David Gray Albums (8)
What The Critics Say
After taking a four-year break from the studio, David Gray announced his return with a new backing band, new label representation, and a new album. 2009's Draw the Line is consistent with the rest of Gray's catalog, proof that the songwriter's appeal rests not in those around him but in his nuanced piano ballads and warm, calloused voice. There are two duets here, one with folk artist Jolie Holland and the other with a rather militant-sounding Annie Lennox, but the best material is reserved for Gray alone. He does what he does best on songs like "Transformation," whose homespun melody is at once warm and utterly heartbreaking, but he also makes room for faster material, from the rhythmic drive of "Stella the Artist" to the casual strut of lead-off track "Fugitive." Regardless of the tempo, Gray's voice remains the centerpiece of this album, as his lived-in vocals continue to amass more convincing grit with age. Those looking for another "Babylon" may not find such commercial strains here, but David Gray hasn't concerned himself with the mainstream for years, and Draw the Line is essentially another cog in the folksy wheel he's been spinning since New Day at Midnight. [Die-hard fans may want to pick up the album's deluxe edition, which includes a 20-page booklet and a bonus CD of live performances.] ~ Andrew Leahey, All Music Guide
'Life in Slow Motion'
Release Date 9/6/2005
Tracks 10
Label ATO JV (DAVID GRAY)
See Album Tracklist and Review
What The Critics Say
Life in Slow Motion is an appropriate name for David Gray's sixth album. It's languid and deliberate -- not that this is a bad place for Gray to be, or that it's even a big change of pace for him. As the years passed, he's trimmed away the faster tempos from his music, leaving behind an even-keeled, meditative, soft reflective folk-pop that brought him a hit in 2000 with "Babylon" from his fourth album, White Ladder. Life in Slow Motion isn't too far removed from that album, although it does lack the then-fashionable vague electronica underpinnings. In their place is a mildly lush but not elaborate production that's tasteful and classy, and Gray's songwriting is well mannered and well intentioned. If Gray didn't have a slight rasp to his voice, this music would simply wash over you, since it's a calm, clean album ideal for either background music at work or late-night introspection. Thankfully, the bit of grit in his voice is enough to ground the music. Life in Slow Motion is especially low-key and quiet compared to Gray's other albums, requiring close listening to catch the subtleties in either the lyrics or the music. That means it's a rewarding listen mainly for the faithful who have the time, patience, and inclination to dig into this. ~ Stephen Thomas Erlewine, All Music Guide
'A New Day at Midnight'
Release Date 1/1/2002
Tracks 12
Label Eastwest U.K.
See Album Tracklist and Review
What The Critics Say
David Gray's 1999 release White Ladder was not only a chart hit around the globe but a career turnaround for the artist. His folky techno sound was refreshing and raw, and the public finally took notice to Gray's honest approach. White Ladder went double platinum in America and earned Gray a Grammy nod for Best New Artist. Expectations for a follow-up were naturally high, and Gray wasted no time making another album. A New Day at Midnight, intermittently recorded between his spring 2001 tour and early fall, marks his sixth. He sticks with simple acoustics and subtle string arrangements; however, A New Day at Midnight doesn't possess the heavy heart of White Ladder. Perhaps Gray wasn't going for that, but fans were looking for an emotional disposition. The structure on this particular record is much more loose and carefree. What an impressive move for Gray, for he created something from his heart and mind without concerning himself or what was expected of him. The piano-driven "Meet Me on the Other Side" highlights personal reflections with grace. "Be Mine" is lyrically sweeter, but the winter chill of "December" ironically finds a peace of mind. Gray's father passed away during the recording of A New Day at Midnight, so this is his swan song. The twinkling "Last Boat to America" offers classic White Ladder optimism, so Gray's intent in making the lush and desirable more apparent is real. Gray's definitely more introspective this time around, but he's less digital. Will fans appreciate that? Sure, but it will take some time. ~ MacKenzie Wilson, All Music Guide
What The Critics Say
David Gray's fan base is strong and active. They have seen him through his years with Virgin Records, during which time he was applauded for his talent, emotive voice, and songwriting skills, yet he never quite broke through to a mainstream audience. White Ladder showcases Gray like never before. It's an album of such depth and quality that one would be hard-pressed to ignore his talent. Each song is strong and superbly crafted, both in terms of arrangement and delivery. The standouts, "Please Forgive Me" and "This Year's Love," are touching and likely to bring a tear to the eye of the listener. This album is definitely a much-needed addition to any quality music collection. With any justice, it will finally bring David Gray the success that he so rightly deserves. ~ Jaime Ikeda, All Music Guide
What The Critics Say
On Sell, Sell, Sell, David Gray plugs in and cranks it up a notch higher than on his previous release, Flesh. Where once there were sparse arrangements of acoustic guitar and piano, now there are live jangling electrics and drums. Gray's voice, however, is just as raw and piercing as ever, in a good way. No matter the instrumentation, his vocal performances always best convey the message, whether urgent or tender. He does have a few quiet moments sprinkled throughout Sell, Sell, Sell, but the larger scheme is loud, driving, and powerful. "Hold on to Nothing," "Smile," and "Gutters Full of Rain" are songs that bear the torch of longing that filled so much of Flesh. Naked Gray, coffeehouse Gray -- that's what they seem to recall, and quite well. That's not to say that the rocking stuff is no good. It's good. It's smart, melodic folk-rock done up with emotion and talent. As a writer, Gray's vision has expanded to include more social observations along with his personal tribulations. The loss of faith and innocence and the coldness of winter and greed are both reoccurring themes throughout the album. Even the titles suggest the importance of what lies within the melodic lines -- "Faster, Sooner, Now," "Sell, Sell, Sell," "Everytime," "Forever Is Tomorrow Is Today." The pace and tone are set from the word go, or "hey" as the case may be. All in all, this is a fine next step in the evolution of a wonderfully talented young artist. ~ Kelly McCartney, All Music Guide
What The Critics Say
On Flesh, David Gray's 1994 release, the Welsh singer/songwriter wraps his rough-hewn voice around ten self-penned songs that deal mainly with relationships. Delivered in his earnest voice, the highly literate observations of the lyrics and the folk-tinged feel of the music is easily compared to the work of Mike Scott of Waterboys fame. "What Are You?" kicks things off with an aggressive, bracing vocal growl from Gray over a tumbling rhythm. "Made Up My Mind" features a determined lyric of resilience and moving on. There isn't a weak cut on this record, but the highlights are the sparser, more reflective numbers that highlight the gentleness of Gray's guitar playing and the flawless phrasing of his vocal delivery. "Falling Free" and "Mystery of Love" are two of the best examples with the romantic longing of their lyrics. Neill MacColl adds some wistful slide guitar to the latter. A must listen for any fan of Scott or just anyone who appreciates well-done, acoustic-based rock. ~ Tom Demalon, All Music Guide
What The Critics Say
Every note on David Gray's debut album, A Century Ends, is sung with raw heartfelt emotion. Gray's lyrics depict a man broken by love and wanting to escape the boredom and monotony of his current station in life. On the title track, Gray challenges himself to make changes in his life before the next millennium. Gray's coffeehouse acoustic guitar and gritty Welsh-accented voice provide the backdrop for a majority of the tracks. The two exceptions are "A Century Ends" and "Wisdom," an upbeat ode to regret, complete with the only catchy chorus on the album. However, this album is not about hooks and feel-good melodies -- Gray grabs the listener with his poetic lyrics and takes off on an introspective ten-song ride through desperation, regret, lost love, and a longing for change. If A Century Ends is an indicator of things to come, then Gray has the potential to become a prolific singer/songwriter. ~ Erik Crawford, All Music Guide
