The 14 songs on this latest compilation by She & Him (Zooey Deschanel and M. Ward) go by in just 42 minutes and 36 seconds, which means the album would have fit perfectly on one side of a C-90 cassette. This is just one of the retro aspects of this release. Deschanel’s focus appears to be on the past, as if she’s piloting a musical time machine. Unfortunately, the machine may be broken as it seems to move all over the place without rhyme or reason.
“I’ve Got Your Number, Son” is track one and it starts off like a Beach Boys song melded with Sheryl Crow’s “Soak Up the Sun.” Nice production but Zooey’s vocal is weak and muddled here, as if she had not yet downed a first cup of coffee. The drumming is overly busy and it comes off as a bit too Glee-fully cute for its own good.
“Never Wanted Your Love” is slightly disorienting as Zooey delivers a Nancy Sinatra vocal over an instrumental arrangement that screams out Wham. Wake me up before you go-go. The song could have used more lyrics but the repetition is very ’60s/’70s/’80s. The good news is that Zooey displays some energy here.
“Baby” is what a ’50s love song would sound like if recorded by Fleetwood Mac. The guitars are dead-on Lindsey Buckingham, and Ms. Nicks might think about covering this Deschanel composition.
“I Could Have Been Your Girl” is a good song. But Zooey seems to be straining (a rarity) in the wrong key. The lyrics, “I’d send you the pillow that I cried on…” suggest a song that might have fit on an album by Lesley Gore or Shelley Fabares. This track could have used additional takes before becoming a finished product.
“Turn to White” is Brazilian-style pop and Zooey finally sounds confident. This is her “I’m Still Standing” song” “You’re a distraction from everything I fear…” Love has beaten her up and knocked her down but she’s not fading away. This is the best produced song on Volume 3 (presumably M. Ward’s on the bass); it could be a film soundtrack song, played during the credits crawl.
“Somebody Sweet to Talk To” is also set to a catchy Fleetwood Mac rhythm, it’s kind of like “Everywhere.” The song is about love without obligations: “I’m just asking you to stay for a couple of hours…”. Zooey sounds like a different person here, which is nice, but the song is over in less than 3 minutes.
“Something’s Haunting You” is Zooey’s “Martha My Dear.” There’s a touch of Peggy Lee in the vocal (although some would note that Lee was never this upbeat) and it would make for a great music video with Zooey dressed as a ’40s chanteuse.
“Together” is a lightweight ’80s pop track. It’s a throwaway song and the nadir of the collection.
“Hold Me, Thrill Me, Kiss Me” is a cover that lacks the heart, feeling and soul of Mel Carter’s recording. This should have been a home run (like Gloria Estefan’s version), instead it comes off as a failed bunt. Zooey’s cover only lasts for 2:40 but, trust me, it feels much longer.
“Snow Queen” is ’50s style. I get that, but I don’t get it.
“Sunday Girl” is another cover, this time of Blondie’s Los Angeles surf-rock love song. Zooey’s vocal comes off as weak compared to Deborah Harry’s and it raises the question as to whether this ’78 song needed to be recorded again.
“London” is simply Zooey singing over a piano. If the entire album were like this, it might have been near brilliant.
The title of track 13, “Shadow of Love,” looks like it might have come off of an Eagles album and the song sounds like a mixture of Roy Orbison, The Eagles and Jimmy Buffett. This is Zooey’s “Tequila Sunrise” and features the best lyrics on Volume 3: “We built a shadow of love in our hearts where the future should be… There’s no tomorrow to set us free.”
“Reprise (I Could Have Been Your Girl)” is a short vocal exercise by Zooey without lyrics which is interesting, if a bit illogical coming after “Shadow of Love.”
According to the record company (Merge Records), “(Volume 3) features some of the most dynamic, complex songs Deschanel has ever written.” Well, not really. There are so many varieties of style in this collection that one wonders what She & Him have become. Like Los Lobos, their display of musical diversity robs them of a clear, consistent identity. It may be eclecticism for its own sake.
Volume 3 may sell in bunches for She & Him but, overall, it comes off as a missed opportunity. Sometimes less is less, and this album is much less than it could have been.