“We do our best to defy stereotypes,” says Jessica Freedman. “The whole approach has been to distance ourselves from kitsch,” chimes in Ben McLain. “And we don’t go ‘dow,’” adds Rachel Bearer.
Dow?
“That’s one of the words vocal groups use to emulate an instrument, like a guitar, with a made-up syllable,” Freedman explains. “We steer clear of that in arrangements.”
With a cappella vocal groups proliferating madly on college campuses and infiltrating the mainstream via TV shows like Glee, Sonos couldn’t have emerged at a more propitious time. But the three women (Freedman, Bearer and Katharine Hoye) and three men (McLain, Chris Harrison and Paul Peglar) who produce its tapestry of tones are swimming against the tide of jukebox set lists, doo-wop inflections and collegiate shtick in their quest to take a cappella music to a new, more sensual, more musically adventurous destination.
They’ve already won plaudits from such tastemakers as Chris Douridas of L.A. bellwether station KCRW-FM, who praised Sonos’ “innovative vocal arrangements” and “inspired repertoire, supremely delivered.” “Prepare to be stunned,” advised the U.K. newspaper The Guardian, while Campus Circle lauded their “unaccompanied magnificence.” Beyond admiring the group’s sonic achievements, critics also noted its “sexual tension” (L.A. tastemaker outlet The Deli Magazine) and “sex appeal” (Pasadena Weekly).
On its debut album, SonoSings, the group combines a rich, classically choral sensibility with an ultra-modern repertoire and sonic toolkit. The result is a spellbinding fusion of ancient and contemporary sounds, as songs by the likes of Radiohead (“Everything in Its Right Place”), Sara Bareilles (an a cappella veteran herself, she joins Sonos for a rendition of her “Gravity”), Fleet Foxes (“White Winter Hymnal”), Bon Iver (“Stacks”), Rufus Wainwright (“Oh What a World”), Björk (“Joga”), Imogen Heap (“Come Here Boy”) and other cutting-edge creators are transformed into mesmerizing vehicles for voices only.
The only pre-existing pop megahit in the batch is “I Want You Back,” but the group’s moody, trip-hop rendition radically re-imagines the tune – bringing out the dark, despairing lyrics that were all but negated by the Jackson 5’s bouncy, bubblegum original. With the passing of Michael Jackson, the version serves as an emotional homage.
Harrison produced and mixed the disc (with Gabriel Mann and manager Hugo Vereker, who assembled the group, provided A&R direction on the album and dreamed up the stark reworking of “I Want You Back”); he also handled several arrangements.
“Chris is a freakin’ genius arranger,” enthuses Freedman, “but we all have experience arranging and writing music, and we bring so many diverse backgrounds to the table that we’re greater than the sum of our parts.” Indeed, Freedman, Bearer and Hoye all contributed sterling arrangements to SonoSings. Agrees McLain, “If any of us weren’t what we are, Sonos wouldn’t be Sonos.”
Performing “I Want You Back” and other songs live, Sonos further pushes the envelope with the judicious use of effects pedals, guided by resident “gearhead” Harrison. McLain, in addition to singing leads and harmonies, contributes beatboxing that’s looped into a panoply of polyrhythms. (He developed the latter skill while lying in bed in his small-town California home, listening to hip-hop station KMEL-FM; his first cassette, he volunteers, was Very Necessary by Salt-N-Pepa.) But that’s just the tip of the technological iceberg.
“We’re very comfortable performing purely acoustically,” explains England-born, L.A.-bred Hoye, who attended the famed Berklee School of Music before heading to UCLA, where she met her future co-harmonizers. “But in the studio and playing live with a sound system, we essentially make electronic vocal music. We think of our collection of pedals and loops as the seventh member of the group.”
“When we sing ‘I Want You Back,’ I use an octave pedal,” she adds, referring to a device that splits notes played or sung into two tones an octave apart. “That way, I get to fulfill my fantasy, as an alto, of singing bass. You can hear a bass part, but I’m the only one singing. It confuses people.”
That said, the electronics are a small part of the picture – the Sonos experience is first and foremost about how “You can go from nothing to something just by opening your mouth,” as Cleveland-born Cali transplant Peglar – whose stratospheric range is variously described as “rock tenor” and “ballsy falsetto” by his compatriots, and who’s been spotted playing keyboards on the aforementioned TV series Glee – puts it.
Like almost everything else about the group, its origin and development have been unconventional. “We sort of became a band backwards,” explains elder statesman Harrison. “We formed, rehearsed, made a record and then started performing live.”
The San Diego native – who grew up watching his dad playing in bluegrass bands – sang in the famed UCLA vocal ensemble known as Awaken A Cappella with Bareilles and fellow future Sonos members Freedman (who comes from Santa Rosa, Calif.) and Peglar. The latter two had attended high school in Santa Rosa with McLain.
Bearer – who grew up singing opera in Tulsa, Okla. (“the buckle of the Bible Belt”) – had been kept from pop music by her musical-purist parents, but says singing a cappella changed her life completely. She attended both UCLA and USC, and was a member of celebrated a cappella ensemble SoCal Vocals when she met Harrison, who invited her to audition for the group; after a mere five rehearsals, she flew to New York for a performance.
Rather than bang out the record over a few months, Sonos took its sweet time. “We recorded the Radiohead track nearly three years ago, and we added two new tracks the day before it was mastered,” Freedman reveals. “It spans our entire evolution as a group. We’ve really grown into our own sound and style.”
They performed their first gig at the Santa Rosa high school Freedman, McLain and Peglar had attended together. While their vocal mix clearly delighted the crowd, Peglar recalls, their visual presentation hadn’t yet evolved. “I watched a video of it and promptly deleted it,” he relates, “because it was not what we wanted to present to people.” Some seven months passed before their next show, however, and the group soon developed its signature presentational style – sleek, sexy and confrontational, with an air of mystery not often found in the a cappella world.
Perhaps the ensemble’s most revelatory live moment thus far came in the gorgeously austere confines of a 17th Century London church, where they sang for an audience of fans, friends and industry folk. Performing “White Winter Hymnal” and “Gravity,” particularly, in such a setting, Peglar remembers, “Was kind of a checkpoint, because it was the six of us and the audience, with nothing in the way. I’d never even been overseas, so just being in London was amazing; compounding that was making music with my friends in this incredible church.”
“There’s something organic and mysterious about singing a cappella,” Peglar continues. “It’s beautiful and intangible. It could’ve been centuries earlier with a piece of classical music, but we’re taking something from last year and making it just as haunting and interesting. I think that’s what’s most captivating about us.” Manager Vereker reports that the music-business types in attendance were stunned. “Almost every one of them came up to me afterward,” he says, “and told me they’d never seen anything like it in their lives.”
With its debut album complete at last, the group is prepared to bring its one-of-a-kind vocal blend to the world – and plans to pepper its tour schedule with venues like performing-arts centers, colleges and even living rooms. But whether they’re in a courtyard, a club or a concert hall, Sonos will always seek that intangible, mysterious, intimate fusion of timeless tones and modern meaning – with nary a “dow” to be heard.
Sonos performed on Season 3 of the NBC show "The Sing-Off" and they were eliminated in the 4th episode.
I Want You Back
Sonos Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I want you back, baby, come back to me
I want you back, baby, come back to me
I want you back, baby, come back to me
Da, dun, da, dun, da, dut
Daa, dun, da, dun, da, dut
Da, dun, da, dun, da, dut
Daa, dun, da, dun, da, da, da, dut
Da, dun, da, dun, da, dut
Daa, dun, da, dun, da, dut
Da, dun, da, dun, da, dut
Daa, dun, da, dun, da, da, da, dut
When I had you to myself
I didn't want you around
Those pretty faces always made you
Stand out in a crowd
Someone picked you from the bunch
One glance was all it took
Now it's much too late for me
To take a second look
Oh baby, give me one more chance
(One more chance)
Won't you take me, please
Back in your heart?
Oh darlin', I was blind to let you go
But now that I see you in his arms
Ooh, ooh, ooh
Ooh, ooh, ooh
I want you back
Tryin' to live without your love
Was one long, sleepless night
Let me show you, girl
That I know wrong from right
Every street you walk on
I leave tear stains on the ground
Following the girl
I didn't even want around
Oh baby, give me one more chance
Won't you take me, please
Back in your heart?
Oh darlin', I was blind to let you go
But now that I see you in his arms
I want you back, I want, oh, baby come back to me
I want you back, I want you back, baby come back to me
I want you back, I want you back, baby come back to me
I want you back, I want you back, oh baby come back to me
I want you back, I want you back, baby come back to me
I want you back, I want you back, oh baby come back to me
Oh baby, give me one more chance
Won't you take me please
Back in your heart
Oh darlin', I was blind to let you go
But now that I see you
Duh, dun, duh, dun, duh, dut
Duh, dun, duh, dun, duh, dut
Duh, dun, duh, dun, duh, dut
Duh, dun, duh, dun, duh, dut
Duh, dun, duh, dun, duh, dut
Duh, dun, duh, dun, duh, dut
Duh, dun, duh, dun, duh, dut
Duh, dun, duh, dun, duh, dut
The lyrics to "I Want You Back" by Sonos are about a person who regrets their past actions, specifically how they didn't appreciate the love of their ex-partner at the time. The first verse reveals that when they were in a relationship with that person, they didn't want them around and were blinded by the attention of other pretty faces. However, now that they see their ex-partner with someone else, they deeply regret their decision and want them back. The second verse depicts the heartache and sleepless nights the person experienced while trying to live without the love of their ex-partner. The chorus then repeats their desire to have their ex back and their plea for a second chance.
The lyrics of "I Want You Back" touch upon themes of regret, second chances, and the consequences of taking love for granted. It's a universal story that many people can relate to, as we all have had moments where we didn't appreciate someone we loved until it was too late. The repetition of the chorus emphasizes the singer's longing and desperation for their ex-partner's return.
Overall, "I Want You Back" is a melancholic yet catchy song that captures the bittersweet feeling of wanting something that is now out of reach.
Line by Line Meaning
I want you back, baby, come back to me
The singer is expressing their desire to have their ex-partner return to them.
Da, dun, da, dun, da, dut
This is the instrumental interlude of the song.
When I had you to myself
The singer is reflecting on a time when they were the only one in a relationship with their ex-partner.
I didn't want you around
The artist admits that they didn't appreciate their partner at the time.
Those pretty faces always made you stand out in a crowd
The artist recognizes that their ex-partner was highly desirable to others.
Someone picked you from the bunch, one glance was all it took
The singer is acknowledging that their ex-partner was quickly stolen away by someone else.
Now it's much too late for me to take a second look
The singer realizes they missed out on a great opportunity and cannot change the past.
Oh baby, give me one more chance (one more chance)
The artist pleads for their ex-partner to consider reconciliation.
Won't you take me, please, back in your heart?
The artist wants to be accepted back into their ex-partner's life and heart.
Oh darlin', I was blind to let you go
The artist regrets their past mistakes that led to their partner leaving them.
But now that I see you in his arms
The singer is saddened by the sight of their ex-partner with someone else.
Tryin' to live without your love was one long, sleepless night
The artist is sharing their pain and insomnia caused by the absence of their ex-partner.
Let me show you, girl, that I know wrong from right
The singer is urging their ex-partner to give them another chance to prove that they can be a good partner.
Every street you walk on, I leave tear stains on the ground
The singer is showcasing the depth of their sorrowful emotions.
Following the girl I didn't even want around
The singer realizes they didn't value their ex-partner enough and now bitterly regrets it.
I want you back, I want, oh, baby come back to me
The artist reiterates their desire for their ex-partner to return to them.
Duh, dun, duh, dun, duh, dut
This is the repeated instrumental interlude of the song.
Writer(s): Melissa Etheridge, Paul Allen Crosby, David A. Novotny, Dave Faulkner, Joseph Scott Sappington, Sarah Elizabeth Dallin, Arthur Ross, Leon Ware, Keren Jane Woodward, Christopher Jon Dabaldo, Leo Sayer, Jesse Reese, Brenda Gordon Russell, Wayne A. Swinny Copyright: Sony/ATV Music Publishing (Australia) Pty Lim, Warner/Chappell Music Ltd., Mle Music, Cotillion Music Inc., Silverbird Songs Ltd., Almo Music Corp., Jobete Music Co. Inc., Rutland Road Music, Benmokeith Music, Five Superstars
Contributed by Blake P. Suggest a correction in the comments below.