1. Merrimack River
“Merrimack River” is a soothing song in triple time with beautiful harmonies. Like in the previous album, her singing is pretty spot on and flows very well with this track. Her performance is pretty musical from start to finish, and the tone of the song has a very river-like feel to it. I feel a bit like I’m flowing down a calm river on a raft or something. The male vocal harmonies are an excellent addiction to the track as they’re excellent all the way through. It’s a dreamy little track that opens up this album quite well, although is a bit lengthy for its musical content as most of it repeats itself a lot. The vocalists do a good job to keep the song interesting musically, though.

2. Fern Dell
Following “Merrimack River”, “Fern Dell” continues the lighter accompaniment as most of the accompaniment here is a rather catchy guitar line (kind of country-sounding), a soft percussion beat and piano chords. As I said before, I love the guitar line that she uses to accompany this particular song; it’s rather addictive. I’m not too fond of how she does some of her vocal lines, most of it because she reverts to her super airy voice at parts of the song, and her personality just doesn’t come out a lot in her vocals on this track. The energy is lost in this song and her singing sounds a hollow. I enjoy the little burst of instrumentation near the end of the song, but otherwise, the song is a bit of a bore vocally.

3. I Could Break Your Heart Any Day of the Week
The next track is the leading single from the album, and some of the shorter songs off the album. It took awhile for the melody to grow on me, and I still find the chorus kind of a mediocre and doesn’t really work together well with the verses. The melodic progressions are a bit weird. In any case, Moore gets a lot more energy into this song and sounds more interesting on this track. I liked the previous song better in terms of the composition, but this song is performed in a more interesting manner. The composition is a bit mediocre, albeit a bit catchy as well.

4. Pocket Philosopher
We’re back with the smoother, mid-tempo stuff. This opens with an active piano chord accompaniment. Moore’s singing is a bit broadway-esque as she starts to pronounce everything a bit too much for a pop-folk song with some of the words. It’s not too much of a bad thing, though; it’s just rather noticeable. I’m not too fond of the melody of this song, though. It doesn’t flow very well, especially with some of the accompaniment at short times where it clashes with the sound. The melody is kind of cute at times, and I like the soothing sound of the track. However, that’s about all I like about this track. It’s nice, but I don’t like much about the track.

5. Song About Home
The opening is quite interesting with the low guitar lines, the choir singing and the flute. The flute parts could use some work, honestly. They sound a bit sharp and are definitely not in tune with each other. This is apparently the only part that doesn’t quite work that well on this track, because I love the melody of this song. It’s soothing, and Moore’s singing seems a lot more sincere on this track. She shows off her rather pretty tone on this track quite well and has a nice control of the musicality of her voice on this track. I must say that the flute repeating over and over again with the same pitch errors is really annoying.

6. Everblue
“Everblue” is a much more clearly produced track and continues with the soothing sound. The accompaniment drones on a bit, but it helps focus a bit more on Moore’s singing. The melody is clear and Moore sings well despite the kind of dragging feeling the accompaniment and the melody line gives off. Somehow, this is one of the better songs so far off the album despite being a bit on the boring side. Moore still sings this quite well, although the track itself kind of induces sleep after awhile, especially since it’s one of four songs that are over 4 minutes in length.

7. Merrimack River (Reprise)
We’re back to the opening track with a small little instrumental version of the main melody of the song. It’s kind of the same soothing, melodic chorus with a lot of strange dissonant sounds twirling around it. It kind of reminds me of a circus, but now it’s floating on the crazy river. A floating circus? :D

8. Love to Love Me Back
Yay, something more midtempo. It’s a cute little folky song with the standard acoustic guitar with a hint of county sound to the overall sound. Moore sings in a light, airy tone in the verse, but this time around, it works quite well as it highlights her really pretty head tone in the higher tones. She brings in her chest voice in the chorus a bit at points. This is probably the first song I’ve fully liked since “Merrimack River”. It’s a really pretty song from the accompaniment to Moore’s singing throughout the track. The track is very soothing and melodic.

9. Indian Summer
The bass and the piano at the beginning are quite interesting. The bass just kind of play little quick sequences under the soaring piano opening. This ends up to be another mid-tempo piece that has some pretty instrumentation. Small parts of the melody clash a bit with what the piano plays in term of the progressions, but overall this is a rather pretty piece, but the melody doesn’t flow as well as I would have liked. Moore still sings well throughout this short song, and the instrumentation for this song is actually quite good and layered. Pretty.

10. Nothing Everything
Chords open up this next upbeat track, and I like how light Moore’s singing is when she starts off the track. She still sings with a lot of style and energy and makes this song interesting vocally, although the low notes could use a bit more energy at some of the end of her phrases. It’s a cute track and feels a bit weird after the short “Indian Summer” as it’s one of the longer tracks off the album. It’s still a gentle, upbeat track that has a pretty melody. I love the little vocal things happening on the bridge; they’re quite amusing with all the layerings of them saying different things in different rhythms.

11. Bug
The final track is a soft acoustic guitar midtempo track. I have a love for these kind of simple acoustic guitar tracks, and Moore does this track really quite well. It’s the shortest track off the album by only a few seconds, and it ends the album perfectly. Moore’s tone is beautiful as always, and the violin bridge is quite nice. The added vocals things in the latter half of the song I find really distracting though. Her low notes need a little work as they lack a bit of support and kind of falter off a little, but otherwise, this a pretty, simple track to end off the album.

Overall –
Favourite Track: Merrimack River
Mandy Moore’s latest effort isn’t bad, but I don’t find it very compelling most of the time. There are plenty of nice songs throughout the album, but I’m not fond of some of the arrangements of composition throughout the album. Some melodies don’t flow as well as they could have on the album, and really distracted me from enjoying a few songs as much as I could have. In addition, a lot of the songs don’t really tend to stand out very much or were cluttered with bad musical choices. While I enjoy some of the stylistic choices throughout this album, the results seem a bit less polished than her previous record, and quite frankly I didn’t enjoy as many songs this time around. Moore is still a solid singer, but this record is a little too average and lacking a bit of personality at times.

1. Extraordinary
Mandy Moore opens her newest album with a laid-back acoustic track. I enjoy the simplicity of this song, and Moore’s vocal style for this song rather different from what I’ve heard from her before. Despite how simple this song is, the song goes on without feeling lengthly. I enjoy the light, floating tone the song has as a whole.

2. All Good Things
The light feeling continues with this next song, and the odd way she sings “All Good Things” is kind of interesting, although I find it a bit to harsh for this song. This song has a much fuller arrangement than the previous song, and I quite like it. I especially like the melody for the bridge, and how she starts sing out there.

3. Slummin’ In Paradise
This is a slightly more upbeat song than the previous song with more emphasis on the main beats, and a percussion running through the song. I really like the melody her again, and Moore has strong vocals throughout the track. The track tends to be a bit on the repetitive side, but I still really enjoy the melody, and the acoustic accompaniment.

4. Most of Me
I really like the picked acoustic guitar introduction here. It has a bit of a mysterious sound to it, while Moore sings with her chest voice over it. The melody for the verses don’t really catchy my attention much, but I enjoy the short chorus. The verses have a lot of breaks in between the lines, and there’s a bit of a detachment every time she stops singing. Unfortunately, this is probably one of my least favourites so far because I find too repetitive without making much development in the song.

5. Few Days Down
This next song has a bit of a unique keyboard sound with Moore’s strong vocals going on over it. I really enjoy Moore’s delivery from the beginning of this song. After the first chorus, the song gets a fuller accompaniment with percussion added to the mix. Again, it’s light, but very enjoyable. I really like the melody of the song.

6. Can’t You Just Adore Her?
The introduction has acoustic guitar and a hint of electric guitar, but once Moore comes in, the electric guitar drops. Moore’s vocals are gorgeous and add a bit of elegance to the already-elegant song. The song is just really smooth and gorgeous, while being a bit repetitive after awhile of the same kind of delivery. I really enjoy how he song ends though; she ends with the beginning lyrics.

7. Looking Forward to Looking Back
This is the second more upbeat song on this album, and it’s one of my favourites. The accompaniment has mainly acoustic guitar and piano. I especially like the chorus and the line “I’m looking forward to looking back on these days”. There’s just something very charming about that one line of the chorus. The combination of piano and acoustic is quite nice as the piano weaves in and out of the melody.

8. Wild Hope
This is possibly the most gorgeous song off this song. The acoustic guitar’s plucked strings have a light arpeggio pattern in the background, and Moore mostly whispers her lyrics here or she signs lightly. The song is extremely haunting, and I enjoy the soft cello in the background and the echoey voices in the background. I adore the bridge halfway through; it’s so absolutely pretty.

9. Nothing That You Are
Yet another upbeat song from Moore, and I enjoy the emphasis on the percussion at the beginning of the song, rather than the acoustic guitar. While the guitar isn’t absent, its presence isn’t as frequent as some of the other song at the beginning. I really enjoy the guitar work in this song as it’s not necessarily all straight strumming all the way through, and the melody and delivery of the song is infectious. I enjoy the build-up to the chorus.

10. Latest Mistake
The next song is still upbeat, but it has a bit more of mellow tone to it. The constant percussion sets up the upbeat tone, while Moore sings with her gorgeous tone in a somewhat legato tone. I love how she delivers this song emotionally. The delivery is what brings this song forward, and it one of the reasons why I adore this song so much. The melody is memorable, and enjoyable. Sure, the song gets a bit repetitive after awhile, but something about the way Moore sings this song really catches my attention.

11. Ladies’ Choice
I’ve never really liked this song all that much; the verses are unmemorable, but I enjoy the chorus quite a bit. It’s more upbeat and Moore emphasizes it a bit more in comparison to the legato verse of the song. However, it’s not enough for me to like this song. It’s kind of disappointing since this is the Rachael Yamagata song off the album, and I’m quite a fan of Yamagata. However, this song does not do it for me.

12. Gardenia
I adore the dark chords at the beginning of this song. It has sort of an omninous sound to it, but the song is rather bright. Moore sings strongly at the beginning and emotionally. The piano in the background is light, and very well played. This final song on the album is gorgeously sung and played with nice crescendos and decresendos at the right moments of the song.

Overall -
Favourite Track: Wild Hope
Moore’s fourth album, and her first album after her immense rebellion against Sony, produces some gorgeous music. Moore has, again, improved vocally and unlike her last album, does not oversing her music. Instead, she sings with such attention to detail and with so much emotion. This is by far, some of Moore’s best music to date. This subtle collection of folk-pop music is heartwarming, catchy and memorable. There are parts of this album were it gets a little bit repetitive in style and presentation. However, as a whole, this former pop princess has grown into a mature singer-songwriter. A beautiful album.

1. Senses Working Overtime
Moore starts off her cover album with this upbeat song. I’m not quite sure if she pulled it off, though. The song is there, but I don’t find that her breathy tone works with this song all that well. Either way, it’s not a bad cover as Moore sings well, with confidence and with energy. It opens the album with power, and a lot of fun.

2. The Whole of the Moon
I don’t exactly agree with some of Moore’s artistic choices in her delivery; I find it a bit too over-sung at times. However, I still find that she does an excellent job with this song considering its repetitiveness. I personally would have liked a bit of vocal variety throughout the song as she mostly sings the song the same way throughout, but she emphasizes well throughout. I especially love the arrangement of this song with the brass throughout.

3. Can We Still Be Friends?
Moore is immensely good at slower songs, and this song shows her interpretation skills. She uses her breathy tone to her advantage, so makes this song really pretty to listen to. The higher notes seem a bit sharp in the pre-bridge when the vocal layering comes in with the “lala”s, but she carries her voice very well for the majority of this song. I love her voice without the breathiness in the bridge though. Her tone is so clear and so well-supported.

4. I Feel the Earth Move
This upbeat song, amusingly, covered well by Moore and with so much energy. I love the strings in the background of this song, as well. Her voice is strong throughout, but again, I don’t completely agree with some of her vocal style choices at points of the song. The song is pretty awesome, though, and I really enjoy the arrangement with the dramatic strings.

5. Mona Lisas and Mad Hatters
This is another mid-tempo song with some of Moore’s well-sung vocals. The song is accompanied with piano at the beginning before she goes into the chorus where other instruments and back-up vocalists come in. The song is sung with sensitivity and power. This is the kind of vocal variety that I know Moore is capable of.

6. Drop the Pilot
This next song is probably on of my favourite upbeat songs from this album. Moore’s vocals are just excellent throughout, and sung with such conviction and energy. The arrangement is rock-ish and immensely fun to listen to. Both Moore and the accompanists perform with emphasis and energy.

7. Moonshadow
I absolutely love this cover. The lyrics are pretty repetitive, and I really like Moore’s use of her lighter voice here for the majority of the song. The acoustic sound of this song works so well with the type of melody it is. It’s simplistic, yet beautiful. By the bridge, Moore goes to the chest voice for more power, and it works well without overwhelming the simplicity of the earlier parts of the song.

8. One Way or Another
I’ve always found this song slightly on the corny side. My dislike of this song aside, Moore performs well here with a lot of attitude that fits the style of the song. It’s not particularly eventful, however, but it works well enough.

9. Breaking Us in Two
The next song is a dramatic mid-tempo song. It’s quite a pretty song, and Moore sings well. I especially like the use of flute in this song. There’s a sense of a kind of dreamy atmosphere in this song that I really like.

10. Anticipation
This next song is a mid-tempo acoustic song, with an emphasis on the acoustic guitar accompaniment. Again, I absolutely adore how Moore delivers this song. Her tone is gorgeous, emotional and shows much more variety than in some of her other songs on this album.

11. Help Me
Moore uses her lighter, breathy head voice in this next song, and it works quite well. I like how she starts off this song, and the breathy quality of her voice works with the rest of the song quite well. I love the part where she starts off as “didn’t it feel good when we were sittin and talkin” with her chest voice, and she quickly switches back to her head voice as she goes back into the song.

12. Have a Little Faith in Me
I fell in love with this song the first time I listened to it on the TV. There’s a sense of simplicity with its focus on lyrics and vocals rather than music. I love Moore’s delivery of this song; it’s absolutely delicious. An excellent ending to such a beautiful cover album. Love the use of brass, here.

Overall -
Favourite Track: Moonshadow, Drop the Pilot
Coverage marks the first album where Mandy Moore starts to rebel against her previous teen-pop idol image as she covers songs from the 1970′s and 80′s, against the wishes of her label. As the first album where Moore takes completely control over her material (she financed this album herself, and recorded it in her own), I’m impressed. Sure, I find she oversings some of her material a bit, but overall, she sings with such confidence, musicality and energy. For a cover album, this is pretty good, despite Moore’s vocals being a bit overbearing at times.

1. In My Pocket
The opening song for Moore’s sophomore release is really quite catchy. In addition, Moore’s vocals have improved from what she presented from the previous release. The song has a bit of an ethnic sound to it from the bongos and the rather interesting instruments used throughout the song. The programming has a lot of echoed voices coming in and out of the song. It’s actually quite an interesting song in terms of what they’ve done with the arrangement and everything. In addition, this upbeat song is rather catchy, although one-dimensional as it more or less repeats the same thing the whole way through. Moore’s vocals are energetic and fun throughout the song.

2. You Remind Me
The next song has a more laid-back upbeat song to it as Moore uses her sweeter tone here. The accompaniment is kind of winter-like with the use of light bell-like sounds and the small picks of the acoustic guitar. The melody here is quite pretty, although kind of awkward at times. Either way, this song is quite pretty, and Moore sings well. A lot of Moore’s vocals here use harmonies or doubling of her voice.

3. Saturate Me
The opening of this song sends chills as there’s a little breathy sigh that goes from one ear to the next and leaves a little tingly feeling. Moore brings out her improved whispery voice in this song, and I personally find it quite pretty. This song has a bit of a soft, haunting quality that I quite like. Moore performs this song beautifully. The song has a bit of a wind-like sound to it. The song is ruined once Moore has to start talking in the bridge. Ruins the atmosphere completely.

4. One Sided Love
This next song continues with a sitar-sounding instrument, which is quite fascinating. This is definitely the most intriguing introduction so far, but I don’t care much for Moore once she comes in with the terrible melody. There’s very little flow in the melody as it’s mostly chanting from Moore, and I personally find it horrible. At least Moore is very energetic in this song.

5. 17
This is another laid-back mid-tempo song. Again, Moore vocals are strong, but highly breathy. The song is really unremarkable, although the melody is quite nice. The bridge is really awkward sounding in comparison to the rest of the album, however. This is probably my least favourite of the album thus far, but I’m still only halfway through it.

6. Cry
Admittedly, A Walk to Remember was what made me a fan of Mandy Moore in the first place, so of course I would absolutely adore this song. I adore Moore’s presentation of this song as she uses her chest voice here rather than her head voice. This song is just so dramatic, and quite well written. The accompaniment has a nice string line going on. I quite like the contrasts of dynamics from the softer acoustic guitar parts to the fully accompanied parts of the song.

7. Crush
Moore sings this next song sweetly, and I really like her delivery in this song as it fits the subject perfectly. The song is rather simple with the acoustic guitar accompaniment, and the song more or less could be looped over and over again from the structure of the song, and the fade off that it ends with. Uneventful, but still rather cute and sweet.

8. It Only Took a Minute
Take Crush, change it to be a bit more dramatic, and add dissonant strings in the background. It’s this song. Again, the song is quite nice, and I enjoy the dissonant strings that come in and out of the song, but it’s really not that interesting after listening to a similar-sounding song. The dissonant strings so not redeem the fact that this is so similar to the track before.

9. Turn the Clock Around
Yay to more filler tracks. Take the same sound as the previous tracks and make it more upbeat. Seriously, this is starting to get a little tiring, even after three tracks of similar stuff. Again, it sounds nice, but not terribly interesting, especially after a few tracks of a similar sound.

10. Yo-Yo
The next song breaks the sound from the previous three tracks with a more pop-rock sound. I don’t particularly like the verses as it’s hardly melodic at all, and Moore is extremely breathy in them, even more than usual. I really like the chorus, however, as she starts to sing out and it’s rather catchy. In addition, the bridge continues the more pleasant sound. If the writers made the verses more melodious, it would make quite a catchy song.

11. From Loving You
The next song opens with Moore’s softer voice, but put through a voice filter that makes her sound muffled before going into the verse without it. Moore sings emotionally and well in this song, but there’s a sense of uncertainty in the overall arrangement of the song. It just feels realy unsure in terms of how the song was put together as there’s minimal accompaniment, and Moore is very poorly accompanied in this song with the inconsistent instruments in the background. Nice melody, nice vocals, poor execution and arrangement of the song.

12. Split Chick
The opening of this song with the “Oh, ohhh” is actually really annoying. Beyond that, it continues to be rather irritating to listen to. Again, poor programming in this song, poor melody composition in this song, but Moore is quite energetic in this song. “Whatever”, indeed. The whole song is about four minutes of awkward.

13. When I Talk To You
The final song of the album is an attempt at a sensitive ballad. Moore’s voice is nice, but not nice enough to pull off this already terrible song. The awkward continues. The song drags on, and the execution is just really choppy on all parts of the song. There’s moments of possible brilliance here, but the presentation is horrible and unmusical.

Overall -
Favourite Track: Saturate Me
Mandy Moore’s second original album effort (I refuse to consider “I Wanna Be with You” to be her second album) is an immense improvement from the music she had on her first album, but it is still far from excellent. While the album opens well with some unique pop tracks and improved vocals from Moore, eventually some poorly written, unmelodious songs make their way onto the album, and I quickly get bored. There’s still some rather good tracks on this album among the generic, uninteresting pop. Vocally, Moore sounds so much better, and she’s full of energy and emotion throughout the album.

1. So Real
Old 90′s bubblegum pop is amusing. That said, this song starts off like a lot of typical pop songs of that time with the heavy synth opening, while the tempo is fairly midtempo. The verses here are really lackluster in comparison to the fairly catchy opening, as the verse as fairly little flow. There are breaks every single line, and it feels really abrupt. The chorus is a bit better as the sound is more continuous with little “baby, baby” lines in between in the breaks. Moore’s vocals are okay as she reaches notes well enough, but I dislike how she presents this song as everything she does is done in the same manner. The base synth is quite catchy though.

2. Candy
Oh my god, I remember when this first came out. This song is actually rather addicted, although again I dislike how Moore sings this song despite the fact that she still reaches notes well. There’s a lot of forced growls throughout this song that I find really annoying as she emphasizes a bit too much for no apparent reason. Either way, this is around the same tempo as the previous song, and again the melody has very poor flow throughout the song. Either way, I like the chorus, which, again, flows much better than the verses. The dialogue in the bridge is lame, as dialogues usually are.

3. What You Want
Take out Moore’s growling, and you get a rather thin voice. There are points where she talks rather than sings, so it makes her rather flat. The song itself is again of a similar tempo than the other songs, but I find this song less interesting than the previous song, possibly because I haven’t heard of this song before this. There’s something very unpleasant about Moore’s presentation of this already dull song that makes it even worse, possibly because she tends to twist her words a bit.

4. Walk Me Home
I personally have a soft spot for this song, as it is one of her earliest songs that I actually really like. It’s a ballad, but Moore’s vocals are actually quite pleasant here as she no longer has to growl and she actually sings. She has a light, breathy voice here, and I quite like the amount of emotion she has in this song. The song itself is pretty, but nothing outstanding, and it gets a little dull after awhile. I like the overall sound, though.

5. Lock Me in Your Heart
“MANDY. MANDY. THE SOUND OF YOUR VOICE IS SWEET LIKE CANDY.” … What?! XD Moore comes back after the weird man talking with her softer, ligher voice. Her voice actually isn’t bad until she starts twists her voices around (e.g. “The magic between us becomes real”). I personally find her vocals in this song really, really dull and one-dimensional. The song has a bit of a laid-back sound to it, but it’s also equally as boring. The nicest part of the song is the first line of the chorus: “Lock me in your heart and throw away the key”. After that, the melody isn’t really interesting at all. This is one song you’re probably best avoiding, even if the one line in the chorus is kind of catchy. Nothing else is interesting. Even the writers’ vain attempt at a key change doesn’t make the song better.

6. Telephone (Interlude)
… dialogue interludes. No away now. Thanks.

7. Quit Breaking My Heart
The second ballad of the album, and Moore comes in with a really muffled, breathy tone. I don’t particularly like her breathy vocals as if feels like she’s not really singing at all. The song itself is actually quite nice, and I enjoy the melody in this song. The whispered, breathy vocals are really annoying though, and Moore sounds much better when she’s not so muffled. I like the harmonies on the “Quit breaking my heart” line. It’s quite pretty. Otherwise, this track is pretty uneventful.

8. Let Me Be the One
This is probably the strongest vocals I’ve heard from her so far. Her tone is much fuller here, and the melody for once isn’t chopping off every line for an upbeat song. While Moore does do random growls, she sings out in this song and it actually isn’t bad. She, again, tends to twist her words a bit. Although this is probably the best I’ve heard from Moore so far on this album, the song is unfortunately forgettable. It has no catchy riffs, and repeats itself over and over in a forgettable manner.

9. Not Too Young
The next track starts off with some kind of thunderstorm sound effects, before going into a slightly muffled sound. I find Moore’s attempt at an “edgy” vocal really terrible sounding as she ends up twisting and growling more and more. No thank you. This song is an attempt at a “darker” piece, with some nice acoustic guitar solos throughout. However, as nice as the acoustic guitar sounds, nothing else really sounds interesting in the song. There’s no musicality in the vocals at all, and it makes the overall song quite painful to listen to.

10. Love Shot
This album just continues with the same style over and over again. This is another mid-tempo upbeat song. I actually like this melody a bit more than some of the previous song, especially the pre-chorus. I like how rhythmic Moore is on the whispered parts here. Moore switches between the whispery voice and her belting voice, and despite the style being rather similar, I actually find this song kind of catchy, as there’s a nice string lines in the background with the heavy synthesizer bass line. Again, kind of too repetitive after awhile.

11. I Like It
Again, Moore actually sounds quite good at the beginning of this song with her lighter voice. It starts off with a ballad-sound, then Moore starts to twist her voice horribly once a more upbeat sound comes in and she again sounds terrible. After that, my attention fades away as there’s nothing interesting about this song beyond the introduction. Moore doesn’t have enough energy to pull of this slightly laid-back upbeat song as she sings it as a ballad, which it is not.

12. Love You for Always
This is probably one of the better songs of the album. It’s another mid-tempo pop songs. The background has an upbeat percussion, and the melody is actually quite pretty throughout the song. The blend of sound in this song works well and is quite pleasant. Moore sings well throughout as this style works well with the lighter, legato singing. This song is pretty.

13. Quit Breaking My Heart (Reprise)
This is an acoustic guitar version of the previous-heard song. The acoustic guitar is actually quite nice accompanying, and Moore sings well, although she has really bad phrasing in this song. She has a tendency to take breaths in the middle of a phrase, which of course ruins some of the musicality she puts into the track. Either way, if you don’t notice those, the track is actually quite pretty.

Overall -
Favourite Track: Walk Me Home
For those who are wondering why I’m reviewing Mandy Moore… her new stuff is actually pretty good, and I’ll eventually get to that! As for her first album, Moore wasn’t kidding when she admitted that her first album sounds awful. Vocally, Moore isn’t bad, although she has a tendency to have very poor pronounciation when singing: for example, she tends to emphasize the ‘r’, like in ‘here’ way too much on elongated notes, focusing on the ‘r’ rather than the vowels, in addition to some poor phrasing. To Moore’s credit, she’s 14 and she’s got a pleasant voice when she uses it well. The material on this album is uneventful, poorly written melodically, and instantly forgettable. I’m surprised that this is her best selling album.