Sixes & Sevens

Album Review of Sixes & Sevens by Adam Green.

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Sixes & Sevens

Adam Green

Sixes & Sevens by Adam Green

Release Date: Mar 18, 2008
Record label: Rough Trade
Genre(s): Rock, Alternative

60 Music Critic Score
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Sixes & Sevens - Average, Based on 3 Critics

AllMusic - 60
Based on rating 6/10
60

Adam Green, the Moldy Peach who's made a name for himself on the fringes of the singer/songwriter community with his playful, sometimes crude, sometimes sweet, lyrics, returns to Rough Trade for his fifth solo release, Sixes & Sevens. With 20 tracks, the album gives more than enough glimpses at Green's wide-ranging stylings and influences ('50s pop, country, folk, blues-rock, pop, even hip-hop), but it is this very range that is also detrimental. Green can certainly write a decent pop song, but his tendency to jump from one musical theme to another is more distracting and bothersome than anything else.

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Prefix Magazine - 60
Based on rating 6.0/10
60

First, Adam Green was unsure of himself, an oddball troubadour with an acoustic guitar and a lot of weird ideas about what dolphins eat. The low fidelity of his first post-Peaches release, Garfield, belied his earnest lyrical delivery and uncertainty. Then he found himself a real studio and a string quartet and made Friends of Mine (2003), a glossy, dramatic affair that didn’t overwhelm or dilute the genius of his songs, the understated semi-conviction that keeps anything patently weird from going over the top.During the tour for Friends of Mine, Green played a show in the basement of Philadelphia’s First Unitarian Church, and one of his opening acts was the then-unknown musical sideshow called Man Man.

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NOW Magazine
Their review was negative

It’s hard to imagine ex-Moldy Peach Adam Green’s dull, Strokes-style anti-folk appealing to anyone but his obliging friends and family. His bored delivery and ridiculous lyrics about peanut butter sandwiches and rich kids make his two-minute tunes on this 20-song binge stretch out painfully into what feels like forever. While When A Pretty Face could easily score a Wes Anderson scene, Green’s ill-conceived foray into stream-of-consciousness spoken-word rap on That Sounds Like A Pony should be reserved for use in CIA interrogations.

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