O.A.R.
leapt to the majors in 2003 with
In Between Now and Then
, but the move didn't change their longstanding commitment to touring. The live show built their audience and crafted their sound; why would
Atlantic
's logo on their record change that? Ultimately, 2005's
Stories of a Stranger
doesn't change
's organic, homespun approach to
pop
, either. But it definitely refines it along the way, bringing the Maryland combo firmly into the
adult alternative
fold. Live, these songs will still have potential for
jam band
elasticity. But on
Stories
they're tightly wound, showing off
Marc Roberge
's dry vocal and urgent turns of melody.
"Heard the World,"
"Daylight the Dog,"
and
"Love and Memories"
are full of guitar and yearning, like a less self-righteous
Switchfoot
or wordier
Goo Goo Dolls
.
"Memories"
in particular is a departure for
-- co-written by
Roberge
with hired gun
Glen Ballard
, it amplifies every part of the band's sound, nearly guaranteeing a radio hit. There's quieter material here --
Jerry DePizzo
's saxophone shines in the languid
"Nasim Joon"
-- and the band's knack for light and breezy island-flavored
breathes in
"Lay Down,"
"One Shot,"
"Program Director,"
and the irresistible
"Wonderful Day."
And yet it's the slick, gently insistent
"The Stranger"
(with backing vocals from
Toby Lightman
) that feels more representative of
. It's clear that
is moving toward songs that will tell a story, make you smile, or make you think, but also have real appeal for casual listeners. There's nothing wrong with that --
proved their live mettle a long time ago, and they remain curious, crafty songwriters.
just presents everything that defines
in a more concise package. ~ Johnny Loftus