"Heard the World" \nAs the first song on the new album, the slow guitar riffs give the feeling of a Switchfoot meets Goo Goo Dolls melody. For the close-minded O.A.R. fans, this song struck a deep chord for its variation from their original sound. It's starting to get radio play, and for good reason. While it's different, the music has strong sing-a-long quality and lots of time for jamming, something O.A.R. is famous for.
"Love and Memories"\nThe one that broke that mold. "Love and Memories," the first single released from the CD, has had wide success on pop radio stations. Old O.A.R. fans hate it, claiming it sounds like any new male vocalist with a band, and strays too far from the island sound fans worshipped the band for. Like it or hate it, it's catchy and it appears like it's likely to enter the realm of overplayed hits on the radio.
"Wonderful Day"\nOld school O.A.R. fans, you can listen again -- likely because it was on O.A.R.'s live CD two years ago, 34th and 8th," before Atlantic Records had more of an emphasis. "Wonderful Day" is similar to the wailing sounds you are used to. Roberge even throws in a lyrical "honey bunny," a staple in old songs such as "That Was a Crazy Game of Poker." The band reverts back to its jam factor in this song with loud saxophone influence and fast-paced beats and lyrics.
"The Stranger"\nLyrically, the song is fantastic, but it's the music itself that falls short of making this one a hit. "The Stranger" is the background music song of this CD. While it's pleasant to listen to with its mellow mood, it lacks any strong backing that will leave you praying it's the night's encore.
"Lay Down"\nO.A.R. fans can feel the struggle in this song -- in a good way. While the background beats remain true to an island feel, occasional parts give you the rock vibe Atlantic was clearly going for. A hybrid between the old and new styles, this may be the true style the band should have focused on for the CD. It doesn't split entirely from its roots, but it does explore new beats creating a combination that won't dissapoint
"Program Director"\nPossibly the most musically sound song on the album, "Program Director" feeds on the vibe that makes O.A.R. thrive. Turn up this song and the beat will undoubtedly carry you. This song could easily fit on any of the band's prior albums.
"Nasim Joon"\nA blues-y rendition that is still pleasing to listen to in the confines of your home or during a break from an intense set at a concert. "Nasim Joon" has calming saxophone sounds and a bedtime lullaby quality. While it won't rock a concert, it certainly isn't bad.
"Tragedy in Waiting"\nBy far one of the most unique songs on the CD, "Tragedy in Waiting" creates a rhythm that almost makes you want to get up and dance. It's almost 100 percent certain this song will never make it on the radio because of its unconventional style, but it will likely become a concert-staple for its uplifting mood.
"Daylight the Dog"\nIf it weren't for Marc's recognizable voice, you could easily mistake this for an entirely different band. It lacks any real O.A.R. beats and sounds very much like a cookie cutter song.
"One Shot"\nO.A.R. makes up for the last song by going reggae-heavy on this song's beats. Picture beaches and water, you're at island-front concert for this track. The Caribbean feel makes you want more of the band's first couple albums and is a sure hype-up, getting dressed for a party song.
"Dakota"\nWith the feel of "Five for Fighting's 'Superman,'" and Marc's serene vocals, this song could easily be a TRL-bound hit. It gives insight to a more emotional side of the band which has never really been explored.
"52-50"\nThe perfect closer for this album. The long sax intro sets you up for a true jam hit. "52-50" is by far the encore-favorite song on the album. After going through an album full of new sounds, experiments and variations, O.A.R. pulls it all out in this track creating a solid song vocally, lyrically and musically.
