When artists put out a new album, they often change their musical style. Sometimes, this change is rewarding, as it allows a musician to evolve and build upon his or her foundation. Other times, such change can lead to a failed attempt at assimilating a genre the artist clearly cannot handle. In the case of singer/songwriter Tyrone Wells and his newest release, "Where We Meet," the change in style falls somewhere in between. Regrettably, Wells' latest album leaves behind the folky energy that dominated his early work. While he manages to offer listeners a different vibe, his old flair is sorely missed.
Tyrone Wells started out as a musician in Orange County over a decade ago, playing songs that blended folk, funk, acoustic and pop. Playing in coffee shops and malls across the area, Wells made his name as a certified singer/songwriter that found synergistic beauty in thoughtful lyrics and acoustic guitar. After releasing his first two full−length albums independently — "Snapshot" (2003) and "Hold On" (2006) — Wells established a bold and creative feel that had audiences singing and dancing along to his songs.
Since then, Wells has expanded his scope, traveling all over the country. But other things have changed about Wells, including his music. Much of the funk that flavored his songs is gone. Sporadic twangs of guitar are no longer strewn throughout, the surprising falsetto is rarely used and those groovy moments of slow, deep bass guitar or synthesizer have been replaced with poppy, generic tunes or meaningless ballads.
That's not to say "Where We Meet" isn't worth a listen — there are a few bright spots. Though the lead single, "Freedom," embodies Wells' newfound love for synthetic "pop," it's undeniably catchy, upbeat and fun. It might not be as artistic as the songs from his past works, but "Freedom" starts the album on a high note and easily gets you up on your feet.
Unfortunately, what follows is a generic, lifeless ballad titled "You're the One." Further weighing on the album is the lugubrious dirge "I Can't Save You Now." Only with "Satellite" does the album perk back up, demonstrating some of the resonating lyricism that endeared Wells to listeners in the past. Yet, compared to his breakout album, "Remain," "Satellite" lacks the folksy instrumentality that energized Wells' earlier music.
Thankfully, Wells saves his album with a string of lively songs. "The Most" starts off rather dull, but picks up as it progresses. The two songs that follow, "Head Over Heels" and "Run Away With Me," are pure fun. They're innocent, juvenile, and careless in a good way, prompting fans to forget their worries and live in the moment. While the album is devoid of the energy Wells once possessed, these songs are the closest he comes to matching his past whimsy.
The rest of the album droops, with a slew of tracks that satisfy, at least to the point that they do not outright disappoint. These songs, like much of Wells' newer work, feature sentimental lyrics that get lost in the mediocrity of the album.
The album manages to finish on a relatively strong note, pumping up the listener over the course of "Way Out." By the time the freeing and easygoing bonus track "Say I Love You" has come to an end, you'll almost have forgotten about the album's many letdowns … almost.
It's tough for an artist to escape the allure of popularity and mainstream success; simply put, it pays. It's possible, even likely, that Tyrone Wells gave in to this allure with "Where We Meet," replacing his original groovy, folky style with a more generic pop approach that appeals to a wider audience. The most disappointing part of this change is the quality of Wells' lyrics. Where once his lyrics were spiritual and full of heart, his newest songs are not nearly as well drafted and feel empty and featureless in comparison.
While Tyrone Wells' "Where We Meet" is generally a disappointment, the album still entertains at times, and fans can always turn to his older albums for an amazing listen.
