Phillip Phillips: “The World from the Side of the Moon”

Screw Bieber, I have Phillip Phever. It’s like the music gods took all my favorite sounds, mixed them all up and poured them into a humble, crooked-grin-wearing package just for me.

Okay, so Phillip Phillips probably wasn’t created just for me, but that’s how it’s felt since I watched him croon, blush and win his way into the country’s heart on “American Idol.”

After dropping on November 19th, Phillips’ debut album, “The World from the Side of the Moon,” climbed all the way up to number four on the American Billboard Top 100. And it’s no wonder. With the bluegrass influences and pop rock overtones, Phillips’ is shaping up to be one of the most successful “American Idol” alum to date.

“Man on the Moon” starts the album off right, kicking off with some Southern twang and a side of uplifting fiddle and violin. This track starts off a theme of “focus on the bright side of life” that fills up the bulk of the album “Don’t let your life start to slowly waste away,” Phillips’ pleads to listeners.

“Home” is the song that, in my opinion, won “American Idol” for Phillip. The perfect blend of his melodic voice and guitar stylings, “Home” has a sound heavily reminiscent of Mumford & Sons, but more upbeat. With a chorus of hauntingly beautiful “oohs,” and uplifting lines like “the trouble it might drag you down, if you get lost you can always be found,” this song gives my chills every time I hear it.

If “Gone, Gone, Gone” is not Phillip Phillip’s next single, somebody done screwed up. Like “Home,” “Gone” is a song full of love and uplifting reassurance with a snappier beat and an equally catchy chorus. I swear you can hear his shy crooked grin in the refrain “like a drum baby don’t stop beating.”

“Get Up, Get Down:” the song I easily confused my mom into thinking was Dave Matthews Band. Phillip was equally praised and criticized for his sound similarities to Matthews, and this is the song that is the biggest doppleganger on the album. “Get Up, Get Down” is still as uplifting as the rest of the album, but with a definite sexy and playful edge to it, something that lends itself to the DMB comparison. “Burn, baby, burn, let me cool you down again.” Sure, Phil.

Bringing the sex appeal again in this track, with Phillips’ raspy voice crooning lines like “let me get down / I’ll be the drug you feel / I’ll let you drive me crazy.” This is the most “rock” song on the album. Mad props are to be had for the brass section of his band, they keep the song flowing with a funky rhythm.

I would easily give this album a solid A+. It’s been the most played album in my collection since Santa left Phillip Phillip’s under my tree, and I don’t see that changing anytime soon.