Donna has been waiting for seven months for Taylor’s first album. Now that she has it in her possession, she is ready to share her impressions. Did she love it or hate it? Read on to find out.

Sometimes it feels as though I’ve been listening to Taylor Hicks’ music for years! In reality, it hasn’t even been one year since the first time I heard his voice. In the interim, I’ve accumulated quite a collection of Taylor Hicks music, including both of his indie CDs (In Your Time and Under the Radar) and over 100 tracks of his live performances from all three “eras” – pre-Idol, Idol, and post-Idol. Last week, I added his first post-Idol CD, Taylor Hicks, to my collection.

Suffice it to say that I am a fan! But being a fan doesn’t necessarily mean that I am going to love everything that Taylor, or any other Idol, does. I have been disappointed before, after all. I am also a journalist, capable of objectivity, and able to withstand the certain onslaught of criticism that is the bane of all writers who dare find fault with an artist who is widely loved, even idolized.

Certainly, I approached this review with a degree of trepidation, but I needn’t have worried. Taylor Hicks, while not perfect, is big, bold, and boisterous; and more importantly, manages to avoid the pitfalls of over-“popification” that have plagued previous Idols’ first releases. What makes this work is that Taylor collaborated with just one producer, Matt Serletic, on this project, and the album, although somewhat disjointed, ultimately ends up being fairly cohesive.

From “The Runaround,” which starts off the album with a kicky drum line, to the emotional, soulful finale, “The Right Place,” this CD takes the listener on a junket of musical styles, rhythms, and emotions. At first, the song selections seem rather disparate and don’t flow together seamlessly. But the constant throughout is Taylor’s vocals, which never waiver.

The album also ventures into territory that few current artists have dared visit. Taylor cut his musical teeth on the Motown sound and Ray Charles, and while the album could have more of it, this influence is clearly reflected in several tracks. Wisely, Matt and Taylor recognized that in order to achieve commercial success, a balance must be struck. Call that “paying the devil,” or whatever, but putting together a mix of songs on this album will ensure a bigger bottom line, which in turn will enable Taylor to “do his thing” on the next one.

The CD opens with “The Runaround,” which appears to be the first single. The song mixes up percussion and brass, but has some rather juvenile lyrics (“I got an A in broken hearts, I gotta degree in crying”). The problem is, the song is maddeningly catchy with a hook that stays embedded in your brain for days. This, of course, is formulaic pop, and the tune, although like nothing else being played on pop radio today, could end up being a hit. Stranger things have happened, after all.

Winners

"The Right Place" is, without question, the best song on the album. I doubt Taylor will record another song that I like any better. It's plaintive and heartfelt—everything Taylor Hicks promised to be. And he feels this song from the depths of his soul. If for nothing else, “The Right Place” is worth the price of the CD.

"Just to Feel That Way" is another winner. It’s astounding in its intensity, with soaring vocals and heated emotion. Taylor belts this one out and just as quickly tones it down. Another A-lister, "Gonna Move" is one funky tune. There’s a nice injection of soul, a good bass line, and even an organ. This is the kind of song I expected from Taylor and he sings the stuffing out of it.

"Give Me Tonight" is a dancey piece that is radio friendly, club friendly, and will remix beautifully. It’s a very fresh sound with Taylor-ized vocals and a driving rhythm that had me up and dancing the first time I heard it. Taylor interprets Diane Warren’s “Places I’ve Been” beautifully, while avoiding over-sentimentality. The song becomes Taylor’s musical reflection of the past year and this helps to supersede the slight taint of cheesiness in the lyrics.

Bubbling Under

I am somewhat less than enchanted by "Dream Myself Awake," which is probably the most overtly pop tune on the album. It doesn't really fit Taylor’s voice and seems a bit trite. But, it's got a great, great hook, and when the horns come in, the song becomes interesting.

I am also not totally smitten by "Wherever I Lay my Hat." The song has a bit of a 1980s feel to it and even has hints of Bruce Springsteen woven through it. Taylor’s vocals are nice and clean, but overall I am somewhat mixed on this one. With a little more funk this could have been the best song on the album. As it is, it’s slightly off-kilter.

"Heaven Knows" opens with a sampling of Ray Charles' "What'd I Say," which is woven throughout. It has a rather retro feel, and while I appreciate his attempt to pay homage to his own personal musical idols, the overall effect is somewhat disjointed. This song should have been one of the best. Instead, it becomes, for me at least, one of the most forgettable.

Missed the Mark

"The Maze" doesn't do much for me at this point. Maybe it's just a bit too pop or too fussy, but it’s my least favorite on the album.

Originals

Two of Taylor’s original songs, “Soul Thing” and “The Deal,” are included on this album. Both have been given extreme makeovers, and while “The Deal” freshened up beautifully, “Soul Thing” lost a bit in translation. The too-cutesy Taylor vocals that underscore the opening of the song are distracting and this arrangement leaves out some of the elements that made the Under the Radar version work so well. Where’s the country twang and jazz leaving her number? Taylor does manage to reel it back in with the ending, but overall, I prefer the “original” better.

So, how would I rate this album? I hate this part, but on a scale of one to ten, I would give it an eight. Why eight? Taylor could have earned a ten, from me at least, by including more soul tunes. That’s what I wanted and expected.

But I understand that this album must appeal to the masses. And to do that, Taylor must get his singles played on the radio – yup, the radio. Radio airplay equals increased album sales – just ask Kelly Clarkson or Carrie Underwood. In order to get airplay, the tunes have to catchy and fresh.

Taylor has managed to put a few songs on this album that fit the bill while at the same time retaining his musical stamp. For all but the most diehard, this album works as an exhibition of Taylor’s ability to interpret a variety of types of music, and to that end, it’s a winner!