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Volume 3

4.6 out of 5 stars 161 customer reviews

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Editorial Reviews

With fourteen songs 11 Deschanel originals and three covers Volume 3 is an effortlessly effervescent, bleached-in-the-sun pop record. The album features some of the most dynamic, complex songs Deschanel has ever written, allowing for tempo shifts, disco grooves, string arrangements on multiple tracks, and horn flourishes that perfectly suit the She & Him sound. Produced by M. Ward and recorded in LA, Portland, and New York City, Volume 3 features guest contributions from NRBQ's Joey Spampinato, Mike Watt, Tilly and the Wall, Pierre de Reeder from Rilo Kiley, and Tom Hagerman from Devotchka.
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Product Details

  • Audio CD (May 7, 2013)
  • Number of Discs: 1
  • Label: Merge Records
  • ASIN: B00BB22FKO
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (161 customer reviews)
  • Amazon Best Sellers Rank: #55,780 in Music (See Top 100 in Music)

Customer Reviews

Top Customer Reviews

Format: Audio CD
I've been a fan of Zooey and She & Him for years, but musically I used to think that M. Ward was the backbone of She & Him. Zooey was the cute face and quirky voice that sold albums, but M. Ward's abilities are what always drove it home from a stylistic and technical point for me. But Volume 3 shows just how far Zooey has grown into her own. Her voice is warm, rich, and as unique as ever and she really stands out on this album.

Volume 3 is a really good album full of the poppy 60's-vibed tunes of once upon a time that She & Him have become known for, and I can tell that it will be on frequent rotation this summer by the pool. Quite a few tracks are reminiscent of the band Camera Obscura (most notably "I've Got Your Number Son", "Never Wanted Your Love", ) and their covers of "Hold Me, Thrill Me, Kiss Me" and Blondie's "Sunday Girl" are simply sublime. I'm always impressed by their cover selection.

I gave the album 4 stars instead of 5, though, because I found the album, despite it's poppy feel, to remain consistently just a little too mellow. Volume 1 had "Why Do You Let Me Stay Here" and Volume 2 had "In The Sun" to change up the pace a little. But no tracks really stand out on their own on this one. Instead of going from good to okay to great back to okay again like most decent albums tend to do, Vol. 3 remains good throughout. This is good and not-so-good, because although there are no bad songs to skip through, there never comes a big WOW! moment.

If you're a fan of She & Him, this album will not disappoint. And, as I said, Zooey's voice has only improved with time. Download Vol. 3 and get your swim caps and hula hoops ready, 'cause it's gonna be a chill summer.
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Format: Audio CD
Half these songs could have been penned by Ellie Greenwich and Jeff Barry and produced by the late (recently deceased), great Shadow Morton in the mid-1960s. In fact, one of the best here, "Baby," actually was. One can imagine Zooey Deschanel, had she been around back then, in friendly competition with the Shangri-Las, the Ronettes and Lesley Gore as the girls did their part to fend off the post-Beatles British invasion. Zooey's "I've Got Your Number, Son" sounds like some great Ronettes rarity that is only now being issued. "Hold Me, Thrill Me, Kiss Me" was a huge hit in 1965 for Mel Carter, but it is really a woman's song; and Zooey takes it back to its roots when it was a top five national hit for Karen Chandler in 1952-53. This is the best vocal performance I have ever heard by Zooey, and it shows she is capable of holding her own with some of the best of them from the past sixty years. At her best, her original songs are endearing, alluring and hypnotic--even haunting at times--and loaded with innocent charm that no other artist has been able to pull off consistently since the sixties girl sound. And moving into the succeeding decade (1978, to be exact), She & Him throw in a delightfully unexpected cover of Blondie's "Sunday Girl."

M. Ward displays his best producing and arranging chops to date, with some tracks getting the strings-and-horns wall-of-sound treatment to go along with organ and piano and his always superlative guitar work.

The one track I'm not all that sold on, despite its excellent lyrics, is Zooey's solo piece, "London." I miss the normal production values here; but mostly, it's just too dirge-like to want to rehear with the others that feature her trademark perky-quirky energy.
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Format: MP3 Music Verified Purchase
I like this set of songs and enjoy listening, and it seems like a logical progression from Vol. 1 and Vol. 2. Maturing seems like the wrong word, but the singing is better, more confident, more personal this time around. I am an M Ward fan and his influence is more obvious this time, or at least I know what to look for. The song writing is interesting, as I've come to expect, and the cover songs are a delight, especially "Someday Girl." This and Sarah Melson "A Million White Stars" are in my playlist every day.
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I have been eagerly anticipating the release of She & Him's third album, and it doesn't disappoint. It's amazing to me that Zooey Deschanel writes all her own material and is such a great musician overall despite the fact that it's really just her side gig. There are only three (awesome) covers on this CD, and none of the tracks are duds. My faves include "Somebody Sweet to Talk To," "Sunday Girl," and "London," but I can honestly say that I enjoyed every song on here.

The one criticism I have is that the entire album is super mellow...which is not a bad thing. But there aren't any upbeat tracks like "Sweet Darlin'" to pick up the pace at all. I tend to enjoy those jazzier tracks the most, so that was a bit disappointing. Despite that, Volume 3 is great. I'm so excited to see this group in concert this summer.
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By Enjaytee on August 27, 2013
Format: MP3 Music Verified Purchase
I love them. Zooey has the most incredible voice. I don't know why she hasn't been played on the radio. I am definitely a fan now. that I have discovered them. It doesn't hurt that some of the songs are old favorites.
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Format: Audio CD
This collaboration started with a professional musician turning the scribblings of a quirky actress with a good singing voice into accessible pop art.
Now, it's become something much, much greater. Deschanel isn't being carried anymore, she's stepped up to make this a true 50-50 partnership. Her singing - sultry, pouty, seductive, ironic, in all the right places. It's like someone captured the spirit of the Phil Spector/Brian Wilson 60s in a lightning bug jar, kept the lid closed for five decades, then opened it up in 2013.
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