Download | Glee – The Music From Season 1
A collection of songs from the first nine episodes of season 1 feature on Glee: The Music, Volume 1, which was released on November 3, 2009.
Reviewing the album, Christopher John Farley for The Wall Street Journal opined that: “If you’re a fan of the show, the album will evoke fond memories of favorite episodes, giving the songs with an emotional backstory that many pop hits lack.” Jon Dolan for Rolling Stone commented: “Star Matthew Morrison couldn’t rap his way out of a 98° rehearsal. But Amber “Mercedes” Riley crushes Jazmine Sullivan’s “Bust Your Windows”, and the Gleeks’ “Don’t Stop Believin’” is a triumphal moment against which resistance is futile.” Allmusic’s Andrew Leahey noted that Cory Monteith and Dianna Agron “can’t sing nearly as well as their co-stars”, but opined that the album: “has enough star power to keep things trucking along, especially when powerhouse alto Lea Michele takes the wheel.”
Entertainment Weekly’s Leah Greenblatt wrote that the album: “has a giddy sort of ‘let’s put on a show’ charm; on record, it’s basically fancy (albeit fun) karaoke.” Brian Linder of IGN characterized it as having “an appealing irreverent spirit that tamps down the earnestness just as it begins to overwhelm.” He felt that “Sweet Caroline” and “Say a Little Prayer” had “very little resonance”, and deemed “You Keep me Hangin’ On” “uninspiring”. More positively, he noted: “for all its sass, wit, and irony, Glee’s at its musical best when the cast are belting out big ballads with starry-eyed sincerity. Their cover of Queen’s “Somebody to Love” would make Freddie Mercury proud. And Avril’s “Keep Holding On” is given an especially affecting treatment that (apologies to Ms. Lavigne) surpasses the original.”
The Independent’s Andy Gill was apathetic towards the album, noting: “there’s little here to raise either spirits or hackles”, and observing that: “I found myself neither angered nor elated by the karaoke-pop repossessions of rock history.” Alexis Petridis of The Guardian felt that the album requires “a certain suspension of disbelief”, writing: “Enjoyment is predicated on the listener’s ability to buy into a fantasy”. Petridis felt, however, that: “if you’re prepared to buy into the conceit, “Glee: the Soundtrack” almost lives up to its title.”
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