Draw the Line [Deluxe Edition]

Performer: David Gray
Artist: Keith Prior; James Hallawell; Robbie Malone; Neill MacColl
Engineer: Graham Pattison; Graham Pattison; Iestyn Polson
Producer: Robbie Malone; David Gray; Iestyn Polson
Distributor: Universal Distribution

Notes: Personnel: David Gray (vocals, acoustic guitar, piano, harmonium, Wurlitzer organ, vibraphone); Jolie Holland, Annie Lennox (vocals); Neill MacColl (acoustic guitar, electric guitar, mandolin, background vocals); Robbie Malone (acoustic guitar, electric guitar, harmonium, background vocals); John H.R. Mills, Jackie Shave (violin); Bruce White (viola); Caroline Dale (cello); Andy Greenwood, Jim Rattigan, Owen Slade, Andy Wood (horns); Keith Prior (drums, percussion, background vocals); Iestyn Polson (programming). Audio Mixers: Simon Changer; George Holt. Recording information: The Roundhouse. Photographer: Jake Walters. 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 leadoff 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. 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

Entertainment Weekly (p.59) - "On his seventh studio album he gets his freak on, rolling in a gospel choir, Annie Lennox, and a more pronounced backbeat....Gray actually sounds like he's cutting loose." -- Grade: B Q (Magazine) (p.108) - 3 stars out of 5 -- "Gray's grainy rasp distances him from the pack, lending a rueful authority to the customised likes of 'Draw The Line, 'First Chance' and quietly dynamic 'Breathe.'"

Welsh singer-songwriter David Gray's story is the classic scenario of the overnight success that took years to happen. He emerged in the early 1990s as an acoustic-based artist heavily influenced by old-school troubadours like Bob Dylan and Van Morrison. After a few more fine but financially unsuccessful albums, he finally broke through to the mainstream in 1999 with WHITE LADDER, an album that organically meshed Gray's singer-songwriter aesthetic with a more contemporary electronica-flavored sound.

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