Volume One

M. Ward, She & Him | Format: Audio CD

Product Details

• Audio CD (March 18, 2008)
• Original Release Date: 2008
• Number of Discs: 1
• Label: Merge Records
• ASIN: B0012IWHQO
• Also Available in: Audio CD  |  Vinyl  |  MP3 Music
• Average Customer Review: 4.1 out of 5 stars  See all reviews (146 customer reviews)
• Amazon Best Sellers Rank: #1,311 in Music (See Top 100 in Music)
  • #2 in Music > Alternative Rock > Singer-Songwriters
  • #8 in Music > Alternative Rock > Indie & Lo-Fi > General
  • #14 in Music > Rock > Singer-Songwriters

Track Listings

1. Sentimental Heart

2. Why Do You Let Me Stay Here?

3. This Is Not A Test

4. Change Is Hard

5. I Thought I Saw Your Face Today

6. Take It Back

7. I Was Made For You

8. You Really Gotta Hold On Me

9. Black Hole

10. Got Me

11. I Should Have Known Better

12. Sweet Darlin'

Editorial Reviews

Amazon.com

Some of us first fell in love with Zooey Deschanel's distinctive and charming voice when she crooned, "Baby it’s cold outside," with Will Ferrell in their 2003 movie, Elf. Then, in concert last summer, M.Ward invited Deschanel to the stage, where they effortlessly created the equivalent of musical utopia. In their first recorded collaboration as She & Him, Deschanel and Ward strike the same sincerity with his nostalgic production and her retro resonance. Cover songs such as "You Really Got a Hold on Me," previously performed by Smokey Robinson and the Miracles, gain a newfound heartache and undeniable splendor. Bring on Volume 2. --Amanda MacKinnon

Product Description

This is the musical debut from M. Ward and Zooey Deschanel, paired together by director Martin Hayens to perform the Richard and Linda Thompson tune "When I Get To The Border" for his film "The Go-Getter". Their match sparked the idea for "Volume One". Limited touring this spring.

Most Helpful Customer Reviews

160 of 166 people found the following review helpful

5.0 out of 5 stars California soul at 33 rpm April 17, 2008

By S. Yates

Format:Audio CD

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. Read more ›

42 of 43 people found the following review helpful

4.0 out of 5 stars One day, we'll all be cool May 2, 2008

By Invisigoth

Format:Audio CD

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.

63 of 72 people found the following review helpful

3.0 out of 5 stars poignant and sweet April 28, 2008

By Moten Swing

Format:Audio CD

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.

10 of 11 people found the following review helpful

3.0 out of 5 stars Could be so much better. April 11, 2008

By Tico J. Punk

Format:Audio CD|Amazon Verified Purchase

I can't think of any better word to describe my overall feeling after listening to this a few times... disappointed.

Zooey's voice has haunting quality, this bittersweet painfulness that can easily pull at your heart strings. Yet, for reasons not clear to me the production wasn't done in a way to get the best out of her vocally. In some passages it feels very forced, like she's reading off a lyric sheet in front of her, yet somtimes 10 seconds later in the same song she'll reach a passage where you can tell her heart is in it, it's note perfect, and it starts stirring that emotion inside you.

For example on "Take it Back". The first line, the word "It" wavers and is clearly flat, and not in a good slidey jazzy way, just seems like no one cared to get her to do this line over. yet a few seconds later she's deep in note perfect soulful emotion. I don't understand why they wouldn't take the few extra minutes to capture that magic all over the record. Unfortunately, when Zooey isn't there emotionally with her voice, is sounds strained and is distracting. I KNOW she is capable of a much much better vocal performance. In the brilliantly performed passages, there's nothing like it, so the proof is right there for you to hear.

Song-wise, the best songs for her are the ones she's written. I can do without the Beatles cover. It isn't very good. Beatles covers are precarious ground to cover in my opinion. If you aren't going to do something really really great with it, don't do it. The songs are close to as brilliantly written, performed, arranged as they are going to be on the Beatles' recordings. The absolutely high point for her vocally is the unlisted recording of what sounds like her in a noisy room singing Swing Low Sweet Chariot.... These classic folk songs are where she shines, and a lot of this record sounds contrived. A lot of Be My Baby-ish attempts are made, and though they sound pretty authentic, I just don't think this is where her voice shines. It shows limitations instead of showcasing her natural abilities.

In any case, I'm still listening. It's definitely fun, I just can't get thru it without being annoyed by the fact that I KNOW if a little more work was done in the studio she could have nailed it beginning note to last.

Keep singing Zooey. We like it. That slow croony Kline/Clooney/Holiday vibe is where you shine. We're thankful to have another great singer in this vein. Make us cry. You can do it. Read more ›