Living It All Wrong

Tender and sincere — if a little precious and damaged — Lee Feldman isn't afraid to overstate his vulnerabilities and those of his urban characters depicted on this noteworthy debut Living it all Wrong. Originally self-released in 1997, Feldman's first recording was re-released after the artist was signed to the Mercury imprint Pure. The critical acclaim for this record began rolling in from all over the artist's hometown of New York, where he had been filling nightclubs with fans captivated by his soft-spoken piano-man routine more than a little reminiscent of Randy Newman. Multi-instrumentalist Feldman spends most of his time at the piano, where he is quite adept at constructing tight pop chord changes and occasional jazz wanderings with interesting improvisations. He is a fine musician, but his thin, chopped voice isn't exactly a treat. The musician's constricted warble doesn't exude the character of the similarly limited but more stylish Newman. This is a shame, as Feldman's material is amazing, both in its pop simplicity and its lyrical depth and efficiency. Every word of every song settles into the right musical and emotional spot as Feldman displays his rare songwriting talent. It's difficult to identify superior material in such a strong collection, but a short list of standouts might include "Always Till Always," "On the Moon," and the title cut, "Living It All Wrong." The splendid material more than makes up for any vocal imperfections, and Living It All Wrong triumphs ultimately as a piece of American pop art.