Sound: It’s always interesting to hear how different bands will utilize the ever-popular unplugged format. For some it might actually do them a disservice, but this isn’t the case for Taking Back Sunday. Granted, the Amityville natives have released plenty of catchy, power-chord rich material that has clicked with Warped Tour crowds, but the latest album Live From Orensanz showcases the true talent and vibrant instrumentation behind it all. Recorded over two acoustic shows in 1999 at the Angel Orensanz (a New York synagogue built with a Gothic flair), the live acoustic record doesn’t stray too far from the original songs all in all, but even stripping back the amplification allows the musicianship to come through a bit more effectively.
Rather than going for a slower, dramatic opening a la Alice In Chains Unplugged, Taking Back Sunday opts for the energetic “MakeDamnSure.” Immediately the vocal power and clarity shines through more so than what you hear on the original recordings. It’s one of many selections that are pretty faithful to the original arrangement, although it has a slightly mellower feel. “New Again” and “Set The Phasers To Stun” also somehow manage to deliver massive amounts of energy without the use of electrics. The one can’t-miss moment of the latter track is when the usual electric lead (which usually has a somewhat sonic vibe) is replaced with a gorgeous, well-executed acoustic solo.
The few numbers that are a bit more experimental and gutsy usually are the standouts in unplugged formats, and Taking Back Sunday has a few that are worthy of mention. “A Decade Under The Influence/Lightning Song” pulls the tempo back to almost a lull, with a gorgeous string section backing it all. The layered harmonies of Adam Lazzara and then-guitarist/vocalist Matthew Fazzi are much more powerful in the live version, and they actually never sounded better. “Everything Must Go” is another bare-bones arrangement (even more so than the original), which although one of the quietest numbers, will be one that lingers in your mind. // 9
Lyrics and Singing: Live From Orensanz features no new material, and you’ll hear familiar titles like “MakeDamnSure,” “My Blue Heaven,” and “Cute Without The E (Cut From The Team).” The titles are always unique and a bit quirky, but the themes within the core songs generally do revolve around your standard relationship/love fare. The band is geared toward a younger audience in any case – as you can determine from just listening to the masses of screaming girls in the background – and the lyrical content is pretty much designed for that crowd. // 7
Impression: When the band plugs in, Taking Back Sunday walks an alternative rock/emo/pop line that has certainly worked well for them over a decade. The acoustic format allows the band to focus on the core songwriting without relying on that rock persona that has earned them plenty of fans, however. There is plenty to be acknowledged on the album, whether it’s the capable acoustic lead work of Matthew Fazzi and Eddie Reyes or the moving vocal duo of Lazzara/Fazzi. The band could have ventured into more adventurous arrangements, but for the most part Live From Orensanz still provides a fresh and enjoyable listen. // 8
I can find myself in your complete review.
I liked the vocals, and feel they're less offkey and flat than the original recordings. My GF hates TBS for the awkward false notes, but i actually like the feeling and emotion that's put in the songs because of that. Orensanz made the singers put more effort in the emotion-bringing part, and they did well. I liked the cracking sound in Fazzi's voice.
Different melodies in the lyrics were a bit too much in my eyes. I don't hate it, and liked some new keys in the melody, but all in all, a tiny bit too much.
Guitar playing was good, solid. A few errs in letting notes ring, but nothing serious. Nothing fancy, but i don't care. The TBS guitar riffs truly complement the singers.
Bass guitar had some fun riffs and an occasional solo that worked well in the 'acoustic' sense.
Drums we're good, not so very different except the exclusion of a lot of crashes. The drums in Carpathia were awesome and are a prime examples of converting a song from a fast paced guitar shred to a steady, driving beat.
Organs. I've never heard organs tie in so well and build up a cacophony as New Again.
Violins/Violas are instruments that are really great for building up a feeling of... 'Pride', and with the long notes and backup of a drum splash rain really gave extra meaning to Everything must go.
All in all this was an interesting take on the songs, but I'm really sad this yourney only took 11 songs... Wish there were more songs converted like this.