What is String Theory? A close listen to Hanson’s orchestral album - Side 1

It was early 2018 when Hanson began to share cryptic messages asking ‘What is String Theory?’ through their official Twitter account. But the rumour of an orchestra project had been floating around a for a while - I had first heard about in Tulsa at Hanson Day 2017, when the band had dropped the information in front of a couple of fans with the calculated timing of a Soviet-style, well-oiled propaganda machine. It was clear that Hanson were preparing their fans for The Next Thing.

String Theory is now here, in the form of a double album and an orchestral tour that has taken Hanson to several North American cities and that will reach Europe and Australia in early 2019. I haven’t been to a String Theory show yet, and prior to the album release, I had tried not to listen to too many clips from the US tour, so as not to totally spoil my enjoyment for the tour and to let the album’s new orchestral arrangements surprise me. Now that I’ve had this double album on heavy rotation for a few weeks, I feel that I can at least express my judgement on the recorded project.

These are the opinions of a self-confessed music geek: if you are the kind of fan who will unquestioningly praise anything the band does, look away now. Music nerds, follow me: it’s time to geek out.

A Short Note on the Story

String Theory, as the 2018 Playbill explains, tells the story of a boy who ‘was never satisfied with seeing the stars through a spyglass’. In part one, Reaching for the Sky, ‘with each rung he climbs up the ladder of life he is faced with unforeseen challenges, tragedy, betrayal and the loss of innocence’. In part two, Battle Cry, ‘the boy returns to hope, and celebrates the obstacles within each extraordinary journey as a necessary part of seeking his purpose’.

Hanson chose songs to ‘fit’ these storyline and you can read Robyn Kessler’s excellent analysis of how each song tells a bit of the story on his guest post to this blog.

Side One

Reaching for the Sky

The album’s opening song introduces the boy, the protagonist of String Theory.

There’s a boy I used to know

He was always searching high and low

(Read the full lyrics on Hansonstage)

I am torn. RFTS is undeniably a good song, with a delicate, almost lullaby-like melody. It certainly sounds as if it was written with an orchestra in mind, with the strings arrangements beautifully complementing Taylor’s voice. It’s been a while since we’ve had this kind of vocal performance from him and this song showcases his voice at its best, with perfectly measured emotion and that a little bit of grit that keeps the delivery firmly on the right side of soul with only a small nod to Broadway.

The lyrics are what let this song down: they are not very original or particularly imaginative, and neither is the whole story around which ST is built. That’s one of my issues with String Theory as a project, but I'm afraid you’ll have to wait until my conclusions at the end of Part 2 to know more.

Joyful Noise

The String Theory version of Joyful Noise is, like many other songs in this album, structured around the original recording, with the orchestra arrangements added to the track featured in the 2016 Play EP.

I’ve always found that the production on the original track lacked something, so I find that the extra orchestral arrangements overall add to the song. I am also pretty sure that there’s been some serious tinkering at the mixing desk because if you listen closely, the audience singing now sounds different. This is especially evident during the ‘dance all night/find your courage’ bit: the new version sounds like a more even balance of male and female voices, and Hanson’s own voices, singing along with the ‘choir’ can be made out. And I am sure, absolutely positive that I can hear Isaac singing along to that chorus now.

Whatever they did, it was a wise decision that portrays the band as having a healthy mix of male and female fans - a subtle, deliberate gesture to change the generally perception of Hanson as teenyboppers’ idols for screaming girls.

Where’s the Love

Like all the songs from the Middle of Nowhere era, which would have presented a 2018 listener with baby Hanson voices, Where’s The Love has been re-recorded, with a great a capella intro and new arrangements make a regular staple of Hanson live shows sound a little fresher and new.

Dream It Do It

(Lyrics on Hansonstage) 

Dream It Do It is one of three three new, or better, unreleased by Hanson songs on the album.

Seamlessly following on from Where’s the Love by means of a very Broadway sounding orchestral intro, this is a song with a ‘big’, epic sweeping sound, and falls into the category of one of those uplifting tracks Hanson do so well. Lyrics-wise, dare I say it’s more of the same -

“If you can dream it/You can do it”

I have two observations to make on the subject: one, this is not a song for underachievers and two, I fear that it’s only a matter of time before Hanson fans start tattooing Dream It Do It on their already catchphrase-covered bodies. And I bet Hanson know that.

Mmmbop

I’m going to come out and say it: Mmmbop is one of the best songs in the whole album. The orchestra arrangements, especially after the first minute and a half, bring a new dimension to it, with the strings underscoring the chorus with an insistent but contrasting theme that seems to have divided fans, as half of my friends love it and the remaining half hate it.

I guess for me, though, what makes String Theory Mmmbop a winner are the newly recorded vocals,  as I am not a fan from 1997 (according to the Geneva Conventions that is a crime), and I don’t particularly enjoy the baby Hanson voices, so this is a win-win.

Chasing Down My Dreams

This rarely played live, relatively unknown song from the 2012 EP No Sleep for Banditos certainly fits, theme-wise, in the String Theory narrative, given its title and its lyrics. But Zac’s vocals were never great on that recording, which came after a series of all night writing sessions. Zac has three leads in the EP and his voice is noticeably strained in all of them, which is fine for a fanclub experiment in nocturnal creativity, but not ideal for a project of such grandiose ambitions. Considering that Zac has arguably the strongest voice of the three, reusing the 2012 recording does nothing to show his singing talent, and for all the added bells and whistles, the String treatment of Chasing Down My Dreams amounts to little more than window-dressing.

Tragic Symphony

Despite being the most aptly titled track in the album, Tragic Symphony doesn’t sound very different after the String Theory treatment. Once again, the existing vocals from the original recording have been used, and my brain tunes into the familiar, tuning out the orchestra entirely.

Got a Hold On Me

Although the vocals sound like the original recording from 2007, I do like the new arrangements, especially towards the middle of the track, when the strings come in and bring a sense of dramatic urgency that really adds to the song. Also, is it me or is there a kind of John Barry/James Bond vibe that kind of turns into bossa nova right at the end? No? Well, any excuse for a Martini is fine by me, so pass me the olives and press play for the next song.

Yearbook

Another song from Hanson’s early days, Yearbook benefits from newly recorded vocals, and that means that, even if the original has never been a favourite of mine, at least now I get to enjoy a version that doesn’t have baby Hanson voices. I can’t say the same for the orchestral arrangements, which disappear in the background without adding anything particularly different to what we know already. However, I have a feeling that Yearbook will sound terrific as a live performance - so I'm making a mental note to listen out for that in February.

Siren Call

Another deep cut from a Members EP, Siren Call practically screamed for orchestral arrangements. Instead of the electronic sampling found on the original, this haunting melody is underscored by some of the most interesting string accompaniment in the record so far. Also, and at the risk of incurring in the wrath of the Zac girls, I always found that Zac’s vocals were too loud and piercing in the original. Now the orchestra brings balance to the vocals, and the end result is a bigger, richer, more luscious sound that perfectly encapsulates that sense of being lured into something dangerous and beautiful while you’re finding yourself hopelessly adrift on stormy waters. 

I never thought I’d catch myself saying this but hell yeah: Siren Call is possibly the best song in this album.

The Sirens and Ulysses by William Etty

Me Myself and I

This version of the Shout it Out song contains a very pleasant surprise as Isaac (who has no leads in the album) sings the second verse, appeasing the Isaac Fans just in time to avoid a villagers-with-pitchforks type of situation. Although Zac also sings a verse, you can’t really hear his voice that much because of the layers of harmonies. And that’s an issue with the song in general because the harmonies steal the show, and you forget all about the orchestra that is playing somewhere in the background.

WE WANT ISAAC! WE WANT ISAAC!

Stay tuned for Part 2