In the tradition of fellow she-surrealist Tori Amos, Texan Shea Seger high-tailed her redneck ass to England to find her higher melodic self. Only, in her case, she never left the twang behind. Sure, "The May Street Project" pours its sweet wine over timely breakbeats of frustration and swoops of "Love Boat" strings, but it's the whine that remains supreme.
Where Dido and Beth Orton mocked their sober separation beneath the manipulations of DJ noodling, Seger's manifesto seems to float over the provided moods, bringing to mind at best Joni Mitchell (and at worst, Sheryl Crow) in her sultry deliverance from the demons (men) that made her voice scratch. Produced by Lauryn Hill twiddler
Commissioner Gordon, "The May Street Project" is a winning provocation in all -- most of all because of the soul-feeding duet with underrated Canadian Martin Sexton, "Always," with it's cry of "I don't want to be saved." She doesn't need to be.
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