Hayley's 'Metascore'

[Stephany]

Odyssey review from The Sunday Mercury :

The week: CD Reviews
Hayley Westenra - Odyssey (Decca)

[/b]

By Paul Cole
31 July 2005
Sunday Mercury
(c) 2005 Birmingham Post & Mail Ltd

Eighteen year-old Westenra is everything Charlotte Church is not, with a pure voice, natural beauty and multi-platinum success in the classical charts. Now living in London, the New Zealander"s new album will score mainstream success, too, with a lovely interpretation of Jeff Franzell"s Never Saw Blue and the artist"s own What You Never Know (Won"t Hurt You) - a song more at home on the West End stage than in the concert hall. Most attention, however, will centre on Dell" Amore Non Si Sa, a lushly layered duet with Andrea Bocelli that"s certain to steal your heart away.
[/quote]

[jons]

From entertainmentmanchester

Whatever happened to Charlotte Church, eh? One minute she was a virginal schoolgirl with a heavenly voice and a wise head on her shoulders and all of a sudden, she's singing patchy pop songs with her cleavage up round her face and appearing in Heat every week. Thankfully there seems little chance of that happening to fellow opera chick Hayley Westenra, who follows up her multi-million selling Pure with this re-released album from last year. Now in her late teens and having sung for the likes of the Queen, George Dubya and Tony Blair, she has a bit more worldliness about her, but there's no hint of a Crazy Chick here. That's not to say that it's all straight-forward classical music, after all one of Pure's highlights was a cover of Kate Bush's Wuthering Heights. Westenra has even co-written a song on Odyssey which is actually the best thing on it, a lovely ballad called What You Never Know (Won't Hurt You), while she also covers Joni Mitchell's Both Sides Now. However, there is ironically rather more in the way of classical and opera music on here, most notably a gorgeous duet (albeit recorded separately) with Andrea Bocelli on Dell' Amore Non Si Sa. She also covers Enya's May It Be from Lord Of The Rings, while the Royal Philharmonic Orchestra back her up on many of the tracks, most notably Puccini's O Mio Babbino Caro, from Gianni Schicchi. While it's hardly an original choice, her voice sends you drifting off into another world. Mozart's Laudate Dominum is again a fairly predictable selection, but she manages to blow the cobwebs away, particularly when the Conventus Choir join in halfway through. The re-release sheds Bridal Ballad and Never Saw Blue (which is a shame), adding The Water Is Wide and a lovely Celtic-themed cover of Scarborough Fair, and while there's nothing on here to match Pokarekara Ana for sheer breathtaking beauty, Westenra has shrugged off any hint of pressure on her to follow up Pure and Odyssey is a fine album indeed. The only real concern is that she thanks the Bedingfields in the credits, shuddder...

5/5

[jons]

From entertainmentwise

If she’d been at your school, you’d have poked her bleedin’eyes out. Well, was it really necessary for Westenra to have starred in no less than 40 stage musicals by the age of 11? All good practice though: since rocketing to fame with her 2 million selling debut ‘Pure’, the lucky little [censored] has sung for such greats as Tony Blair, George Bush and the Queen.

Returning with ‘Odyssey’, she embraces varied musical styles including classical, folk, pop and hymn, makes her songwriting debut on ‘What You Never Know’ and showcases her maturing voice. If there was any doubt that Westenra is blossoming into a lovely young woman, the album snaps have her trussed up like a very respectful chicken in generic boho skirt and glittery cardi. It is perhaps a testament to this growing confidence that she decided to take on a Joni Mitchell’s ‘Both Sides Now’ and while she’s pulls it off, to surpass it would require something more than a pitch perfect voice. Her ability to skip through octaves like a twelve-fingered freak often leads to a bored sounding, warbling-by-numbers effect. A perfect example being when ‘Ave Maria’ is wheeled out.

‘Dell’ Amore Non Si Sa’ is the obligatory duet with Andrea Bocelli, and shows that her voice has matured and broadened in range. Rumbling with tension filled percussion, their voices surge and sparkle as they merge. Individually however, Westenra’s pure voice sounds naïve compared to the character and depth of Bocelli’s. Both ‘What You Never Know’ and ‘Never Saw Blue’ are exquisite love songs. The former is lyrically, a touch pessimistic and therefore lacks authenticity when sung by Westenra. ‘Never Saw Blue’ on the other hand is perfect. A truly uplifting and delicate piano-led melody, evoking memories of discovering things for the first time. ‘Bachianas Brasileiras No.5 Aria’ is the standout track. For the first time, Westenra’s voice is spine tingling, almost chilling and the most moving on the entire record, especially when coupled with the pulsing, foreboding string section.

But if none of this appeals, ‘May It Be’ from Lord Of The Rings should at least sound familiar. Talking about the song, Westenra reveals “I pictured the New Zealand landscape around me to help me create the right atmosphere whilst singing”. You might like to try the same in order to heighten your listening experience.

3 and half out of 5

[jons]

From ClassicalX

This is the Odyssey Special Tour Edition:

HAYLEY WESTENRA is currently on a world tour with operatic colossi Il Divo and to celebrate is re-releasing her gold album ‘Odyssey’ on April 10, 2006. With three new tracks, this unique ‘Tour Edition’ is a fitting gift for Hayley, who also turns 19 on the same day. ClassicalX’s Tracey Bell joins the party and unwraps the details of this special present…

For me, Hayley’s first album 'Pure' was created with the beautiful voice of a young child. So when Hayley released 'Odyssey' less than a year later, my expectation was that it wouldn't show a great deal of vocal progression.

I was wrong!

Hayley’s voice had matured at an amazing rate and it was the album of a talented young woman, but still managed to retain the innocence of a child.

When I listen to 'Odyssey', I hear Hayley sing with a sense of calmness and serenity that I know others have perceived as lack of emotion and depth. But they should hang around though, because as the album title suggests, this is the beginning of a musical journey for her that is going to see her travel great distances.

'Odyssey's' opening track 'May it be' is instantly recognisable as the Enya song from 'The Fellowship of the Ring' movie.

'The Water is Wide' follows and is one of the three new tracks on this ‘tour edition’. While the song is not a personal favourite, Hayley’s voice does improve my opinion of it.

The next new track is 'Dell'Amore Non Si Sa' a duet with Andrea Bocelli and I love it! The two vastly contrasting voices surprisingly compliment each other perfectly.

'Lascia ch'io Pianga' sees Hayley's voice soaring beautifully. This is one of the tracks I'd love to hear Hayley sing in a few years, when her voice has fully matured.

Following on is 'Prayer' which continues the peaceful tone of the album, as does 'Ave Maria (Caccini)' which is heavenly and it sounds perfect with Hayley's pure and clear pitch.

'Scarborough Fair' is a song I must admit I could easily live without hearing again, but as with 'The Water is Wide' my opinion was altered enough to keep my finger away from the 'skip track' button.

'Quanta Qualia' is peaceful and also beautifully arranged as is Puccini's emotional 'O Mio Babbino Caro'.

'What You Never Know (Won't Hurt You)', co-written by Hayley, is a wistful song I enjoyed the first time I heard it and it's catchy enough to have you humming the tune all day long.

Nearing the end of the album are 'Mists of Islay' and 'She Moves Through the Fair' which are lovely, although it was strange to hear Mozarts 'Laudate Dominum' sandwiched between them, even if it was one of the best tracks on the album, it was just an odd musical jump.

With 'Odyssey' Hayley manages to embrace classical, pop, hymns and folk in fairly equal measure. I'll never manage to be a fan of folk music, but with such a wide range of genres covered, who can be expected to appreciate them all.

If I was to make one major criticism though, it would be that the entire tone of the album is... well, I don't want to say ‘bland’ but I can't think of a better way to describe it. Hayley has an incredible voice, but I think a few up-tempo moments and vocally challenging pieces would have helped to turn this album into the great showcase 'Odyssey' should have been. As it stands, this is a very 'safe' album for someone who clearly is capable of so much more.

I'm looking forward to the next step for Hayley and hope that the album that follows provides that something extra to make it truly spectacular.

4 stars

[Stephany]

Hi Jon,
I found another review for Odyssey.
I must admit I hesitated before posting it because it's awfully negative. And I believe it's not from a very serious source (karateparty.org).
I posted it anyway because I think we need to know what is being said - even though it's VERY negative. The reviewer clearly hated the CD but I don't understand why he has to be so disagreeable and even cruel.
Be warned, it's extremely harsh and I censored many, many words.
I don't even want to comment it.........
Stephany

Hayley Westenra - Odyssey
In music, Hayley Westenra represents a new counterculture. Want to stand out, dare to be different, assert your individuality? Crank up Haylee Westenra on you ghetto blaster.


Track 1 – Prayer

This is bad Enya. Well, Enya’s already bad, but this is worse. Unbearable Celtic new agey rubbish. The lyrics are junk like ‘Close your weary eyes" and "Angel’s unfolding arms". There’s a cheesy acoustic guitar and string section, which swells up in a futile attempts to wring emotion from the listener. Hayley’s voice at times verges on a wicked witch. When she sings "Beautiful dreams will come true" I felt quite scared, she’s kind of like the nutty one from Shakespeare’s Sister. And worst of all the song is so damn slow. I don’t know how she can even keep her interest long enough to get through the unforgivable 4 minutes 20 seconds.

Track 2 – Never Saw Blue

Any hopes that the tempo would pick up on song 2 are immediately dashed by a mawkish piano opening that’s so slow it sounds like a four year-old clumsily trying to sight read. And while Hayley may never have seen blue, she’s probably never heard blues either. How could someone who’d heard John Lee [censored] sing, in all seriousness, a song whose opening line is "I picked a flower". It continues on with sub-Hallmark lyrics. You may say, "Now Mandroid, I know this album’s going to be [censored], but you’re not telling me those are real lyrics". But I swear to you those were real, and the following are genuine as well:

"So amazed,
It’s like a dream
It’s like a rainbow
It’s like the rain."

Piffle. Anyone can write pretty, and this is dull pretty [censored] As my attention wandered it struck me that the blue she may be talking about is blue sky. Then my attention wandered again because I didn’t care.

Again, towards the end the strings swell up to try and wring emotion out of a monotonous voice and cliched lyrics. But by that point in the song the strings resembled a clapped out old car trying vainly to climb a hill.

Track 3 – Dell’Amore Non Si Sa

The weird thing about Hayley is that no matter what notes she’s singing the song sounds exactly the same. On this track she’s joined by operatic uber-hack Andrea Bocelli (I wonder if he’s a joke in Italy the way Hayley is here in New Zealand).

I think the song is supposed to be a passionate duet. But she sings in English, he sings in Italian and they sound like they recorded their parts in karaoke bars on opposite sides of the world.

Hayley dips in and out of her wicked witch voice. Bocelli sounds bored, but who can blame him (perhaps his is the most genuine emotion on the album). And, going to an empty well too many times, the strings swell yet tears fail to comes to my eyes.

No. 4 – Ave Maria

Just what the world needs, another version of Ave Maria. I guess the thinking was that four tracks in, it’s time for Hayley to bring out a showstopper. Or at least show off her vocal tricks. But again, the song is so so so slow. If you were to listen to the CD you’d thinking would be something along these lines:

Hayley "Aaaaaaaaaaaaaaaaaaaaa"
You: "Mmmm Hmmm"
Hayley "Veeeeeeeeee….."
You "Right"
Hayley: "….eeeeeeeeeeeeeeeeeeee."
You "Got it"
Hayley; "Mariiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii……."
You: "Noted"
Hayley "………aaaaaaaaaaaaaaaaaaa."
You: "Ave Maria. Okay."
Hayley: "Aaaaaaaaaaaaaaaaaaaaaaaaaaaveeeeeeeeeeeeeee."
You: "[censored]."

This actually resembles a Gregorian chant. What the hell is she trying to do? Show us that she can hit and hold notes? This is a goddam album, not a singing lesson. She just sings "Ave Maria" again and again and again, with occasional stops for the Westnera String Experience Players to [censored] around. A stupefying experience.

Song 5 – Both Sides Now

A Joni Mitchell cover, the chance to inject some soul into the album. But everything is so cleanly pronounced it sounds phoney. This is the sort of song best sung by someone with some real life experience. Her voice just becomes a squeaky wall of sound, and neither highs now lows come through.

Song 6 – What You Never Know (Won’t Hurt You)

The lyrics to this song (no classics) sound ridiculous sung in a faux-opera voice. Again the pace is deadening. The lyrics are basically the song’s title and "I’m Falling For You". Somehow I imagine Hayley singing this to a mirror.

Awful, repetitive, cliched lyrics. What are you expecting, Hayley? Me to be moved by this swill? [censored]. Sounds like album filler, which I wouldn’t have thought possible a few tracks back.

Song 7 – May It Be

Back to the sort of hideous new age tripe from the first track. Not only is the song slower than any of the others, the lyrics are about an evening star, darkness falling, true hearts, lonely roads far from home, believing and finding. So boring. So boring. I’m not sure what it’s about. I don’t care. I got up to here and had fallen into such a stupor I had to take a break. This gave me time to marvel that such an astonishingly dull album existed. Could it be real. Is a gas pipe leaking in the room and I’d fallen into a torpid dream?

Song 8 – Quanta Qualia

Alas, the album was not the hallucination of a gas-filled membrane. It exists today, and insidious force that even children could buy from the local store. When children could be listening to Electric Six, the chance of them stumbling into this den of banality is truly terrifying for the future of our country.

This track is basically Ave Maria 2. Hayley sings "Quanta Qualia", and a chorus of male opera singers reply. Of course, it’s all done very slowly. This sounds like the start of a song that never gets started.

Song 9 – Bachianas Brasileiras No. 5 Aria (Cantilena)

Mistaking the current popularity of world music as a call for her to sing like a retarded pigeon over strings plucked in a vaguely Latin way, Hayley then pulls out this ditty. But this is no Arturo Sandoval. It sounds like the soundtrack to bad a communist animation short. Hayley sings two different words, "Ah" and "Oh". I was listening to this on my discman with the TV on in the back ground. I zoned out while watching an advert for stock car racing.

Perhaps it was the stock car racing, but I though that maybe this song could be bearable. All you had to do was fire Smurfette from singing duties, speed it up, get some maracas, some trumpets, and margaritas for all. Then this could maybe be the song they’d play over the stereo at a Latin jazz concert while the band is off having a drink and everyone’s chatting about how good that new White Stripes album is.

Song 10 – She Moves Through the Fair

The other songs stunk. This song is a monstrosity. It opens with the caterwauling sound of a piece of torture equipment called the Uillean pipes (basically bag pipes that haven’t been tuned), which introduces the caterwauling of Hayley. [censored]. Okay, I’ve said it in every song. [censored] this is so slow. I want to cry. Speed up!!! She’s going so slowly the words actually disintegrate into syllables. I managed to join up "La" and "ke", then gave up on the words.

A house just blew up on Special Victims Unit. We should find the brain chemistry pattern of people who like this music and blow up their houses.

I’m guessing, but I think is one of those cliched doomed love Celtic folk songs. I want no part of this, so am officially declaring myself an albino Haitian.

Song 11 – I Say Grace

A change of pace? There’s jazzy piano (in the wuss-jazz sense). Don’t expect Jimmy Smith wailing on his hammond organ. As the song develops it seems to be a humorous attempt at a gospel track. I don't know if God would appreciate lyrics like "When my baby asks "How was your day?"/I say grace" which is rampant piety far beyond what he could possibly need.

Sadly Hayley’s voice doesn’t suit gospel.Get off the stage! Nice enunciation! I’d rather listen to one of the backing singers than the headline [censored] we’re stuck with. The result is so unrousing it’s like hearing the Dave Matthews Band sing a Little Richard song.

Track 12 – My Heart Belongs to You

We wrap up in Yanni territory. Unimaginative love junk. So artless. She sings "the fire that we share" with the force of an empty Bic lighter. Her voice has no personality. Pathetic. Like a song made by people who should have nothing to do with the music business. Begone. I cast thee to an unrewarding office job. You are the music industry equivalent of Anna Geddes.


[censored]. This album [censored]. This is going straight to the second hand CD store. And I don’t think it actually has any link to Homer’s Odyssey whatsoever. Unless Hayley wanted to balance the world out in some twisted yin/ying way by provided the musical equivalent of the nuts seagulls do on rubbish dumps to counterpoint to an epic classic.

But of course, some of you may think I’m being a bit harsh on a nice young girl. You may even think she’s smart and talented, and I’m a bitter moron who can’t handle other people’s success. Well you're wrong. She’s clearly not talented. And she’s clearly not smart, just read her clumsy plug for Unicef in the liner notes:
I would really appreciate you taking the time to check out www.unicef.org.nz and see the great work that UNICEF is constantly engaged in trying to alleviate some of the problems facing young people around the world today…

It is a cause that as a UNICEF Ambassador I am wholeheartedly dedicated to, but we really need your support wherever you can.
Maybe she should have got an adult to read over that first. I realise it’s a low blow to hassle someone’s endorsement of UNICEF, but we’re talking about someone who uses the nickname Abbo to describe Steve Abbott, a member of her management team. Abbo. That’s almost as wrong as this album.

Edit by Joe: censored additional material.

[stevemacdonald]

stephany said:

Hi Jon,
I found another review for Odyssey.
I must admit I hesitated before posting it because it's awfully negative. And I believe it's not from a very serious source.
I posted it anyway because I think we need to know what is being said - even though it's VERY negative. The reviewer clearly hated the CD but I don't understand why he has to be so disagreeable and even cruel.
Be warned, it's extremely harsh and I censored many, many words.
I don't even want to comment it.........
Stephany

Thank you Stephany for posting this review. It may be harsh and negative, but I feel it's sincere. The reviewer sincerely dislikes Odyssey and has taken pains to cite numerous examples of what he feels Hayley does wrong. Disagree with him or not, there's no doubting that he means every word. By posting it you have brought his opinion to a place where Hayley might read it and learn what some people are turned off by. If all she reads is flattery, how will she ever grow?

[grant]

Hi Steve.

I wholeheartedly agree that all reviews should be aired here whether positive or negative and, if Hayley reads them and gets something constructive from them, then that's OK too. I also agree that Stephany was right to post it.

But this particular review sounds like it came from "Private Eye" or similar. I will be honest here and say that I didn't read it all, but what I read didn't offend me because I couldn't take it seriously!!

The reviewer (too polite a descriprion for this person!) clearly doesn't know much about Hayley's type of music as he totally misses the point of Caccini's Ave Maria. And why all the prophanities? He's just being rude for the sake of it.

Definately NOT to be taken seriously.

Grant

[roger]

Just for the record, HWI has never been opposed to the posting of negative reviews provided they don't merely condemn the artist for the sake of it or due to obvious personal tastes. This one appears to do just that.

Like Grant, I couldn't really take it seriously but, for me, the proof that the reviewer really didn;t know his subject came in the final paragraph:

Maybe she should have got an adult to read over that first. I realise it’s a low blow to hassle someone’s endorsement of UNICEF, but we’re talking about someone who uses the nickname Abbo to describe Steve Abbott, a member of her management team. Abbo. That’s almost as wrong as this album.

I have heard several people refer to Steve as Abbo but it was always done with respect and affection. He doesn't object to it (although I don't recommend that we try it!) because he used to use it as part of his personal email address (which is no longer valid).

Roger

[comet]

Hi Folks.
Obviously our reporter came home from his drum and base nightclub still high on E and very dehydrated,
expecting everything in life to go as fast as his accelerated heartbeat, this is why everything seemed so slow to him,
It probably has nothing to do with the fact that Hayley probably beat the talentless creep who is his partner at some competition or other.

But as they say "Paper never refused ink"

If these journalists are so proud of their work why don't we have their names,
then we could have a fair go at them.

comet

[milewalker]

I suppose it should count in her Metascore....

There is an independant "street" newspaper in St Louis which, were they ever to review Hayley might produce something very similar to this. They are primarily focused on their peculiar local "hip" bands which in my opinion are never going to go anywhere anyway. But to each his own...This review doesnt hurt her as much as a sour classical review might because very few people in this audience would buy the CD anyway. I will note in passing that a couple of the things he says have been previously stated in a more kindly manner...

I was more struck by two of the reviews before it however, one of which in particular seems to be as enamoured by the fact that Hayley is not Charlotte Church as he was by the fact that the album was a pretty good one....Everyone is entitled to an opinion of course, but in my opinion that is not the right reason to buy an album. In fact, while I think this is changing now to some degree, at times I have had the odd feeling that, for while at least, Hayley was spending too much time not being Charlotte, and perhaps not enough time being herself.

Jon

[Joe]

That very harsh NZ "reviewer" from that karateparty site obviously has never been through a tough stage in his life. Does none of these songs touch the reviewer's cold heart?

I had to go and edit additional material, Stephany.

[milewalker]

It's motivated by jealosy Joe. He lives in a world of independant bands trying (and mostly failing) to make it, and this kid comes in and goes multi- platinum singing yet another version of Ave Maria. So, he lashes out.

Jon

[stevemacdonald]

"But of course, some of you may think I’m being a bit harsh on a nice young girl. You may even think she’s smart and talented, and I’m a bitter moron who can’t handle other people’s success. Well you're wrong. ..."

I don't think he's a bitter moron. He's simply appalled by Hayley. He's typical of those people who like to put a lot of energy into disapproving of other people's statements. Hayley made a musical statement that he deeply disapproves of and he's letting the world know it. It has nothing to do with jealousy or preexisting rage around unsigned acts as some have suggested. It's time we faced up to the fact that Hayley is not everyone's cup of tea and that she has the power to set some people off on ugly diatribes. Thankfully there are many more offsetting reviews that echo how we as fans feel about her, but it's important to know the other opinions, brutal as they sometimes are.

[postscript]

I support the decision (POst 109) to quote the Mandroid3000 author on 'Karate Party' expressing his/her/undecided's personal views on Odyssey. I have previously said we should meet criticism head on as being the best way of maintaining objective authority for our otherwise unquestioned support of Hayley.

I think it was right for Jon to censor as he did and right too for Stephany to provide the source as a link, rather than as a quote, so we could check for ourselves the original wording.

Any writer needing to use such expletives is declaring his/her/undecided's inability to write. That is the key. This is NOT a review. It is the indisciplined rantings of one of society's less fortunate members desiring to attract attention to themselves as expression of some emotional inadequacy, for which one can only express one's sympathy for his/her/undecided's distress.

At that point, I believe enough is said.

Peter S.

[postscript]

stevemacdonald said:

stephany said:

Hi Jon,
I found another review for Odyssey.
I must admit I hesitated before posting it because it's awfully negative. And I believe it's not from a very serious source.
I posted it anyway because I think we need to know what is being said - even though it's VERY negative. The reviewer clearly hated the CD but I don't understand why he has to be so disagreeable and even cruel.
Be warned, it's extremely harsh and I censored many, many words.
I don't even want to comment it.........
Stephany

Thank you Stephany for posting this review. It may be harsh and negative, but I feel it's sincere. The reviewer sincerely dislikes Odyssey and has taken pains to cite numerous examples of what he feels Hayley does wrong. Disagree with him or not, there's no doubting that he means every word. By posting it you have brought his opinion to a place where Hayley might read it and learn what some people are turned off by. If all she reads is flattery, how will she ever grow?

What a very interesting contrast to my reaction. Perhaps we have inadvertently opened an area for debate? What are other members' views?

Peter S.