I’m going to make no bones about this, I love Hedley, always have, so this review will be more than extremely biased in many people’s eyes. So obviously when I heard that the four piece were going to make a new album, I was over the moon. The finished product however is not what many fans expected.
The album kicks off with the dance-pop tune and first single “Cha-Ching”, a song far different from the sound and feeling of much of the Hedley back catalog, whilst lyrically, the band takes a jab at fame grabbing celebrities. Whilst it’s a far cry from the power balladry and heart wrenching topics of previous works, it’s an extremely 
The album swiftly moves along with “Scream”, which moves further away from the dance side of things but is still laced with electronica and voice altering. The chorus is by far the highlight in the track. The tempo is shifted down for the start of the next track in “Hands Up”, which starts with superb vocal delivery and country style acoustic guitar, which eventually builds up to an anthemic and uplifting chorus.
After a very materialistic and inauspicious start lyrically to the album, Hedley get back to what they do best which is writing songs from the heart. “Amazing” starts with a soft piano reminiscent of “For the Nights I Can’t Remember” and hits just as hard. “Shelter” and ‘Young & Stupid’ show off Hoggard’s vocal talents and one of the highlights of the album.
“Perfect” shows a different side to Hoggard’s vocal delivery, using an unusually higher tone for the heart wrenching chorus, but yet again, is delivered extremely well. Claiming “I’m not perfect, but i keep trying, cause that’s what I said I would do from the start, I’m not alive if im lonely.” “The Sweater Song” is a very stripped-down acoustic song of conversations of two young lovers. “9 Shades of Red” switched the topic to completely about partying and the closer “Friends” is a perfect closer about graduation and wins and losses of high school friends.
Musically this album is is not very technical, as the guitars and bass are very simple, yet still delivered extremely well, as usual. Lyrically this album is extremely up and down. Amid the usual heartbreaks and sadness, it also shows plenty more materialistic lyricism. In the end, Hedley have created a solid record, one that fans will not necessarily like due to the departure and progression of the band. But for me this is still another solid Hedley record.
Whoever said that genuinely humorous sitcoms are becoming an endangered species in the 21st generation has obviously been too busy scrutinizing awful comedies like How I Met Your Mother or Big Bang Theory of its undeserved popularity, miserably unaware of the existence of 30 rock, Modern Family or in this case, Community.
Community is a promising comedy about a shallow man trying to make his life right, one bad deed at a time. It is odd how losers make winning comedy. You couldn’t ask for more agreeably amusing company than this oddball group of misfits and miscreants, led by the likably snarky Joel McHale. Community is a barbed but ultimately endearing ensemble sitcom that follows the fall (and possible rise) of Jeff Winger, a cocky jerk of a disgraced lawyer who enrolls in a hard-luck community college, assuming he can just coast through and regain his credentials the easy way. “That cannot be an inspiring journey,” says his professor pal, from whom Jeff hopes to cadge all the answers. Circumstance, and a crush on fellow Spanish student Britta, who isn’t buying his smarmy act, lead Jeff to form a wacky study group that includes Chevy Chase (wonderfully droll) as a needy senior who made a fortune from moist towelettes, and the hilarious Danny Pudi as the awkward chatterbox Abed, who sees everything in terms of movie/TV archetypes. (Next episode, when Britta starts going on about the plight of murdered journalists in Guatemala, Abed blurts, “Spoilers!”) Silly, sweet and frequently hysterical in its fractious group dynamic, Community has the instant feel of a classic-in-the-making sitcom with a refreshingly diverse range of characters to play with.
One of the pleasing things about Community has to do with what it is not. The show doesn’t fit into any of the more familiar half-hour comedy formats on network TV right now - family sitcoms, workplace-family sitcoms, or friends-in-the-city sitcoms. It isn’t entirely formulaic. What else isn’t it? Another reason to moan about sitcoms fading quality.
