Try to imagine Dylan embodied in the spirit of Joe Jackson – Db Leonard informs the personal, introspective sonic quartet with necessary emotion and power… These are observational songs about life and love, pain and sacrifice, retribution and redemption.

— Richard Thorpe, The Boston Globe

Db Leonard is a shot of adrenaline to a listless industry. He has reinvented music and made it his own creation. Something magical happens when this album plays. It just feels right.

— Songwriter’s Monthly

A mix of Sting and Peter Gabriel. A silky, smooth, riffy, dark and spooky electrified river of current. Could we be uttering Db Leonard in the same breath as Daniel Lanois in the future?


The laid back ethereal jaunts of Db Leonard are so casual and unassuming that you find yourself being comfortably wrapped up by their design. A sinfully languid musical offering with clever tack and purposeful precision. There’s no pushing and pulling here, but rather the band’s ingenious ability to let the music develop on it’s own terms. A stellar recording and one of the best efforts this year from the irrepressible Db Leonard.

— Metronome Magazine, Boston

The sort of music the label ‘introspective’ seems tailor
made for. Stirring subject
matter throughout.

— Butch and Brenda, The Noise, Boston

Db Leonard’s work is served by a virtuoso understanding of the music in language. His songs, poetry and fiction, play off each other.

— Lee Bricetti, Poet’s House

God is it good. Emotional and engaging, Db Leonard’s voice is perfect for the songs he sings – emotive, fresh, unafraid to yell or be quiet… One of those moments you find on acoustic albums where you can hear the emotion, hear the feelings, cause it’s all you hear. You hear me? Overall, what a beautiful album.

— Eliot Popkin,

Often quietly dazzling, Leonard has emerged from the Woodstock woods with an intriguing collection of beautifully languid songs that possess the power to haunt and heal long after they have faded.

‘Cry’ is lent a claustrophobic, unsettling quality courtesy of some Wilco-esque swirls of reversed noise and feedback breaking loose, alongside Leonard’s observational poetry about soldiers, senators, protesters, mothers in high heels and their collective ”Crying out loud”. While other early standouts ‘Breathe’ and ‘ Sweet Mississippi’ benefit from a fuller, careful, band arrangement and here in particular, the swirls of guitars and effects conjure up U2-type atmospherics but without any irritating bluster. With the piano flourishes on the latter being particularly effective. Leonard plays a 1930s small-scale Parlour-style guitar, and the guitar sounds throughout are characteristically bright and luscious.

Bearing in mind Leonard is a published poet, the lyrics on these songs are typically considered and observational laments on love, regret and life that attempt to capture photographic moments in time. Delivered in a soft straining croon; occasionally like a mix of both Joshes, Rouse and Ritter.
Leonard has crafted an evocative piece of work.

— Ian Fildes, Americana UK 2010