Post by aleksandrakv on Jun 6, 2012 3:01:49 GMT -5
1. “Kickin’ In”
Laser synths, rapid-fire “c’mon!” drops, octave-split self-harmonizing, and tons of cowbell…and that’s just the first half-minute or so of “Kickin’ In,” Adam Lambert’s best Michael Jackson tribute since he shredded on “Black or White” during his American Idol days. Of course, this is subject matter that MJ never would have dreamed of, a tale of drug use of some sort (“She wants to be up there / In the air when the clouds live”) that sounds like it’s having too much fun to possibly be considered cautionary. Adam’s partaking in something himself, though whether it’s drugs or sex is a little unclear (“She wants to introduce me / to her friend Daddy / What is she tryin’ to do to me?”) It doesn’t really matter what artist or listener are on when it gets to the rising, intoxicating chorus, though: “Can you feel it kickin’ in?”
It’s also another return to form for producer Pharrell, who hasn’t approximated Off the Wall-era Quincy Jones this well since his work on Justin Timberlake’s Justified. It’s one of his densest production tracks in ages, and it commands dancefloor participation in a way we weren’t sure Pharrell was capable of (or even interested in) anymore. Between this and the album’s title track, if Trespassing doesn’t help start a second-wave Neptunes renaissance (assuming Chad Hugo is still hanging around somewhere), it’ll be a low down dirty shame.
"He got words that rhyme, he got a dirty mind." In fact, this track harkens back to the Prince classic "Dirty Mind." It's also one of the most irresistible songs on the album, with its story of ... liquid euphoria. Best Lyric: "She puts the shot glass down, she asks for another round. She wants to hit the clouds, honey are you up there now?"
Kickin' In (Pharrell Wiliams, Adam Lambert). In the verses, a driving dance groove and vocals doubled an octave create a sound reminiscent of Michael Jackson, while the pinballing synthesizer lines induce an altered musical state.
Post by aleksandrakv on Jul 15, 2012 13:17:36 GMT -5
The Sound Bath: Adam Lambert’s Trespassing: the vocal review
Posted on July 12, 2012 by soundbath
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”