Daniel Barrett sure doesn’t sound like he’s from Boston.
His debut album, Shadows, stands out from most mainstream Beantown acts as its rich, folksy tones fill the album with an array of sonic style, but it lacks an incomparable quality that could truly separate it from the crowd. Barrett’s songs provide easy listening, but are rather generic overall.
The disc is stocked with Barrett’s clear vocals and his own songwriting, which is catchy at times, repetitive at others. Shadows is also produced by the songwriter, who was previously with world folkers Hypnotic Clambake.
The title track of Shadows starts the record off with a bluesy, yet light harmonica backed number. The album then sports Barrett’s take on the traditional love song. The track is reminiscent of the dark sounding melodies of Roy Orbison but carries a light chorus to balance the tonal feel. Though it is touted by Barrett’s promoter as one of the most notable tracks, there are better on this album.
A good choice off Shadows is the slow ballad “I Can’t Believe.” The song features simple instrumental accompaniment for Barrett’s flowing lyrics. While “I Can’t Believe” is not as lively as some of the folksy fare on the album, it is a solid single. It could be a promising example of tighter song writing to come.
Barrett also demonstrates his southern sound as a songwriter in the country jams that populate the album. There is the Bluegrass twang of “Carter’s Tune,” which has the bounce of a Southern jig. This song, with its catchy tune, is a good example of Barrett’s knack as a country writer.
The country tones of slide guitar and fiddles give “Diamond Eyed One” an earthy, Memphis melody that shows off Barrett’s skilled backing band. The song starts with Barrett on his own but builds to bring the whole crew into the mix. The dueling slide guitar and fiddles get the song rocking at the end of the track.
Technically, the album blends sounds clearly and is mixed well, but what Shadows lacks is a distinct, unique sound. While it is rare that a Boston band pumps out bluegrass for its main dish, Barrett’s writing serves up a less than unique helping of the blossoming genre from down south. Barrett must take his vocals and seasoned writing and put forth an album that will emerge from the shadows. The song writer has the ability to reach the spotlight, but it doesn’t seem like it will happen with Shadows.
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