If you listened to the radio in 2001, then you know who Lifehouse is (“Hanging By A Moment” was the most played song in 2001). They’re currently a trio fronted by Jason Wade from the wilds of Los Angeles, California. Back in 2001, they were still a trio, but they included one Sergio Andrade, who helped create the band with Jason Wade.
Now, it could have been the influence of producers or the fact that most of the lyrics on this album were written by Wade when he was 16 and only recorded when he was 20 – either way, since Andrade left, Lifehouse has a much different sound. They’ve become more soulful and more pop-y, though it’s a relief to see that Wade’s lyrics are as honest as ever. But there was a time when Lifehouse’s sound was less pop and more rock, when their songs were focused around sweeping choruses rather than shambling all over the place, and when their lyrics weren’t just soulful, they were profound. This, my friends, all happened in No Name Face.
You may scoff and say that this album was just a load of radio-friendly garbage. While I admit that it was very radio-friendly, the lyrics have stood the test of time. I can listen to this album today and still relate to every single song. Heck, the fact that I can still listen to this album, even though my tastes have expanded, should be proof of its quality. As I mentioned previously, the lyrics all hail from Wade’s childhood. He grew up in a very spiritual family (yes, he’s a Christian), so when his parents divorced when he was 12, it was difficult for him to cope. It’s understandable that he reverted to music to help him through, and it’s even more understandable that these songs have a hint of that teenage angst in them. However, I think the fact that he can describe it so eloquently, as he does in “Simon,” shows a lot of maturity. My sixteen-year-old self would have never come up with that imagery.<
Most of all, I think this album really showcased Wade’s voice beautifully. The band’s later music seems a joke compared to the intensity of his soaring vocalization in “Everything” and his raw honesty in “Somewhere In Between.”
“Dare You To Move,” “Learning to Breathe,” “Living is Simple,” and “Economy of Mercy.”
Switchfoot’s 
