lambchops's Full Review: The American by Angie Aparo
I stumbled upon Atlanta-based writer and singer Angie Aparo while listening to Michigan State University student radio. The station is more than happy to play relatively unknown artists from around the world and Aparo became one of their most requested acts in 2000-2001 after the release of his debut album The American.
Even if I knew who he was a year or two ago, I took little notice. Sure, Aparo has sparkling clean vocals and a knack for easy to listen to roots rock, but something about the apparently heartfelt songs never struck a chord in me. Time and time again people recommended him and time and time again I ignored advice. That is until I stumbled upon the disc in a used music store.
The American is the product of guitarist, vocalist, and poet Aparo. The album on the whole has a quaint feel although at times Matchbox Twenty producer Matt Serletic’s heavy influence shines through instead of Aparo’s impressive acoustic tendencies and songwriting ability. With that mention of over production, I’ve brought to surface the only flaw evident on The American.
Released in 2000, the album received very little airplay aside from student radio and an occasional modern rock radio station. But what attention it did receive was positive. It’s easy to point to Aparo’s angelic voice and his keen sense of the English language as major highlights of the album. The synthesizers mixed with traditional guitars make for some great songs, but to listen to the album on the whole it seems that every track blends into the next.
Even if all of the songs sound identical, it’s important to note that Aparo is indeed a rare talent. It’s just that in working with Serletic as producer yielded a polished album when an acoustic album would have been best appreciated by listeners and critics alike. The album as a result of the post-production embellishment is derivative of other bands like Matchbox Twenty, Wallflowerand singer Edwin McCain. But what elevates Aparo above some of the less outfits is his daft sense of poetry. His words are reflective and deep even if the accompanying keyboards are at times trite and unoriginal.
The American contains thirteen songs including the title track buried at the end of the album and after five silent tracks amounting to less than thirty seconds. First appearing on the airwaves sporadically Spaceship, the album’s first official single. Following the same formula as most of the other tracks, Spaceship is a bit too long for it’s own good. Although, I do find I enjoy the pop culture reference to shopping malls, aliens, lemonade, and Chevrolet. Aparo’s voice is almost entirely hidden by synthesizers until the chorus when he is set free and his vocal range becomes apparent.
Despite sounding early on like a Tears for Fears debacle, Green into Gold materializes into a triumphant and lovely track. It remains on of my favorites on the album with Aparo’s soaring vocals. If only Serletic had left out the synthesizers and layered vocals this song would have been perfect. As it stands, I’m impressed by the appealing modern rock elements.
Swirling electric guitars and intense percussion make Swell one of the most extraordinary offerings on this album. Aparo seems to be speaking directly to the heart with his lovely voice and equally attractive lyrics. He is a poet and constructs his songs in a manner uncharacteristic of popular music today. Here’s an example of some of the words best representing this amazing track:
Hello misunderstood so go the lonely
Tracing your ashes to wood
So go the lonely
And you are the only
Other songs like Hush and Cry are the most emotional tracks on The American. Strange, almost haunting synthesizers mark Hush. I’m at a loss for words as to why other songs were chosen before this one as singles. Hush, in fact, remains one of my favorite songs on the album despite Serletic’s unwelcome hand. Cry leans slightly toward being a country song, yet soars when paired with what can only be described as miraculous vocals.
Overall, I do enjoy this album. I hate to sound like I’m tearing it apart, but the production is a major problem. Aparo can stand on his own two feet and really must sound lovely acoustically or in concert. He has a distinctive tone that makes the album soar above most of the crappy modern rock of the mid and late 1990’s. Other songs besides those I’ve mentioned that are particularly good include Wonderland, It’s Alright and Beautiful.
The American is by no means a complete vision, but it certainly gives new listeners a taste of what might just be in store for Aparo if he’s allowed to make music the way he best knows how in the future. In an attempt to ignore my distaste for Serletic, I am giving this album 4/5 start. He’s got some wiggle room for future improvements yet if Aparo manages to put together a great producer with his voice and words there’s a sure-fire Grammy winner waiting.
Track Listing:
1. Green Into Gold
2. Spaceship
3. Hush
4. Cry
5. Third Time Around
6. Free Man
7. Gravity
8. Beautiful
9. Memphis City Rain
10. Swell
11. It's Alright
12. Wonderland
18. [hidden]
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