Cabaret Scenes CD Review - Dwayne Britton

Earlier this year, Dwayne Britton released his impressive debut album on LML Music. (He was equally impressive at The Duplex this past May.) What jumps out first is his unadorned interpretations that are compelling. Starting with a lilting “Pure Imagination” (Briscusse-Newley), the listener is swept on a journey of story songs by this weaver of dreams. Then, there is the voice; an expressively warm, lyric baritone that he uses tenderly, recalling balladeers of another decade like Judy Collins, Gordon Lightfoot and the late Dan Fogelberg. Britton has a tendency to twist melodies just enough to personalize them, giving each lyric an imperative that fuses gently into something bucolic. This is his strength and the end results are spellbinding interpretations from a singer who is emerging as one of today’s serious new male vocalists.

Superb highlights include, “Run Away With Me” by Brian Lowdermilk and Kait Kerrigan. This folksy ballad builds with a frenetic intensity. A wistful reading of the Annie Lennox classic “Why,” devoid of its usual histrionics, was risky. It is the album’s strongest cut. Accompanied only by a guitar, he draws out crucial words that almost bring the song to a halt. It an exercise in drama, restraint and minimalism that is hard to top—as is this debut album.

John Hoglund
Cabaret Scenes
September 2008
www.cabaretscenes.org



	Dwayne Britton LML Music
Earlier this year, Dwayne Britton released his impressive debut album on LML Music. (He was equally impressive at The Duplex this past May.) What jumps out first is his unadorned interpretations that are compelling. Starting with a lilting “Pure Imagination” (Briscusse-Newley), the listener is swept on a journey of story songs by this weaver of dreams. Then, there is the voice; an expressively warm, lyric baritone that he uses tenderly, recalling balladeers of another decade like Judy Collins, Gordon Lightfoot and the late Dan Fogelberg. Britton has a tendency to twist melodies just enough to personalize them, giving each lyric an imperative that fuses gently into something bucolic. This is his strength and the end results are spellbinding interpretations from a singer who is emerging as one of today’s serious new male vocalists. Superb highlights include, “Run Away With Me” by Brian Lowdermilk and Kait Kerrigan. This folksy ballad builds with a frenetic intensity. A wistful reading of the Annie Lennox classic “Why,” devoid of its usual histrionics, was risky. It is the album’s strongest cut. Accompanied only by a guitar, he draws out crucial words that almost bring the song to a halt. It an exercise in drama, restraint and minimalism that is hard to top—as is this debut album. John Hoglund Cabaret Scenes September 2008 www.cabaretscenes.org