ADAM GREEN
Sixes & Sevens
With his profile raised by the part Moldy Peaches’ music played in Juno, the fifth solo album from New York’s Adam Green is gaining more attention than his preceding outings, so it is particularly pleasing that Sixes & Sevens is a fine collection of songs.
Following the disappointment of his previous long-player, the aggressive Jacket Full of Danger, Green rediscovers his charm as he dips in and out of a host of differing styles. His tongue-in-cheek, obscure lyrics are delivered with that familiar baritone cabaret croon, most pleasingly on the swing of Morning After Midnight and the Leonard Cohen-esque Getting Led, which comes complete with female backing choir. Elsewhere he takes a stroll through soul and jazz, while Exp 1 revisits the stripped back anti-folk style of his debut. Similarly, a duet with girlfriend Loribeth Capella on Drowning Head First is reminiscent of the Moldy Peaches at their most tender.
The beautifully produced, 20-song album is all over in 48 minutes, meaning there isn’t much meat to the bones here, but then we have come to expect that from Green, whose tracks are always so succinct that it seems unnecessary for them to last more than three minutes.
Sixes & Sevens really doesn’t play like an album but rather a random journey through the musical genres of the 50s and 60s. However, while its overtly eclectic nature makes for a noticeably incoherent body of work, a few of the individual songs represent some of his finest output to date, making this a marvelous return to form.
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