Every Night

( 1 )

Editorial Reviews

All Music Guide - Heather Phares
Over the course of its career, Saturday Looks Good to Me hasn't tampered much with its mix of artful lo-fi haze, winsome melodies, and pithy lyrics. Change comes with Every Night, but fortunately the band doesn't try to fix what wasn't broken in the first place. Most immediately different is the album's sound: although head Saturday honcho Fred Thomas and Warn Defever reteamed on Every Night's production, this time they use a polished approach that sounds as if it's already been remastered. Paradoxically, jettisoning the faux-vintage patina only makes Saturday Looks Good to Me sound more traditional, as if Every Night was culled from pristine acetates of lost '60s pop. ...
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Editorial Reviews

All Music Guide - Heather Phares
Over the course of its career, Saturday Looks Good to Me hasn't tampered much with its mix of artful lo-fi haze, winsome melodies, and pithy lyrics. Change comes with Every Night, but fortunately the band doesn't try to fix what wasn't broken in the first place. Most immediately different is the album's sound: although head Saturday honcho Fred Thomas and Warn Defever reteamed on Every Night's production, this time they use a polished approach that sounds as if it's already been remastered. Paradoxically, jettisoning the faux-vintage patina only makes Saturday Looks Good to Me sound more traditional, as if Every Night was culled from pristine acetates of lost '60s pop. However, the album's performances and songwriting fit well with the clearer production, and though more work might have gone into Every Night than SLGTM's earlier albums, the music is still effortlessly breezy. All of this applies to the charming opening track, "Since You Stole My Heart," which also introduces the band's other major change, new vocalist Betty Marie Barnes. Barnes' voice is just as guileless as those of Erika Hoffmann, Kelly Caldwell, and Ko Melina who also make appearances on Every Night, but has a richness that matches the album's full-fledged sound. "All Over Town"'s swooping, heartbroken melody showcases her expressiveness, as does the witty ode to missed connections, "The Girl's Distracted." A duet between Barnes and Thomas, the contrast between her lively voice and his softer one plays to both of their strengths. Likewise, Thomas' vocals sound more self-assured throughout Every Night, particularly on "If You Ask," a fantastic song that may be the best thing that Saturday Looks Good to Me has yet produced. Based around a tight organ and guitar groove and vibes that would do the Zombies proud, it expands into swooning choruses with glorious harmonies. It's spooky, restrained, and a real breakthrough for the band: not only does it evoke a classic atmosphere, it owns it completely. Thomas' other moments bridge the gap between singer/songwriter fare and the rest of the album's bright, knowing pop: "When the Party Ends"' A-A-A-A rhyme scheme is alternately funny, infuriating, and impressive; "Dialtone" fuses some of his most intimate lyrics "I smelled summer in those letters" with a full-band rave-up; and "When You Get to New York" ends the album with a question dressed up in Left Banke-esque chamber pop. This song and "We Can't Work It Out" are the closest Every Night gets to the bittersweet, half-remembered mood that defined the band's previous work especially All Your Summer Songs, but Every Night is probably Saturday Looks Good to Me's most consistent album, and it manages to make being mostly happy sound as compelling as being lovelorn -- no small feat.
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Product Details

  • Release Date: 9/14/2004
  • Label: Polyvinyl Records
  • UPC: 644110007322
  • Catalog Number: 73
  • Sales rank: 135,818

Album Credits

Performance Credits
Saturday Looks Good to Me Primary Artist
Eric Hoffman Vocals
Fred Thomas Organ, Harmonica, Percussion, Electric Bass, Drums, Glockenspiel, Electric Guitar, Tambourine, Vocals, 12-string Guitar, Guitar (12 String Acoustic)
Nate Cavalieri Organ, Piano, Vibes
Charles Koltak Percussion, Drums
Warn Defever Slide Guitar
Ko Shih Vocals
Juan Bautista Sánchez García Vocals, Lap Steel Guitar
Michael Herbst Baritone Saxophone
Elliot Bergman Clarinet, Accordion, Saxophone, Tambourine, Vocals
Chilali Hugo Harp
Scott Sellwood Organ, Electric Piano
Scott DeRoche Electric Bass, Bass Guitar, Double Bass
Betty Marie Barnes Vocals
Kelly Jean Caldwell Vocals
Jane Elizabeth Fletcher Violin
Faith Gazic Accordion
Joseph Hintz Violin
Anna Steinhoff Cello
Justin Walter Trumpet
Chilali Hugo Harp
Ko Melina Vocals
Erika Hoffmann Vocals
Juan Garcia Vocals, Lap Steel Guitar
Technical Credits
John Golden Mastering
Fred Thomas Composer, Producer, Horn Arrangements, String Arrangements, Audio Production
Warn Defever Audio Production
Elliot Bergman Horn Arrangements, String Arrangements
Esme McClear Engineer
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Customer Reviews

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Sort by: Showing 1 Customer Review

  • Anonymous

    Posted October 1, 2010

    This is Good Stuff

    This album is great--beginning with the first line of the first song and following through to the very end...mellow, but catchy. Sounds a bit like a more '60s Belle and Sebastian; although not quite as lush.

    Was this review helpful? Yes  NoThank you for your feedback.   Report this reviewThank you, this review has been flagged.
Sort by: Showing 1 Customer Review