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Press "I'm getting the best vocalists this month. Breathtakingly wonderful voices. This is the best of the best. Jason Brody sings in a breathy, soulful, yet manly seductive laid-back vibe, kind of like Elton John with several shots of whiskey. Or Rufus Wainwright with an unblinking, sharply-focused gaze. I'll declare my intentions right here and now: I want to marry Jason Brody's voice. I'm sure the rest of him is just as impulse-inducing, but let's be honest, it would be kind of hard to live up to that voice. It's too good. The hypnotic lure of the vocal is heightened by the eerie feel of the music. There's always something shadowy going on -- unsteady minor notes, unsettling images, unhappy endings, foreboding images. Yet his voice pours in and envelopes everything in warmth, and you drift through the haunted scenes. Brody begins "Angel on Earth" with a lovely image: And in the end, she gets swept away by a current. If I remember correctly, he throws the word "choked" in there. It's a tragic scene, but alluring. You can't leave. You dissolve into it. But Brody's not constantly in mourning. My favorite track is the so incredibly smooth jazz-soul of "Boomerang," with its gorgeous harmony on the chorus, and the dreamy, drifting "Circuitry," a song that proves that even when there's no percussion, you can feel a song's pulse. All of these songs live and breathe. They're cool and midnight blue and alive. He does twangy country-folk in "Nightshade" and more uptempo rock in "To the Grave." Wherever he roams, it works. This is a perfect album from first note to last. To the Quick is going everywhere with me for the next several months. My car, my day job, my living room, and in my bathroom so I can hear it while I'm soaking in the tub. For once, I'm not worried about the upstairs neighbors. I'm pretty sure they'll be asking me to turn it up." --Jennifer Layton, Indie-Music.com, November 6, 2004
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