing properly, moving the phrases forward musically with his voice. And here again, the rock-type riffs is an unexpected and delightful surprise.

In Cuckoo we find more great harmonies, both in his higher and lower registers, and it’s illuminating to hear with how much sophistication auto-tuning has been employed, so that it enhances the song and becomes part of the production, creating a piece of art, rather than for any practical vocal reasons.

In this song Adam also introduces us to a new Adamism in “pack up your thingses” and it’s another song he clearly enjoys performing live.

This is what he tweeted about Cuckoo: “Yeah that’s right. I’m nuts. But damn it’s fun, you coming along for the ride?”

Snippet of Cuckoo

Feels like I’m having a meltdown
It feels like I’m losing control
They tell me I’m a danger to myself
Now the crazy train is ready to roll, Oh!

Walk that walk like you don’t give a fuck
You’ve got a right to turn it up and get down
Electric shock no I can’t get enough
Cause tonight we’re taking over the town, hey
I wanna lose my mind like a maniac
And cross the line
Never looking back
We’re on the loose
Getting crazy and we’ve gone cuckoo
Gonna party til they take us away

I’m swinging off of my hinges
I’m cocked and I’m ready to go
Go on and pack up your thingses
The crazy train is ready to roll, oh

Walk that walk like you don’t give a fuck
You’ve got a right to turn it up and get down, yeah
Electric shock no I can’t get enough
Cause tonight we’re taking over the town, hey
I wanna lose my mind like a maniac
And cross the line
Never looking back
We’re on the loose
Getting crazy and we’ve gone cuckoo
Gonna party til they take us away

Gotta get out of this straight jacket, whoa, Cuckoo!
Gotta get out of this straight jacket, whoa yeah

I wanna lose my mind like a maniac
And cross the line
Never looking back
We’re on the loose
Getting crazy and we’ve gone cuckoo
Gonna party til they take us away

Gonna lose my mind
Gonna lose my mind
Gonna party til they take us away

3. Shady is another of my personal favourites and impossible to keep from dancing to.

Shady features Sam Sparro and legendary guitarist, Nile Rogers, who helped to create this super-funky back beat and rhythmic bass, typical of funk music. And because the song has such an overwhelmingly sexy beat, the vocal line could so easily have been peripheral. But of course, that could never happen with a powerful and flexible vocal instrument like Adam’s.

Vocally, it reminds of Prince at his funkiest, but this is a uniquely Adam Lambert funk experience.

Adam does something very different in this song: he doesn’t give us the end consonants to words, especially at the ends of phrases. He usually pronounces each consonant with such precision that it comes as a bit of a shock at first, but we can still hear very clearly what he’s singing, because his diction remains faultless on the beginning and middle consonants, clearly demonstrating that this is a chosen stylistic element he wanted to employ in this song. And like all good story-tellers, by doing this, he immediately prepares his audience to expect something different from this song – that he’s feeling “shady.” He’s also still singing a through-line, with the overall effect that his voice mirrors exactly the rhythm of the song – a master-stroke indeed!

For the first time we hear voices other than only Adam’s, and the effect creates a new and interesting vocal texture and colour, muddying Adam’s usually pure vocals and displaying a kind of ‘shady-ness’ – rather clever, I thought.

Those familiar with Adam’s style of singing, will be accustomed to the unique way in which he uses his breath and breathing as part of the interpretation of songs, and although he uses short explosive out-breaths in the previous two songs, here he employs a full-on pant to great effect, perfectly indicative of “feeling so shady lately.” The way in which he uses his voice at the ends of the word “latey,” further emphasises the ‘shady-ness’ and leaves his audience in no doubt as to what he’s feeling.

Apart from his own fantastic harmonies, here he also introduces us to ‘asides’ as he ‘comments’ on the lyrics – I particularly love the “yeah” after “gonna go and get me a shot“ – it’s so emphatic! And the “Oh!” between “gonna knock it back forget all my blues” and “yeah that really hits the spot” – it’s dramatic and unexpected, but still stunningly musical and once aware of it, difficult to imagine the song without it.

This is what Adam tweeted about Shady: “feeling loose now, gonna get my swerve on. Feeling nasty.”

Snippet of Shady

Baby, I’m on the hunt
Baby, I got my target on you
Trouble, that’s what I want
And I’m gonna do just what I have to
Get your ass down to the front
Go on and roll it out, I dare u
Sorry I’m kinda drunk
But did u just say your game was brand new

No, I ain’t broken, but I, I need a fix
That satisfaction when I, I get my kicks
I’m up all night
I’m outta sight
Don’t turn on the light
‘Cuz I’m feeling so shady lately

Come on and take me underground
Deep under the street
Come on and take me, take me down
Where freaks like us can meet
Turn it up, turn it up, turn it up, turn it way up
Don’t stop the beat
Come on and turn me, turn me out
‘Cuz I’m feeling so shady lately

Gonna go and get me a shot
Gonna knock it back, forget all my blues
Yeah,that really hits the spot
I’m feeling pretty fierce in my dancin’ shoes

No, I ain’t broken, but I, I need a fix
That satisfaction when I, I get my kicks
I’m up all night
I’m outta sight
Don’t turn on the light
‘Cuz I’m feeling so shady lately

Come on and take me underground
Deep under the street
Come on and take me, take me down
Where freaks like us can meet
Turn it up, turn it up, turn it up, turn it way up
Don’t stop the beat
Come on and turn me, turn me out
‘Cuz I’m feeling so shady lately

I throw more shade than a cloudy day
The brakes don’t work
I’m just a runaway train
Somebody come and help me out
All I wanna be is free
I was tryin’ to get down
Now I can’t get out
I’m shady lately

Come on and take me underground
Deep under the street
Come on and take me, take me down
Where freaks like us can meet
Turn it up, turn it up, turn it up, turn it way up
Don’t stop the beat
Come on and turn me, turn me out
‘Cuz I’m feeling so shady lately

4. Song Number four on the album is Never Close Our Eyes, written by Bruno Mars for Adam and is the current single worldwide, including the UK.

This song is interesting rhythmically, because it seems as though it might turn into a ballad when it first starts, but then morphs into a kind of Euro-electro pop song.

Lyrically it sounds like it might be a love song, but the way in which Adam sing it, tells us that he clearly has another interpretation for this song, thereby demonstrating how universal this songs on Trespassing are.

Even in this kind of “standard” pop song, Adam still manages to inject the lyrics with a deeper meaning. For example, in “I don’t want to let a minute get away” he puts a slight emphasis on the word “get” which immediately gives the impression that he’s here, present in the moment, and on the word “lose” in “cuz we got no time to lose” he employs a tiny crack in his voice at the end of the phrase, which stresses how important it is that we have no time to lose. He continues to hit that point home as he uses a similar technique on “see” in the phrase “none of us are promised to see tomorrow.”

This is what Adam tweeted about Never Close Our Eyes: “let’s all stay in the moment and stay open to all possibilities. We have the power to create our reality. “ A powerful message indeed and perhaps unexpected in a pop song!

I wish that this night would never be over
There’s plenty of time to sleep when we die
So let’s just stay awake until we grow older
If I had my way we’d never close our eyes, our eyes, never!

I don’t wanna let a minute get away
Cause we got no time to lose
None of us are promised to see tomorrow
And what we do is ours to choose

Forget about the sunrise
Fight the sleep in your eyes
I don’t wanna miss a second with you
Let’s stay this way forever
It’s only getting better if we want it to

You know I wish that this night would never be over
There’s plenty of time to sleep when we die
So let’s just stay awake until we grow older
If I had my way we’d never close our eyes, our eyes, never!

It’s so hard to think this could fade away
But what goes up must come down
Why can’t we just live life with no consequence
And always live in the now

Forget about the sunrise
Fight the sleep in your eyes
I don’t wanna miss a second with you
Let’s stay this way forever
It’s only gets better if we want it to

You know I wish that this night would never be over
There’s plenty of time to sleep when we die
So let’s just stay awake until we grow older
If I had my way we’d never close our eyes, our eyes, never

You know I wish that this night would never be over
There’s plenty of time to sleep when we die
So let’s just stay awake until we grow older
If I had my way we’d never close our eyes, our eyes, never

5. In Kickin In, again auto-tuning has been artfully used as a part of the production of this song as a means of ‘segueing’ Adam’s voice into the music.

This is another great synth-funk/electro pop club/dance song, again reminding somewhat of Prince, and one that Adam clearly also enjoys performing live. But even though this is a great pop song, Adam has created astonishing harmonies here – the most shocking, a harmonic line that hits the stratosphere and notes that only Adam can sing – and all in his phenomenal head voice! Not something one expects to hear in a pop song, and therefore all the more brilliant.

Surprisingly, even in a club song, Adam still manages to put nuance into the lyrics as well, and he does it with all the harmonies, too. Listen to how he sings the word “persuasive” for example.

And if those are not enough shiny goodies in this Russian doll prezzie of a song, he treats us to another rock-type riff that makes every hair on your body want to dance and sing along – if only that were possible for us mere mortals!

This is what Adam tweeted about Kickin In: “The “she” in Kickin In is about a guy friend of mine. Ya know? That one Banjee fishy queen you all call a she. Mary please. I know Banjee and Fishy are sorta opposites but my fav queens are that glorious half and half. They can just flip depending on the song. But it’s totally also about that crazy fruit fly who’s always stealing yo thunder by last call. Lol”

Snippet of Kickin In

She wants to be up there
in the air where the clouds live
the sweetest seeds make the best trees
30,000 feet she can smile and now

she puts the shot glass down
she asks for another round
she wants to hit the clouds
honey are you up there now
she puts the shot glass down
she asks for another round
girl don’t you hit the ground
Is it kickin’ in?

Can you feel it kickin’ in?
Honey are you up there?

She wants to introduce me
to her friend Eddie
What is she tryin’ to do to me?
He got words the rhyme
He got a dirty mind
Persuasive
what am I about to do right now?

she puts the shot glass down
she asks for another round
she wants to hit the clouds
honey are you up there now?
she puts the shot glass down
she asks for another round
girl don’t you hit the ground
Is it kickin’ in?

Can you feel it kickin’ in?
Honey are you up there?

Bounce, bounce, bounce,

And now, she puts her shot glass down,
She asks for another round,
She wants to hit the clouds,
Honey are you up there?
Now, she puts her shot glass down,
She asks for another round,
Girl, don’t you hit the ground,
Is is kickin’ in?

Can you feel it kickin’ in?
Honey are you up there?

6. Naked Love is yet one more fantastic fun club dance/party song with a great beat and another song that Adam seems to get a kick out of performing live. And during live performances he invites the audience to sing along, so that it becomes a kind of anthem song for the album.

This song gives us a delicious example of real staccato and legato singing living side-by-side. It is a revelation to hear how much energy Adam invests into this song – he sings it with so much joy – in fact so much so, that the excellent, tight harmonies almost go unnoticed, but without those, the song wouldn’t be nearly as effective – genius! And he still manages to get some rock sensibility into the song too, with a few riffs nearer the end.

This is what Adam tweeted about Naked Love: “Come on folks! Relax!! Chill! It ain’t that deep- take a chance and express how u want. Strip away all the BS and get real.”

Snippet of Naked Love

O whoa-o, yeah yeah yeah
O whoa-o, yeah yeah yeah

Lose control, collision course
When you, my love, call 911
So ro-o-oll the dice
Get lu-uh-cky tonight
I know you’re holding back
No more hesitation

Just c’mon
I want your naked love
So don’t you dress it up tonight
Come on
Ya know your naked love
Is what I’m dreaming of tonight
Oh whoa-o yeah yeah yeah
Oh whoa-o yeah yeah yeah

Take it off
And try me on
The hottest threads
Ya ever worn
So ro-o-oll the dice
Get lucky tonight
I know you’re holding back
No more hesitation

Just c’mon
I want your naked love
So don’t you dress it up
Toni-i-ight

Come on
You know your naked love
Is what i’m dreaming of
Toni-i-ight

Oh whoa-o yeah yeah yeah
Oh whoa-o yeah yeah yeah

Just c’mon
I want your naked love
So don’t ya dress it up tonight
Come on
Ya know your naked love
Is what I’m dreaming of toni-i-ight
Oh whoa-o yeah yeah yeah
Oh whoa-o yeah yeah yeah

7. Pop That Lock is an impressive club dance song with a fantastic beat and a very powerful message – another favourite!

In this song, Adam displays brilliant harmony lines and also wonderfully again, his lower register where we’re treated to his more Baritone sounds, on “that’s right,” “alright” and “down, down, down,” before he delights once more with phenomenal rock-type riffs as only he can.

This is what Adam tweeted about the song: “Pop that lock is about being fierce. Basking in the glow of light you have the power to put out in the universe. That’s the key.”

Snippet of Pop That Lock

Left, right, step up to the spotlight
Why you actin’ uptight?
I’m takin’ you to school, that’s right
High, low, don’t tell me you don’t know
How to ever let go
I’m takin’ you to school, that’s right

Tonight we burn it all
Get hot get tall
Yeah we’re lighter than air
You got the key to your release
So pop that lock until you’re lighter than air

If you wanna be it
You’ve got to dream
If you got the key then baby pop that lock
If you wanna free it
You have got to scream
If you got the key then baby pop that lock

Banjee Boys and Dancey Girls get down down down
bitch you don’t gotta stress this
Got ’em feeling restless show ’em how it’s done alright
Secret don’t care if you don’t keep it don’t care if you leak it
Show ’em how it’s done alright

Tonight we burn it all
Get hot get tall
Yeah we’re lighter than air
You got the key to your release
So pop that lock until you’re lighter than air

If you wanna be it
You’ve got to dream
If you got the key then baby pop that lock
If you wanna free it
You have got to scream
If you got the key then baby pop that lock

Banjee Boys and Dancey Girls get down down down
Get down
Get down
Werk Werk Werk alright
Get down
Werk Werk Werk alright

Banjee Boys and Dancey Girls get down
You better pop that lock

If you wanna be it
You’ve got to dream
If you got the key then baby pop that lock
If you wanna free it
You have got to scream
If you got the key then baby pop that lock

Get down
Baby pop that lock
Get down, get down
Pop that Lock, get down!

8. Better Than I Know Myself was the first single to be released from the album.

It is basically a tender love song, although in the music video Adam reinterprets the song completely to great effect, demonstrating successfully the different interpretations lurking inside his songs.

At the very start of the song, Adam again displays his use of breath in the interpretation of songs, by taking in a sharp breath, as though he is “cold as ice.” It’s seems such a simple thing, but it is highly effective and a testament to Adam’s unique artistic instincts, because it goes against classical training.

Better Than I Know Myself displays perfectly Adam’s remarkable ability to connect with his vulnerable side and his skill in inviting the audience to share those emotions with him. The tessitura of this song is rather high and probably presents somewhat of a challenge for him to sing. And yet, those full-voiced high notes are still perfectly free with no squeezing or ‘shouting,’ another testament to Adam’s masterful vocal technique.

To me it’s a kind of make-up-after-a-fight song, especially in view of the turbulent piano underneath the lyrics near the beginning of the song. Adam says that he sees this song as a reassurance to your partner of your love.

Cold as ice
And more bitter than a December
Winter night
That’s how I treated you
And I know that I
I sometimes tend to lose my temper
And I cross the line
Yeah that’s the truth

I know it gets hard sometimes
But I could never
Leave your side
No matter what I say

Cause if I wanted to go I would have gone by now,
But I really need you near me to
Keep my mind off the edge
If I wanted to leave I would have left by now,
But you’re the only one that knows me
Better than I know myself

All along
I tried to pretend it didn’t matter
If I was alone
But deep down I know
If you were gone
For even a day I wouldn’t know which way to turn
Cause I’m lost without you.

I know it gets hard sometimes
But I could never
Leave your side
No matter what I say

Cause if I wanted to go I would have gone by now,
But I really need you near me to
Keep my mind off the edge
If I wanted to leave I would have left by now,
But you’re the only one that knows me
Better than I know myself

I get kind of dark
Let it go too far
I can be obnoxious at times
But try and see my heart
Cause I need you need now
So don’t let me down
You’re the only thing in this world I would die without

Cause if I wanted to go I would have gone by now,
But I really need you near me to
Keep my mind off the edge
If I wanted to leave I would have left by now
But you’re the only one that knows me
Better than I know myself

Cause if I wanted to go I would have gone by now,
But I really need you near me to
Keep my mind off the edge
If I wanted to leave I would have left by now,
But you’re the only one that knows me
Better than I know myself

9. Broken English is another of my favourite songs from this album.

The song contains so much imagery in the lyrics and complexity in the music arrangements and rhythms, much of the music reflecting the ‘broken-ness’ of the lyrics and therefore it’s a surprising song on many levels. And talk about fusing genres within one song – here even some bluesy-jazz flavour is evident in some of the vocal lines, whilst the music is anything but blues or jazz.

Again in this song, Adam created some astonishing harmonies, in particular the lower harmony line which is spectacular and adds depth to the overall feel of the song – a veritable waterfall of sound for the ears. And just when you think there are no more surprises, Adam gives us one of the most stunning coloratura runs (riffs) accompanied by a kind of military drum beat. I feel I have to revert here to the classical term for a riff, because his voice is so beautiful and ethereal – this coloratura run sounds like a fervent yearning from his soul and easily rivals the beauty of operatic coloratura runs – a surprisingly sophisticated element to find in a pop song.

The music, and especially the ending of the song, is unexpectedly in keeping with the ‘broken-ness’ of the lyrics.

This is what Adam tweeted about Broken English:” I’m trying to read u.. It’s confusing but soooo mysteriously sexy. Maybe words aren’t the key. Communication through touch.”

This song is intriguing on so many levels that I feel compelled to create another Sound Bath programme just about Broken English.

Snippet of Broken English

Tower of babel has fallen down again
Information disarray
I don’t know who I should believe in
Everybody’s an authority
Fragments don’t count
They always end up falling through the cracks
Don’t think out loud
Cause once it’s out, your mouth can’t take it back

Can’t say all the little things
That I wanna tell you right now
I know you won’t understand
But I gotta tell you somehow
And on and on and on I go
Connect the neck to what’s below
I know
Now your body language is broken
Broken English

Lost inside communication breakdown
Better just read my lips
Comin’ in clearer when we get down
Iceberg just the tip
My words get lost
Can you read the look that’s on my face
Wires get crossed
In communion with the human race

Can’t say all the little things
That I wanna tell you right now
I know you won’t understand
But I gotta tell you somehow
And on and on and on I go
Connect the neck to what’s below
I know
Now your body language is broken
Broken English

10. Underneath is my absolute favourite song from this album and I will go so far as to say that it is the most beautiful song I’ve ever heard. This song reminds of the passionate arias we find in operas, some of which have been around for hundreds of years and still seem to be as popular as when they were first heard. This song seems a very worthy contender to share such longevity.

A stunning ballad, the lyrics in Underneath are again filled with so much imagery and the sweeping musical lines perfectly compliment Adam’s exposed soaring vocal line.

For the first time on the album his voice stands predominantly alone. Instead he’s making use of a kind of echo after some of the phrases, which is wonderfully effective.

Underneath is the perfect vehicle to showcase Adam’s beautiful voice with its phenomenal range, power, control, sensitivity and emotional intensity. At times it’s clear that he is drawing on his musical theatre experience in this song.

If the coloratura run in Broken English felt like ‘a fervent yearning from his soul,’ then Underneath in its entirety feels like the passionate cry of an imperfect but courageous and fearless soul appealing for understanding and unconditional acceptance, for example in the lines: “Look at me, now do you see?” and “Welcome to my world of truth, I don’t wanna hide any part of me from you.” Isn’t that what we all want?

This is what Adam tweeted about Underneath: “I’m doing my best. Underneath my best game face it’s still not always easy. I have my demons and they are powerful.”

It is another song that cries out for a Sound Bath programme as there is simply too much to say about this gorgeous song in this brief review.

Snippet of Underneath

Strip away the flesh and bone
Look beyond the lies you’ve known
Everybody wants to talk about a freak
No one wants to dig that deep
Let me take you underneath

Baby, better watch your step
Never mind what’s on the left
You’re gonna see things you might not wanna see
It’s still not that easy for me underneath

A red river of screams
Underneath
Tears in my eyes
Underneath
Stars in my black and blue sky
And underneath
Under my skin
Underneath the depths of my sin
Look at me
Now do you see?

Welcome to my world of truth
I don’t wanna hide any part of me from you
I’m standing here with no apologies
Such a beautiful release
You inside of me

A red river of screams
Underneath
Tears in my eyes
Underneath
Stars in my black and blue sky
And underneath
Under my skin
Underneath the depths of my sin
Look at me
Now do you see?
Underneath…

Welcome to my world of truth

A red river of screams
Underneath
Tears in my eyes
Underneath
Stars in my black and blue sky
And underneath
Under my skin
Underneath the depths of my sin
Look at me
Now do you see?
Underneath, underneath, underneath
Look at me
Do you see?

Welcome to my world of truth
I don’t wanna hide any part of me from you

11. Chokehold is yet another of favourite of mine from this amazing album.

This song has a wicked beat with a rock sensibility, and whilst Adam singing it in a mostly non-rock manner shouldn’t work, in fact, his vocal style perfectly suits the lyrics and the song is enhanced in a way it wouldn’t be if it was sung perhaps more as a rock song throughout. Instead he uses rock riffs in the harmonies. That, coupled with his much lighter vocal treatment of the song, means that we experience his ‘addiction’ to pain somehow more clearly.

Here again, Adam treats us to something new: he sings the word “second” in a way that emphasises the rhythm but simultaneously stresses the immediacy of his sentiment.

This is what Adam tweeted about Chokehold: “You’re playing games with me and it’s putting me though it! But I’m addicted to the heartache and drama. I can’t get enough.”

Snippet of Chokehold

Staring at the ceiling in the dark
Sheets are in a knot
My heart is like rock

Pictures flashin by inside my head
I’m hanging by a thread
But, I’d do it all again

I keep running away, running away, running away from you
But I can’t stand breaking the chains, breaking the chains, breaking the chains
It’s too good

‘cuz I know the second you go
Wantcha to bring it on back, bring it on back, bring it on back to me
And you know I want your chokehold
Wantcha to bring it on back, bring it on back, bring it on back to me
Bring it on back to me

Oh without your touch I suffocate
Cold asphyxiate
But I kinda like the pain, yeah
Baby I can smell you on my clothes
I try to stay composed
But I feel the fever grow

I keep running away, running away, running away from you
But I can’t stand breaking the chains, breaking the chains, breaking the chains
It’s too good

12. Next is the extraordinary Outlaws of Love.

This ballad is an astonishing piece of art and in order to do it fully justice, I have created a Sound Bath programme about this song after I first heard in July 2011 when Adam performed it in St Agathe in Canada. (The programme is available at Soundbath.wordpress.com: http://wp.me/p1mWtm-4z )

Of course the album version is different from his live version, but if possible, goes even further to display Adam’s phenomenal willingness and ability to be vulnerable and to share that with the world.

As I said in my programme: ‘this is a very important song – the first reason, because the lyrics deal with a subject matter almost never attempted in song-writing, and certainly never in this way in which we, the listeners, are being told what it feels like to be “Outlaws of Love.”

Secondly, I feel this song will change the way non-fans perceive Adam Lambert – not only the over-the-top, make-up wearing, campy, sexy singer with the great voice, they must now learn to appreciate, too, the serious artist, as his fans has known him to be, from the beginning.

And thirdly, this song is a departure from anything Adam has sung before, and shows how far he has come in his artistic development and song-writing skills. This song is truly a piece of art.’

In Outlaws of Love we have Adam’s voice completely exposed and therefore the astonishing beauty of his voice singing these poignant lyrics really has a chance to hit home. The elegant use of harmonies, serve to further enhance the lyrical content, perfectly complimented by the comparatively simple, but still surprisingly innovative accompaniment.

This is what Adam tweeted about Outlaws of Love: “Road to equality ain’t easy. Sometimes we get sad. All the hate because of the love we wanna share. But we are gonna be ok.”

Snippet of Outlaws Of Love

Oh, nowhere left to go
Are we getting closer, closer?
No, all we know is No
Nights are getting colder, colder

Hey, tears all fall the same
We all feel the rain
We can’t change

Everywhere we go we’re looking for the sun
Nowhere to grow old we’re always on the run
They say we’ll rot in hell, well I don’t think we will
They’ve branded us enough, outlaws of love

Scars make us who we are
Hearts and homes are broken, broken
Far, we could go so far
With our minds wide open, open

Hey, tears all fall the same
We all feel the rain
We can’t change

Everywhere we go we’re looking for the sun
Nowhere to grow old we’re always on the run
They say we’ll rot in hell, well I don’t think we will
They’ve branded us enough, outlaws of love

Everywhere we go we’re looking for the sun
Nowhere to grow old we’re always on the run
They say we’ll rot in hell, well I don’t think we will
They’ve branded us enough, outlaws of love

*     *     *

The last five songs have been added to the album as bonus tracks but they are all so good, I feel compelled to include them in my review. (Just imagine what gems the other fifty discarded songs might contain!)

13. Runnin is a delicious surprise, and another of my favourites from Trespassing – a fantastic song with a powerful message.

In this excellent rock song we’re treated again to Adam’s delicious Baritone tones and notes, especially in the line: “down, down, down,” before he takes his voice up into the stratosphere and rocks out as only he can, making every hair on your body stand up in appreciation of his fantastic vocal gymnastics and the drama of the accompanying music.

This is what Adam tweeted about Runnin: when I don’t follow my heart, i get dark. vicious cycle that only I can pull myself out of. We all have the power to affect change.

Snippet of Running

Steel to my tremblin’ lips
How did the night ever get like this?
One shot and the whiskey goes down, down, down
Bottom of the bottle hits
Waking up my mind as I throw a fit
The breakin’ is takin’ me down, down, down

My heat’s beating faster
I know what I’m after

I’ve been standing here my whole life
Everything I’ve seen twice
Now it’s time I realized
It’s spinning back around now
On this road I’m crawlin’
Save me ‘cuz I’m fallin’
Now I can’t seem to breathe right
Cause I keep runnin
Runnin from my heart

‘Round and around I go
Addicted to the numb livin’ in the cold
The higher, the lower, the down, down, down
Sick of being tired and sick
And ready for another kind of fix
The damage is damning me down, down, down

My heat’s beating faster
I know what I’m after

I’ve been standing here my whole life
Everything I’ve seen twice
Now it’s time I realized
It’s spinning back around now
On this road I’m crawlin’
Save me ‘cuz I’m fallin’
Now I can’t seem to breathe right
Cause I keep runnin runnin
Runnin from my heart

Oh, I’m coming alive
Oh, I’ll wake up now and live
Oh, I’m coming alive
A life that’s always been a dream
I’ll wake up now and live

14. Take Back is an excellent pop song with a great beat, rock sensibility, a wonderful melody line in the chorus and again, meaningful lyrics.

The repeated same-note lyrics drive home the message of the song and it’s interesting to notice how again, making these lyrics sound very staccato by the in which he’s jumping off the consonants, Adam is actually singing a legato line. But this also serves to emphasise the delicious legato singing in the chorus, where the melody line resolves to great satisfaction along with the music. Here again, Adam treats us to great harmonies and a full range of emotional intensity, going from poignant, delicate and vulnerable to fantastic dramatic rock vocals.

This is what Adam tweeted about Take back: “How can we reset how we fell apart? How do we get back to where we started? This was the first song written for Trespassing.”

Snippet of Take Back

All you ever think is “Gimme, gimme”
But you never give back
All I ever do is overthink and drink
Until I attack

We know how to talk it into the ground
We know how to wear it out
If we ain’t goin save it
Gonna end up in a grave and baby

How do we take back what’s been done,
What’s been said?
Oh my…
How do we take back?
‘Cuz no one wins
When love breaks down, we both die
I would give anything just to chase the dark away
And start all over again
How do we take back what’s been done,
What’s been said?
Oh my…

I fed you a fantasy
But you’ve been drunk on reality
All you want is to be wanted
As long as you get it out of me

We used to be a jungle, sticky and wild
It used to be we owned the night
All the stupid games we play
And all the shit that we’ve been sayin

How do we take back what’s been done,
What’s been said?
Oh my…
How do we take back?
‘Cuz no one wins
When love breaks down, we both die
I would give anything just to chase the dark away
And start all over again
How do we take back what’s been done,
What’s been said?
Oh my…

Remember remember the first time we collided
We lost it we lost it

15. Nirvana is yet another of my personal favourites from Trespassing.

A stunning piece of art and although I’m astonished that it’s a bonus track, because it feels as though it could have been part of the album proper, I’m so glad that Nirvana was added to the album.

The drum beat at the beginning of the song makes it sound as though it might turn into something else, yet the moment Adam starts to sing, it’s clear that it’s a beautiful love ballad, in fact, it almost feels like a ‘lover’s lullaby.’

His lower harmonies are particularly wonderful, and help to create a lovely satisfying, almost vocal ‘orchestral’ sound that has the effect of making the listener feel as safe and loved as one imagines Nirvana for lovers would be.

The song is a wonderful example of Adam’s phenomenal technical abilities, because Nirvana perfectly showcases Adam’s expressive range. Here he paints layer-upon-layer of colour with his voice, singing in his pure tenor voice, before treating us to fantastic rock-type riffs which he seamlessly pulls back to beautiful light near-falsetto sounds, as only he can, giving us a pretty good glimpse at what Nirvana might actually sound like.

Adam also demonstrates successfully his impressive ability to make his voice express clearly his inner feelings and thoughts – by no means an easy feat in singing!

Snippet of Nirvana

When the stars are too cold
Frozen over their glow
On the edge of the night
We can be their light
So give me more than your touch
Give yourself to the rush
Just keep holding my hand
As we’re taking off
I know where we’ll land

We can escape to a higher plane
In Nirvana stay
Where the dreamers lay
I’ll lay you down, lay you down
Safe on a higher plane
In Nirvana stay
Where the dreamers lay
I’ll lay you down, lay you down

Through the dark there’s a way
There’s a love, there’s a place
Where we don’t have to hide
We can dream all night
So follow me through the sky
And watch the oceans collide
Just keep holding my hand
As we’re taking off
I know where we’ll land

We can escape to a higher plane
In Nirvana stay
Where the dreamers lay
And I’ll lay you down, lay you down
Safe on a higher plane
In Nirvana stay
Where the dreamers lay
I’ll lay you down, lay you down

Oh, we don’t need any diamonds or gold
Watch the mystic and cryptic unfold
As we fly high

We can escape to a higher plane
In Nirvana stay
Where the dreamers lay
And I’ll lay you down, lay you down
Safe on a higher plane
In Nirvana stay
Where the dreamers lay
I’ll lay you down, lay you down
I’ll lay you down, lay you down
I’ll lay you down, lay you down

16. By The Rules has a great electro/reggae/rock sensibility and, might be yet another favourite song from Trespassing. This wonderful love song also has a great message.

The song transports us immediately to a beach somewhere exotic and warm, and Adam’s voice reflects this perfectly.

Adam introduces us to more delicious new aspects we’ve never heard from him before, for example, he uses a much more relaxed way of singing and on many of the ends of the phrases he allows his voice to fade out unsupported – meaning he doesn’t employ his body’s muscles to support his voice to sing to the end of phrases.

This is the first time I have ever heard Adam singing without support and it’s a very pleasant surprise, but make no mistake, the way in which he mixes singing with and without support, is technically complex, even though he makes it sound easy. It is clearly an element he has deliberately chosen to employ in this song and again, his artistic instincts led him to produce a wonderfully authentic new sound-scape. Interestingly, he continues to sing through the phrases properly with full voice support. And he keeps his voice very light throughout the song, in direct contrast to some of the more rock-type accompaniment.

This is also the first time that we hear a production treatment entirely different from the other songs on Trespassing in terms of feeding his vocals to our ears individually on some of his very light riffs and harmonies. It creates the impression that Adam’s voice and breath is kissing your ears one by one.

Snippet of By The Rules

You are my lover
My lava flow
Burn like no other
Right through the cold
Just like the constellations, we shine
No wreck or ruin, our planets align

The tide and the moon yeah
You pull like the sea
In waves I can feel ya
You’re my ecstasy
The lamb and the lion
We lay down in peace.
Like air to the fire
I need you to breathe

By the rules I play
By the rules I play
By the rules I play
Let nature have it’s way
Predator and prey
That’s the way we’re made
So by the rules
By the rules
By the rules

After the thunder
Must come the rain
After our beautiful karma
Must come the pain
Just like the constellations, we fade
As blades of sunlight send, send night away

The tide and the moon yeah
You pull like the sea
In waves I can feel ya
You’re my ecstasy
The lamb and the lion
We lay down in peace
Like air to the fire
I need you to breathe

By the rules I play
By the rules I play
By the rules I play
Let nature have it’s way
Predator and prey
That’s the way we’re made
So by the rules
By the rules
By the rules

17. Map, a shiny pop jewel from the Trespassing treasure chest, also with a great message, is a further excellent addition to an album that just keeps giving. This song really grows on you the more you hear it.

In Map Adam again treats us to singing both supported and unsupported and as the song’s tessitura is lower than we’re used to hearing from him, Map is a particularly unexpected and pleasant surprise.

He keeps his voice very light which, by the way in which he has chosen to sing the phrases in Map, complements the music and lyrics perfectly.

The great harmonies create a kind of vocal ‘orchestral’ sound that is immensely fulfilling and works perfectly together with the resolution of the music as we get to the chorus.

Snippet of Map

I had a vision that the colors bled away
and I had nothing to follow
was in the present and my life was stuck on replay
and all my wishes were hollow

You were a beam of light
Lit up my broken sky
there was just something about you
I had a vision and you painted the world for me
and now I’m laying beside you

I don’t need to wander anymore
I have found what I’ve been looking for
I don’t need a map to know the way
I don’t need a map to tell me where I’m at

Now I believe in more than I can see
now I can breathe again
and I don’t need a map to know the way
I don’t need a map
you’re always like a path

The dawn is bright and my perception is open wide
You know you flooded my senses
What you inspire is a feeling I can’t describe
forgotten all my defenses
You were a beam of light
Lit up my broken sky
there was just something about you
I had a vision and you painted the world for me
and now I’m staying beside you

I don’t need to wander anymore
I have found what I’ve been looking for
I don’t need a map to know the way
I don’t need a map to tell me where I’m at

Now I believe in more than I can see
now I can breathe again
and I don’t need a map to know the way
I don’t need a map
you’re always like a path

Finally I believe, I believe, I believe in more than I can see
I believe, I believe, I believe in more than I can see

Now I believe in more than I can see
now I can breathe again
and I don’t need a map to know the way
I don’t need a map
you’re always like a path

*     *     *

Adam’s father, Eber Lambert, with one of the incarnations of Trespassing.

Personally, I will eat several of my hats if Trespassing doesn’t bring Grammys, Golden Globes, Oscars, Pulitzer and Nobel Peace Prizes among the many rewards I’m sure will be bestowed on Adam Lambert for this fantastic second album – I can’t begin to imagine where he’ll go with the next one and the next one and the next…!

Many congratulations, Adam. Trespassing is truly a remarkable album on many levels and so much more than just another pop album – no wonder it went straight into the Billboard charts at Number 1 in both the US and Canada.

Trespassing is now available in the UK.

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About soundbath

I loved singing from a very young age and first performed in public when just seven years old. As a child, living as we did, on a farm in the middle of the Kalahari Desert - the place of my birth - we had no television and my mother played records by Mario Lanza, Guiseppe Di Stephano, Beniamino Gigli, Franco Corelli, Jussi Bjorling, Enrico Caruso and other well-known Italian opera tenors, day in and day out. I adored this music and their beautiful voices, and was convinced I would be a tenor when I grew up. But the small matter of being born a girl, shattered that dream! I trained as a soprano instead, and have been fortunate enough to sing all over the world, enjoying some wonderful moments along the way, including being invited to Buckingham Palace by Queen Elizabeth II in recognition of my contribution to the music, economy and culture of the UK.
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28 Responses to Adam Lambert’s Trespassing: the vocal review

  1. idahophoenix says:

    I am looking forward to re-listening to the album with your expert perspective on his voice–but even before then, I just have to jump in to say how thrilled I am to see your comments about Underneath. I think this song is brilliant on so many levels and have been surprised that reviewers generally haven’t highlighted this extraordinarily moving song. So thank you!

    • soundbath says:

      Hi idahophoenix,

      Thank you so much for popping by and for leaving such a lovely message.

      Yes, Underneath is definitely an astonishing song, and even more so because of Adam’s wonderful voice and poignant interpretation. I can’t wait to create a programme just about the song – there are so many layers to it – I hope I can do it justice!

  2. Jill says:

    Angelina, this is such a wonderful review and analysis! As always, your insights bring added appreciation for Adam’s talents and skills! I’ve posted a link to this review of AO! Look forward to reading your post on the London concerts, once you’ve recovered from the incredible experience that these must be live. We can feel the power of these performances thousands of miles away.
    xxoo Jill (torontoglambert)

    • soundbath says:

      Hi Jill,

      Thank you soooo much for your wonderful comments and for posting the link to AO – I really, really appreciate it! I’m thrilled that you liked my review.

      I’m hoping to create a Sound Bath programme about the London shows very soon, but at the moment I still feel rather emotional about it and will have to wait for my soul to catch up with my body to begin that task.

      For now, I’ll say this, though, the shows really were the most fantastic, best experience I’ve ever, ever had in a theatre, and I count myself extremely lucky to have witnessed all three of them!

  3. SoozinCA says:

    I love reading your analysis of Adam’s vocal abilities since I know nothing about voice except how his touches me. I’m curious about one thing that I’ve read from other opera experts about his voice. You mention his Baritone in a few songs and one San Diego opera expert 3 years ago indicated he thought that Adam might be naturally a baritone who chooses to sing in his higher range. Others say he is a light standard tenor. In your expert opinion which do you think is the correct classification of his voice – or does he just defy classification?

    • soundbath says:

      Hi SoozinCA,

      Lovely to hear from you! You’re right: we don’t really need to know anything technical about the voice to know that Adam’s voice is exceptional and to give ourselves over to its beauty and power, right?

      I have spoken elsewhere about the classification of voices and of Adam’s voice in particular, but I’ll briefly say this here: I understand why people might assume he is a Baritone singing in his higher range. Adam’s voice is a very rare voice-type – he is essentially a leggiero tenor, but you’re right to an extend – his voice might just defy classification and I wouldn’t be in the least surprised to discover that.

      Remember that we can only judge his voice by what we can hear from him at the moment and from what he has recorded so far, and his voice will still continue to mature as well. But I’m pretty confident that if we HAVE to box him in, his voice fits perfectly into the leggiero tenor fach. This means that the voice is unusually flexible, and capable of performing wonderful coloratura runs easily – something at which Adam excels!

      The other characteristic of this voice type is that the head voice, when it reaches a certain range, is often mistaken for falsetto when in fact the full-voice mechanism is still in place – I’ve seen this confusion from many people over the past three years when it comes to Adam’s voice. And what might then be even more confusing to them, is that on the other end of the scale, the lower register of this voice type, typically has Baritone qualities. The result is that unless dealt with properly, this voice type can easily be mis-classified, with disastrous results for the singer.

      Thankfully, Adam seems to have had wonderful, knowledgeable vocal coaches in his life who did not damage his voice, and he seems to have followed his own instincts on what to do with it and how to develop it perfectly.

      I hope this helps a little?

  4. cassie says:

    Thank you for taking time out of your very busy schedule to educate us a bit more about the mastery Adam brings to his singing. Now, I need to go back and listen another time with your points in mind.
    BTW, you noted his continued use of legato lines, even when it has a staccato sound to it. That is something I noticed strongly in watching videos of his Queen performance. He is singing hard rock, and really punching it at times, BUT, is is also singing these entire phrases legato! Huh? He also maintains his clear, ringing voice that is so not expected from a rock singer. But, because he has such great techniques as you have pointed out, somehow IT WORKS wonderfully. I look forward to a program on Underneath. Would love to have you explain to us how he puts so much pain and vulnerability into the sound of his voice.

    Thanks for all you do.

    • soundbath says:

      Aw thanks ever so much, Cassie! It’s my huge pleasure, as always, to be able to talk about Adam’s voice – I just wish I had more time to do more!

      You’re right about the legato lines in the Queen songs – not an easy feat, right? And the wonderful ringing tones is a constant because the sound is continually being placed in the mask, which is not how ‘normal’ rock singers use their voices, but then we’ve never experienced a trained voice singing rock before, I guess? I can’t think of anyone else with a trained voice who’ve ever sung rock before. It might be interesting to find out if this is another first for Mr Lambert, right? Mmm some research!

      Yes, I too look forward very much to taking a closer look at Underneath and how he slays us with his voice in that song in particular!

      BTW thank you sooo very much for responding to Janice Kucera on my behalf – you’re such a good friend – you probably knew I wasn’t going to be able to get here sooner!

      Thanks for all you do, too! 🙂

  5. I’m Just wild about your column, as you say EXACTALLY what we are all feeling!! Thank you sooo much, but I’m a little upset as I don’t have MAP & I don’t have BY THE RULES!!! Where are they? I did by that BIG BOX but I haven’t opened it yet because, silly me, I didn’t want the box cover scrattched with those beautiful metalic eyes. Are those 2 songs in there? HELP, I’M WILD TO KNOW WHERE I CAN GET THEM IF THEY’RE NOT IN THAT BOX!!! Thank you, Janice K

    • cassie says:

      They are on the UK version of Trespassing. Not available in the US, in the box, deluxe or any other version. By The Rules is also on the Japan version. And, strangely, it has been charting #1 on Brazilian radio charts. Not bad, seeing it is not available for sale there!

      • Well THANK YOU, Cassie!!! You’re SO SWEET to answer my plea for help!! I hope SOME day they’ll be available to us too!!! Again, THANK YOU FROM THE BOTTOM OF MY HEART!! Janice

      • Ana Mello says:

        Hello from Rio de Janeiro, Brazil!

        First of all, Angelina, I wanted you to know that I can feel the joy in your voice when you talk about Adam. It’s like you discovered in him the perfect exemple to demonstrate everything you believe about the voice as an instrument, and about the power of music, no matter the genre. I just love your enlightening Sound Bath programmes!

        And Cassie, I don’t know about the song “By The Rules” being #1 here yet, but the brazillian Glamberts assuredly are trying to make it happen. We are the “strange” factor! Actually, any Trespassing track would be welcome, but this song is probably the easyest to achieve success here because of the rhythm. The tropical feeling of it, you know. I don’t understand how this decisions are made, but I think it was a big marketing mistake to limit “By The Rules” and “Map” to UK and Japan. I want them in my CD too!!!!

        Take a look at our Adam’s fan site: http://adamlambertbrasil.com.br/
        There is a pool for the next single. Cuckoo is winning with 33,43% of the votes.

    • soundbath says:

      Hi Janice,

      Thank you so much for popping on here and for saying such lovely words. I’m so sorry that you haven’t got Map & By The Rules – both of which I like very, very much indeed! Have you now been able to find them? I think you can download them from iTunes, but it may be only UK iTunes? Let me know if you need help.

  6. Roberta says:

    Thank you so much for your expert comments on the amazing talented Mr. Lambert. His star is just beginning to shine….a VOICE and PRESENCE like no one else in music today. I appreciate you taking the time to do this.

    • soundbath says:

      Hi Roberta,

      Thank you so much for coming here, reading my review and for leaving such a lovely comment – I really appreciate it.

      You’re right: “His star is just beginning to shine…” And we’re already blinded! There is no-one like him in the music business and I’d go so far as to say there never have been!

      I can’t even imagine who he’s becoming, but I’m on board for the ride for sure!

  7. Kathy says:

    I know nothing about the technical side of singing, but it’s wonderful to hear a technical explanation for how and why Adam’s voice and musicality enchant me. Thank you for articulating what makes Adam Lambert one among millions. My favorite singers have always been those whose ability to feel music equals their vocal talent and carries their performances to almost unreachable levels – and NO ONE blends the two more expertly than Adam.

    • soundbath says:

      Hi Kathy,

      I’m really happy that you like my explanations, but I’m hardly having to think about it, because Adam makes it so easy. His techniques are so perfect and he is such a professional that it feels as though I’m talking about any one of my peers. I’m constantly surprised to find that actually I’m talking about a pop singer with these skills and abilities and that blows my mind! I still genuinely believe that Adam will change the way modern music is sung and presented, because no-one who hears him can ever be satisfied with anything less, don’t you think?

      You’re right: “no-one blends the two more expertly than Adam!”

      I’m so grateful to be alive at the same time as him so that I may have the chance to experience such sublime sounds and magic – he is truly a one-off!

  8. stardustpf says:

    I always love to hear your thoughts on Adam’s music. This album is stunningly good and can’t stop listening to it. Thank you so much!!!!

    • soundbath says:

      Hi Stardustpf,

      Thank you so much for coming by and for leaving your lovely comment.

      Trespassing is seriously good and I too can’t stop listening to it – cannot wait for the tour! Do you have favourite songs from the album?

  9. Etta says:

    I have discovered that reading your thoughts on the nuances in Adam Lambert’s voice has immeasurably enhanced my listening pleasure with an album I already thought was musically great from the start. Emotionally, I am very drawn to Adam’s voice and this extra insight manages to convey to me more of the reason why.

    • soundbath says:

      Hi Etta,

      Oh, I’m sooo thrilled that I’ve been able to assist somewhat in enhancing your listening pleasure of this wonderful singer’s work!

      Adam Lambert seems to appeal to his listeners on multiple levels simultaneously and this makes for very a powerful connection between him and his audience. It is such an extremely rare occurrence and elevates him to one of the most unique artists in the world. But even if he did not possess all the other fantastic qualities that goes to make up his exceptionality, the quality of his voice and his vocal skills alone, would still be unsurpassed.

  10. kokoca says:

    Reblogged this on Kokoca’s Weblog.

    • soundbath says:

      Hi Kokoca,

      Ooooh thanks for reblogging! Unfortunately, I don’t know how to do that, so can’t repay the favour – perhaps you can let me know? Thanks!

      • Etta says:

        How nice of you! But unfortunately when I looked at the post, I couldn’t find what I found on yours. Thank you for reading it though. I was pleasantly surprised.

  11. lovingadam1031 says:

    Outstanding review and I noticed one thing in particular you didn’t seem to dislike any song on the album. I have purchased albums all by life and not one did I NOT FF through and NOT one did I like every song on the album. But Trespassing is a true GEM it’s a DIAMOND full of fun dance songs and ballad’s brilliantly written and produced so that each song had it’s own unique sound but yet all the songs are cohesive and told a story. I have played the album in my car on several trips and not once skipped a song. It’s like I was listening to a musical storybook and at the end still wanted more so I just rewound each and every trip. I really hope the people in the US catch on to this brilliant masterpiece of music and buy it as it should be #1 everywhere. Hopefully more people will wake up and realize that they have been mentally conditioned to think that what they have been buying and listening to on the radio is NOT what they should be buying and go out and buy this album.

  12. Tatiana says:

    It is always a remarkable experience to read your reviews. It is very educational and emotional at the same time. It is obvious that you do it for the love of music and talent, and not for other superficial reasons. Thank you SO MUCH for that! It is exciting to learn what a skilled singer AL is. He has this phenomenal gift but he also works very hard to hone it. It is so admirable. In one of your reviews, you said that he never uses his voice and techniques just to show off. It is always about the music and the message of the song for him. It is so true. And this album is the brilliant proof of that. I listen to it with new appreciation after reading your review. I totally agree with you about the bonus tracks, they are all amazing. I also wonder what other gems did not make onto the album. I am especially intrigued to hear what he wrote with Sia.
    I very much look forward to your reviews of Broken English and Underneath, and whatever else you might want to review!
    xo Tatiana

  13. MagooEBJ says:

    Thank you for this and all your other analyses of the brilliance within Adam Lambert. I’ve been regularly checking in to see what you will have to say about QUEEN + Adam. Such a perfect and beautiful expression of yours–waiting for your soul to catch up with your body! Mine certainly has not yet so I wait in patient comraderie for yours as well. Once again you’ve captured in only a few lovely words the extraordinary emotional and physical reactions to Adam that we lesser mortals experience with his every breath. Thank you.

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