This is a complete, comprehensive review of Tom Felton’s EP, In Good Hands. All 6 tracks of it. It’s not one of the ones by Feltbeats, just the one Tom Felton released on March 10, 2009.
To see where you can obtain a copy of any of Tom’s works, see the post below this one, “Re: Tom Felton: Where to Find…”
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Tom Felton's EP: "In Good Hands"
At Face Value: There is nothing missing from the cover of this album, except perhaps color. But who needs it? You can’t really tell whether it’s water or grass in the background, but it looks very fluid. I think that’s what counts, picturesquely speaking. You get Tom’s guitar, his signature baggy sweatshirt, the sturdy tree, and the dangling leaves in the foreground. And then there’s something metal, like a tool or something, in the tree. Don’t quite know what it is, but it looks very rustic. It’s like you’re catching Tom on a typical day, except that we all know that Tom, on “a typical day” is surrounded by Potter pals.
Track 1 “If You Could Be Anywhere”: I love the way this song starts. It almost sets you up for something different; that first bar of music sort of asks a question, perhaps “where would you be?” What follows is energetic strumming and a not-so-intricate picking style that comes in a bit late at times, cluing fans in to the fact that really, he’s just having fun. At least for now. I’m going to pass over the incorrect grammar of “where would I fly to?” and move right on to… who is that lady in the waiting room? The strangest part of this song is the sort of sighing in the background. At some places it’s pretty clear that it’s a supplemental sort of harmony part, but at others it just sounds… maybe like a mimicry of Tom’s biggest fangirls? and who is that lady in the street? My favorite part of this song comes at the very end, with the harmonica–simply superb.
Track 2 “We Belong”: I’ll be honest: at first I thought it was going to be a cover of the Pat Benetar song. It’s not, of course. That said, there’s not much I can say about this song. It’s a pretty sweet love song. I think the drums are a little much at times, and again, the sighing background vocals are distracting. I like the lyric “we belong in the sands of the sky” the best in this song. Perhaps it’s just because I’m a cynic, but the song gets a little too sappy about halfway through. If I thought it was actually a parody of itself, like Jason Mraz might produce, I might stomach it a bit better. And indeed, the “you are the reason why…” bridge is reminiscent of some of Mraz’s work. “You are the reason why I won’t be sleeping tonight” is amusing… and it just gets a little too sweet after that. Also, he references his own song, which is a technique I’m not too thrilled about. Still, it’s a song that fangirls will like to listen to and pretend he’s singing to them, I’m sure.
Track 3 “When Angels Come”: Like the emphasis on the upbeat at the beginning, and also the slight falsetto throughout the song. Unfortunately, I have the same complaint with this song as the last one. “Makeup was designed for other girls to try and look like you.” Really, Tom? I have to wonder if he’s even talking about his current girlfriend, because really, who is she trying to look like with all that makeup? But I digress… I do like that he actually warns us that he’s not going to leave anything out about what he likes about this girl– “my words no longer cautious.” At first I also liked the idea that he was incorporating angels… but then it’s only to compare them to this girl, and it turns out that his girlfriend wins. And not to go completely Jesus-freak on everyone, but is that really realistic?
Track 4 “Convinced”: Ok, I have to reveal a pet peeve here: beginning a song with “and” or “cuz.” In all of Felton’s work (including his 3 other EPs under Feltbeats) he only does it about 3 or 4 times, but for some reason it made a big impression on me. So, barring that, this is one of my favorite songs on the EP. It’s actually quite hilarious. He has “makes you want to vomit” rhyming with “change the channel, nothing’s on it,” and for some reason those lines make me laugh every time I hear them. However, the line after that, which I believe is “it’s all ri-i-ight,” is exactly the same as “I’m yo-o-ours” from Jason Mraz. Catchy, but already used, Mr. Felton. (I know I’m picky, but “I’m Yours” was a huge hit everywhere, and this EP came out at least a year after “I’m Yours,” so he might have switched it up a bit…) I’m a little biased toward songs about honest girls, and this one is no different. I like the idea that “she’s as honest as can be; that’s why I’m convinced when she says she loves me.” I like the faded out guitar part.
Track 5 “Father of Mine”: [*Ahem*, bear with me here.] I like the opening guitar part. It sets the song up very well, and is extremely different from the other songs on the album. And after that… well, after that comes what I think is supposed to be a very touching song about divorced parents. First of all, I (fortunately) cannot relate to this subject at all. But I must give Tom kudos for singing about such a difficult subject and bearing his heart. Seriously, that takes guts, especially for someone who is known for his role as a “tough-guy.” As a singer, I can’t help noticing that I’m pretty sure he’s flat in a couple of lines, and I almost can’t tolerate the “father of mah-hiiine” whine. I guess in general, it’s just a little too specific. Its tone is a little too sad and it doesn’t make up for it with any biting cynicism or sarcasm or making fun of itself. I won’t lie: it makes me uncomfortable, for more reasons than one: My final issue with this song… it reminds me of Lucius Malfoy. Someone could write a parody of it and insert “Dark Lord” every time Tom said “divorce,” and poor Draco would easily be singing about his father. Please, Tom, put that on YouTube and make this song worthwhile!
Track 6 “If That’s All Right With You”: This EP goes out with a bang. This is my favorite track by Tom Felton, out of all of his EPs, and it gives me happy vibes every time I hear it. I love that it starts out with a kind of docile sound, with just quiet voice and guitar, and then it builds with a bit of drums, the vocal gets louder, and more drums, and he…! I really don’t want to give it away. It’s a bit surprising, considering every other song Tom performs. I love that it’s a bit rowdy, but with this underlying timidity: “I’ll kiss you on the lips… but only if that’s alright with you.” And, ok… if I was the girl Tom was singing to, I’d rather hear this than hear that he would tell all the angels that I was prettier than they are. The other best part about this song is the line “I’d hold you in my arms like you was a guitar.”
And just like that, just like the actual CD itself, the music comes full circle. On the album cover? Yes, Tom holds his girls like they’re guitars and he holds his guitars like they’re girls. And whichever he happens to be holding at the time, she’s in good hands.
