Boyce Avenue is an acoustic band formed in Sarasota, Florida in 2004 by three brothers, Alejandro Manzano (lead vocals, guitar and piano), Fabian Manzano (guitar, keyboards and backing vocals) and Daniel Manzano (percussion, bass, violin and backing vocals), as well as various touring members. After posting covers and original material to YouTube, which achieved views of around 11,000,000 the band set their sights with connecting with their rapidly growing online fanbase.
The record begins with Katy Perry’s chart topper ‘Teenage Dream’, pin-pointing Boyce Avenue as innocent ridden artists in a world of songwriting about parties and one night stands. This is because they not only make the track their own with gentle vocals and instrumentation, but also change various somewhat suggestive lyrics, for instance, from ‘Let’s go all the way tonight...’ to ‘Let’s just talk all through the night, there’s no need to rush’. It is also clear that Alejandro’s voice is nothing but stunning, and the band have managed to format a half decent pop song into something that really tugs at your heart rings.
Taio Cruz’s mind-numbingly repetitive composition, ‘Dynamite’ appears completely reformatted when generic studio-created beats and overly-edited vocals are replaced with tender guitaring and vocals. Boyce Avenue prove that pop music can still have a soul. Although ‘Just the Way You Are’, originally by Bruno Mars is a sentimentally driving track anyway, Boyce Avenue’s arrangement makes it earth-shattering beautiful with the natural simplicity of the vocals in particular.
However, the band step up and do something incredibly brave following their covers of current chart competitors, by including a Michael Jackson track, and not one that everyone necessarily knows, ‘Will You Be There?’. Yet because of how different Jackson’s and Manzano’s vocal styles are, it somehow works. The track also boasts the vocal abilities of the other Manzano brothers, constructing a flawless wall of sound. ‘With Arms Wide Open’ by American rock band ‘Creed’ is originally superb song, reflecting how high Boyce Avenue are setting their sights, as well as their aspirations regarding musical variety; leaping from Pop songs, to Michael Jackson, to rock tracks, and doing each one justice.
Boyce Avenue have cleverly constructed this record, clearly including material from artists like enjoy personally, as they have inputted another Bruno Mars piece, ‘Grenade.’ The original of this track is very good as it stands, but the string section and heart-wrenching harmonies modify it to an eerily tender track. A blend of yet another Bruno Mars (featuring B.O.B) song, ‘Nothin’ On You’, Justin Timberlake’s ‘My Love’ and Far East Movement’s ‘Rocketeer’ follows, proving that there is some heart in popular music, and in this acoustic form, the listener can really appreciate the songs lyrically.
‘Pink’s’ fan outreach track ‘F**ckin’ Perfect’, censored to ‘Perfect’ for this album, is a wonderful composition of light and shade throughout the song, uplifting lyrics and spot-on instrument arrangements. Take That’s ‘Back For Good’ is nothing if not a classic love song, depicting how high Boyce Avenue have set their sights, even with their covers. Although this track is well performed, the arrangement is somewhat disappointing as it does not illustrate the band varying it in any way whatsoever. Boyce Avenue’s dazzling harmonies exposed at their peak in ‘Water Runs Dry’, and although the arrangement is similar to the original Boyz II Men set-up, it conveys how talented the band are, and the great potential they have to dip their toes into so many genres and styles.
Kings Of Leon are by no means the best lyricists, musicians or performers, but their track ‘Radioactive’ works so well in the original composition format. Therefore, there is something that does not fit correctly for the Manzano’s arrangement. But Black Eyed Peas’ ‘Just Can’t Get Enough’ is nothing sort of appalling, so any variation is warmly welcomed. However, this track eradicates the innocence Boyce Avenue have had peppered throughout the rest of ‘New Acoustic Sessions Vol. 1’.
Although the album shows Boyce Avenue’s overall potential and commercial appeal, it seems to deteriorate from the outset, as if less effort was used to form the final few tracks. Yet when the material works, it is emotive and charming and boasts exquisite vocals.
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| The Album Cover for 'New Acoustic Sessions Vol. 1' |
Boyce Avenue have cleverly constructed this record, clearly including material from artists like enjoy personally, as they have inputted another Bruno Mars piece, ‘Grenade.’ The original of this track is very good as it stands, but the string section and heart-wrenching harmonies modify it to an eerily tender track. A blend of yet another Bruno Mars (featuring B.O.B) song, ‘Nothin’ On You’, Justin Timberlake’s ‘My Love’ and Far East Movement’s ‘Rocketeer’ follows, proving that there is some heart in popular music, and in this acoustic form, the listener can really appreciate the songs lyrically.
‘Pink’s’ fan outreach track ‘F**ckin’ Perfect’, censored to ‘Perfect’ for this album, is a wonderful composition of light and shade throughout the song, uplifting lyrics and spot-on instrument arrangements. Take That’s ‘Back For Good’ is nothing if not a classic love song, depicting how high Boyce Avenue have set their sights, even with their covers. Although this track is well performed, the arrangement is somewhat disappointing as it does not illustrate the band varying it in any way whatsoever. Boyce Avenue’s dazzling harmonies exposed at their peak in ‘Water Runs Dry’, and although the arrangement is similar to the original Boyz II Men set-up, it conveys how talented the band are, and the great potential they have to dip their toes into so many genres and styles.
Kings Of Leon are by no means the best lyricists, musicians or performers, but their track ‘Radioactive’ works so well in the original composition format. Therefore, there is something that does not fit correctly for the Manzano’s arrangement. But Black Eyed Peas’ ‘Just Can’t Get Enough’ is nothing sort of appalling, so any variation is warmly welcomed. However, this track eradicates the innocence Boyce Avenue have had peppered throughout the rest of ‘New Acoustic Sessions Vol. 1’.
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| Boyce Avenue |
4/5
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