'Little Bird'Īll of the guys are married with children, making this ode to parenthood not just sweet but organic. But then a harmonica break shows up like a sax solo in a Lady Gaga song: unexpected, but somehow fitting perfectly. The brothers' Bee Gees-esque harmonizing that pops in and out and the swirling strings in the background are appealing enough. 'Vacation Eyes'Ī sumptuous piano riff opens the languid song, which cruises on its bass line. And it's hard not to be swayed by the busy synths that rain in the background of a good old-fashioned "na na na" fade out. Regardless, the message that Waffle House is the JoBros' haven for "deep conversations" and working things out is certainly original. The guys have said the song was inspired by " Uptown Funk," but '70s singer Jay Ferguson would like a word considering the melodic shades of his "Thunder Island" in the chorus. It’s an appealing swirl of musical styles – pop, disco, a whiff of hip-hop – packed into a brisk two minutes. Perky acoustic guitar and a shuffle beat drive the song, which name-checks cultural touchstones including Jay-Z, the Jersey Shore, Springsteen and "Country Grammar" (hi, Nelly!).
The pop mélange builds to a lope then decelerates for the chorus, all while retaining enormous swagger. Take some pop-funk bass, pristine singing and vocal effects that would have sounded comfortable on a Styx album in 1977 and revel in the song that also pays homage to the instrumentation of Earth, Wind & Fire. Georgia sunsets, New York nights and yes, Montana skies, provide the vivid imagery as the guys determine that they’ve “seen the world,” and yet, “you’re still the where I want to go.” 'Wings'
With its glossy vibe and heavenly collection of voices on the chorus, this could have been the theme song to a thoughtful ‘70s sitcom. Here are some of the highlights of where life has taken the Jonas Brothers, and where they take fans on "The Album." 'Montana Sky' The opening track, "Miracle," includes Joe yelling "New Jersey!" at the start, a bit of a tone-setter and reminder of the band’s roots.
"Little Bird" is a sensitive rumination on fatherhood, and album closer "Walls," an Oasis-inspired mishmash of layered background vocals, crashing cymbals and Joe’s guttural singing, is a pained plea for eternal togetherness. The backdrop of summer laces the tracks together, while many of them contain a variation on sex – either having it ("Summer Baby"), hoping to have it ("Vacation Eyes") or thinking about having it ("Summer in the Hamptons").īut Joe, Kevin and Nick aren't just randy. Indeed, the dozen songs on " The Album" punch with economic melodies and impressive tautness. Or maybe they’ll funnel their maturity – all of the brothers Jonas are now in their third decade of life – into a sound that is both Laurel Canyon/'70s radio kind of nostalgic and freshly zippy. Maybe they’ll stick to the R&B-dusted pop of "Sucker" and "Cool" from 2019’s comeback "Happiness Begins." Maybe they’ll glance back at the power pop that drove "Burnin' Up" and "Lovebug" more 15 years ago. By calling their sixth release "The Album," the Jonas Brothers make a subtle point.
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