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VANCOUVER PROVINCE
TUESDAY JAN 22, 2008
TOM HARRISON

REID JAMIESON

The Presley Sessions (Banbury Park)
(GRADE B)

Maybe your first reaction was similar to mine. "Oh no, not another singer impersonating Elvis." If so, prepare to be surprised. It's not that Jamieson radically alters expectations, more that he just sings Elvis without the Presley affectations. He has his own voice, his own style. These are almost folk songs with some of the blues purity coming through. The format is mostly acoustic and spare, sounding as spontaneous as a song circle in the round. Some of the selection will be familiar but Jamieson has avoided the obvious (no "Heartbreak Hotel," for instance) in favour of the lesser known ("Is It So Strange").

GLOBE AND MAIL
WEDNESDAY FEB 28, 2007
TOM HAWTHORN

Table-waiting is an appetizer for this troubadour Happy singer of sad ballads has gathered a stack of good reviews - Special to The Globe and Mail

VICTORIA -- Reid Jamieson reached a quiet spot in one of his heartbreaking ballads, dropping his head as the room filled with silence other than for the notes plucked from his guitar.

Just then, a sharp sizzling sound came from offstage.

The singer lifted his head and smiled.

"Something just went into the deep fryer," he announced.

Mr. Jamieson ought to know. When not standing before a microphone here at the Queen Mother Waterside Cafe, or rolling along the hoser highway with Stuart McLean's Vinyl Cafe Orchestra, or flogging his compact discs, which even now are for sale at the front door ($20 each, two for $30), the singer-songwriter for whom more than one critic has predicted big things can sometimes be found working this very room, not as a troubadour but as a server, a waiter, a slinger of hash.

Some of his co-workers had no idea he was a recording artist with a stack of positive reviews.

"I enjoy surprising people," he said two days after the show.

With his square jaw and slicked-back hair, his lean frame draped in a pinstriped suit, Mr. Jamieson comes across as handsome as Morrissey, the English pop star.

He writes achingly beautiful songs about relationships gone sour, even though he has been, according to his account, head over heels in love for five years and counting.

He moved to Victoria from Toronto nearly two years ago with Carolyn Mill, his agent-publicist-companion-muse-backup singer. They travelled across country with all their worldly possessions in a U-Haul, playing shows on the way to cover costs.

They first performed together to close a Valentine's Day show billed as Love Stinks at the Rivoli on Queen Street in Toronto. Mr. Jamieson persuaded her to make her stage debut by joining him for a duet of Billy Joel's You May Be Right.

After the song, the pair kissed on stage, a lip lock that transformed a friendship into a romance. Now they're saddled with the cheesiest anniversary date on the hipster calendar. Worse, all their friends know it, too.

The weekend concert at the cafe was his debut as a headliner in his new hometown. A quiet and reserved man in private, who claims to not have dated until the final year of high school, Mr. Jamieson has an appealing tendency to be confessional on stage.

During the concert, he referred to Ms. Mill as "my pooch, my sweet pooch, Carolyn." Some in the audience hummed their approval, while the singer acted as though he heard a teasing catcall. "We all have our pet names," he said.
"Come on. Don't be ashamed."

He was joined on stage by Howie James, introduced as Mr. Jamieson's great-uncle, his name having been shortened for show business long before the younger singer had been born.

Mr. James was once a regular at such Vancouver night spots as the Quadra Cabaret, where he wore a bow tie and white dinner jacket while fronting a band billed as The Jamesmen.

During his stint at the cabaret, he released a four-song EP (extended play, for all you young 'uns) with Georgy Girl and That's Life.

He was popular enough to appear in newspaper advertisements for suits at The Bay. The club and the store are long gone, though Mr. James soldiers on.

"I should make a CD," he told the audience. "We could call it Howie James Live . . . Just Barely!

The veteran performer, who also happens to be a military veteran, having served as an artillery instructor in Victoria during the Korean War, was presented with a cake in honour of his birthday this month.

The 75-year-old old-timer and the 33-year-old newcomer performed Bob Dylan's I'll Be Your Baby Tonight. Mr. Jamieson then performed some songs from his
2004 release, The Unavoidable Truth, a disc that has earned him comparisons to Jeff Buckley and Ron Sexsmith.

His hard-to-describe sound, ranging from an alt-country sensibility to pure pop for now people (not surprisingly, he's a Nick Lowe fan), has a haunting quality not soon forgotten. For such a happy, good-looking guy, he can sound awfully heartbroken.

The great tragedy of his life came on the cusp of his adulthood, when his mother died of cancer. She was not much older than he is now.

He credits his father's wide-ranging record collection, including releases from Perry Como to The Who, for introducing him to a variety of musical possibilities.

"My dad used to sing me to sleep night after night," he said. "Sometimes he'd play a John Denver song. Lots of old country stuff."

His own teen inspirations included the likes of Lionel Richie and Hall and Oates, although his later preference for the Beatles and Willie Nelson, not to mention the two Neils (Finn and Young), have a greater influence on his current work.

He has been busy writing songs for a new recording. He's also collaborating with Ms. Mill on a cookbook for budding vegetarians.

The café show on Sunday took in $330, as well as several boxes of groceries, for food banks in Victoria and Nanaimo. His next performance at the Queen Mother will be as a server. Consider that job an appetizer until he is ready to deliver his next entree.

Feb/March 2005
Paste Magazine (4 to Watch For)
Guillermo Castro

Reconciling Lost Time Toronto’s Reid Jamieson is a throwback to the vintage singer/songwriter, a silver-throated troubadour with a penchant for crafting classic hooks. Despite his relative anonymity, Jamieson’s writing somehow feels familiar. But while his songs invoke latter day luminaries like Neil Young, Willie Nelson and The Beatles, they’re neither derivative nor nostalgic.

“I’m still stuck in the past,” Jamieson admits of his musical proclivities. “I listen to a lot of new music as well, but there’s so much older music I keep discovering that’s new to me. There are so many songwriters I heard growing up, but now I’m putting names to the songs and coming to an understanding of what they do.”

Jamieson’s sophomore release, The Unavoidable Truth, is a work of elegant, understated beauty that juggles elements of plaintive folk, rock and countrified pop while enveloping the listener in the atmospheric glow of his soulful vocals. Lyrically, the thirty-one-year-old wrestles with such complex issues as regret and redemption, longing and looking back, facing fears and reconciling lost time. The result is an intelligent, wonderfully humane record, much of it culled from personal tragedy.

“I wanted to let the lyrics come out naturally,” Jamieson explains, “and I think that a large part of having to write about reconciling the past and proving yourself as a person has a lot to do with losing my mom to cancer when I was 14. That tender time when you’re just entering puberty and all the things that come with being a teenager—all of that got buried and it’s still trying to make its way out.”

But like time, music has a remarkable power to heal wounds, and for Jamieson The Unavoidable Truth is a means of confronting his past and coming to a therapeutic resolution.

“I think I’m moving beyond that now,” he says referring to the loss of his mother. “I think this album and the lyrics are a snapshot of a particular time. For some reason it’s this innate human trait to regret things. But if we focus on what we do have, we’ll realize that we might not be where we are today, had we not experienced those events in a certain way, and in a certain place and time.”

April 2005
Glorious Noise Chicago, IL
Tom Mantzouranis

The Unavoidable Truth, written and recorded in Jamieson's hometown Toronto, pulls from a wide array of singer-songwriters but smartly chooses only the best to inspire this set. Jamieson's got a ton of talent—a great voice, a knack for classic arrangements, and enough chops to put even Ric Flair to shame. On the softer numbers, his voice rises to a brassy alto that is reminiscent of Sondre Lerche. Although he falls short of the most lofty comparison made, between him and Jeff Buckley, he bears the same emotive tendencies and inflections that Buckley inspired lovers with, and Jamieson carries an equally romantic sensibility. He deftly manipulates traditionally rootsy folk with a sentimentality that most songwriters of his ilk tend to overdose on. One minute he's pulling an Hour of the Bewilderbeast impression, the next he's copping Glenn Tillbrook's mojo. When he's not channeling the ghost of the Old 97's, such as "Grass & Dirt" (mp3), he's honing his Bacharachian arrangements; blending vintage piano, stately trumpets and a beautifully melancholic pedal steel guitar (courtesy of ex-Wilco member Bob Egan) into "Another Kind of Man" and "End of the World Small Talk." All of these fragments of songwriters past and present, yet The Unavoidable Truth is so strong compositionally that it avoids being derivative and uninspired.

Having lost his mother to cancer in his early teens and finding music as the only outlet for escape from his loss, Jamieson honed his craft knowing nothing but to lay his heart on the line. This expository method of playing and songwriting has brought The Unavoidable Truth to a passionate end-product. The album's title itself harkens upon a sense of lost hope and resignation, and you can hear the negativity rise like heat from the confines of Jamieson's mind. Ridding himself of these demons, be it the memory of his lost mother or a battle with sense-of-self, Jamieson is as therapeutic for the listener as for himself. The Unavoidable Truth showcases a talented and tender young artist with seemingly limitless potential and a total package that screams mainstream accessibility without losing credibility. Take that, John Mayer.

October 2004
Roots Music Report
Waylon Digges / Texas

*****Reid is a powerful vocalist that delivers truly heart-felt lyrics. Not only is he a talented singer, guitar player, but a wonderful song writer as well. Hailing from Canada, Jamieson's music is a little different than what most of us are used to hearing in the U.S. and that is exactly what we need; a refreshing change. I can't wait to hear more from this talented artist, and predict big things to come for Reid Jamieson.

August 2004
Americana UK UK
By Mark Phillips

Toronto boy kicks Josh Rouse’s ass crooning indie-soul-country classics all of his own making. “Parity of esteem” in (legally) bi-cultural Canada means that even though there are only about three Ontarois in the entire country, the Ontario Arts Council is also known as Conseil Des Arts De L’Ontario. Which knocks even the politico-linguistic contortions of Northern Ireland into a cocked hat. The absurdities of federal law aside, it should be noted that we’ve seen more fantastic records come into life in the last two years in part because of provincial public funding than have originated with Arts funding in Britain or Ireland ever, and it’s a trend that should be lauded by all those who believe that the Arts have a real social value. Having got off my soapbox for a moment, it should be said that Reid Jamieson is a beautiful man with a remarkable smile and a pocketful of tunes that will fit right in with your mood if you’re blue, mellow, or just in need of an aural hug. The boy makes you feel good, it must be said. Instrumentation is generally pretty spare, but this is no lo-fi effort- it’s just that all Reid’s voice needs is the odd string-based flourish to emphasise the point that it’s making; his throat conjures a sound somewhere between the two Joshes- Rouse and Ritter- but also has a touch of the Franklins (Aretha), Nilssons (Harry) and the Chiltons (Alex). Violins, pedal steel and banjo all make guest appearances, and the band are great- tight and melodic, well paced and at one in projecting Reid forward into the limelight; Toronto stalwart Mia Sheard makes a number of backing contributions and Sarah Harmer pops up on “Holding Out”, a languorous and drifting tale of the down cycle of a relationship. One’s heart hurts just listening. The title track is more up instrumentally, but reflects that voyage that we all go in order to find out who the hell we are and who we want to be, even if we can’t answer why; in other hands, it could come across like a segment from a cheesy self-help manual, but our man gets it just right, and you can’t help feel that he must have struggled with all of those issues at some point in his life. He seems to have come to some positive conclusions, and is reaching his hand out to those of us who haven’t quite yet stilled that existential unease. The album closes on a McCartney-esque piano number- “End of the World Small Talk”- which is reminiscent of “Her Majesty” from Abbey Road, but rather less whimsical. In all, “The Unavoidable Truth” is a touching record of great quality, and your life will be better with this music in it; the CD, meanwhile, is unlikely to leave the general area of your player for at least six months.

July 2004
PureMusic.com
Frank Goodman - Nashville

Look out for this cat. He's a break away from launch. More Toronto talent, sometimes it seems endless. I happened on to this piece of the rock via his engaging and multifaceted manager, Carolyn Victoria Mill--check her out at www.kitchenink.com, she's quite a character. They're downtown Toronto vegetarians immersed in the rich community music scene, a very interesting pair.

Reid is what I picture as the Canadian version of the boy next door, a little bigger, a little less spoiled than our domestic model. Part of that is the unmistakably upbeat tone of his songs, even when they concern love that goes awry or has run its course, or the title track about the inner voices and messages that simply wait for the moment when you are ready to hear them. And when it's not upbeat, it’s hopeful. There is an open-facedness in the lyrics and an unabashedly colorful sense of melody that would sound naïve if it weren't backed up by a irrepressible strength. But it never quits, you hear it in every line.

He's released a few discs to strong Canadian response--first with his pop rock band Alvy, then a solo debut disc (Cowlick Bravado) in 2001, an EP called The Noise in My Chest in 2003, and this one, which could and should well push him a lot higher on the horizon. He has good co-writers in producer Josh Finlayson and Carolyn V. Mill, but penned a handful himself. We like the sound that bassist/producer Finlayson and engineer Lewis Melville get with The Toques at Sound Emporium in Guelph, Ontario. Everybody's wearing caps in the studio pictures, so I guess the heating may leave a little bit to be desired, but the tones are warm and the spirit in the tracks is very high.

The artist is a truly superior melodist, in the small camp of credibly pop singer songwriters, rendered here more in the country influenced Americana/Triple A vein with great players and guests like Bob Egan from Blue Rodeo and singers like Sarah Harmer. Reid Jamieson has got the goods to do something big, if the chips fall favorably, and he's got a sharp team behind him. Check out the clips of this classic crooner on the Listen page, and buy The Unavoidable Truth, here. http://www.reidjamieson.com • FG

June 2004
Miles of Music North Hollywood
Milesofmusic.com

Gleeful without being overbearing, Reid Jamieson's musings on The Unavoidable Truth are well-constructed pop treasures that rival Glenn Tilbrook's compositional prowess and the emotionally potent presentation of Jeff Buckley. Reid's gorgeous, unbridled voice beams thoughtful lyrics over a vintage country-inspired band, mixing amongst playful, old-timey piano accompaniments and delicate acoustic ramblings. In its lower registers, Jamieson's vocal recalls fellow Toronto native Ron Sexsmith. A mellow, charming and rootsy debut, there are also notable contributions from pedal steel player Bob Egan (Blue Rodeo, Wilco) and Sarah Harmer on backing vocals.

July 2004
Comes With A Smile Magazine UK
By Jeff Cotton

The first track is called The Last Day of the Year, and it dares to be stately and sober, breaking that unwritten law that says the opener has to grab you, like the unwanted friendship of a too-cheerful drunk on the Underground. Not that Mr Jamieson would be that drunk, I imagine, as the press release tells us that he’s a ‘peace loving vegetarian’ who ‘spends much of his time cooking and reading inspirational self-help books.’ Oh dear – three out of four admirable traits anyway. That this opening track has more than a touch of the Rufus Wainwrights (and a touch of fellow Canadian Ron Sexsmith) about it, in the sound of the voice and the lushness of the sound, comes as no surprise then. But the following Grass & Dirt rocks out nice and tastefully, like a pushy opening track might. His bio goes on to tell us that he ‘lives with his lady partner and lots of plants in Toronto.’ (Good job we were told he had a lady partner, eh?) The musical variety shows that he’s in touch with his male and female side, and his avowed inspirations – Nick Lowe and Neil Finn amongst them – do seem to have had a good influence on his sound. So songwriting smarts and Beatle-bounce share space with the camper waltz-tempo tunes and make for music of many moods. Not much in the way of misery or depression, though, you’ll not be surprised to learn. Sorry, I’m sounding overly cynical and letting my mistrust of self-help books distract me from pointing out the very real pleasures of this disc. I’m happy – and not at all jealous - that the man’s got his life together, really, and has provided us with a sweet and short disc of warm tunes and fine singing and arrangements. Lovers of classic quality should acquire without hesitation.

May 13th , 2004
Tandem Magazine
Kerry Doole

On The Beat - Reid's Truths

This Toronto singer/songwriter has a well-deserved reputation as one of the nicest guys on the local scene. He's also one of the most talented, as his new CD, The Unavoidable Truth, confirms. It is full of gently emotional and poetic songs delivered in a charmingly sweet voice and featuring stellar musicianship. Those lending a hand included SKYDIGGER JOSH FINLAYSON (who produced, co-wrote three cuts, and played bass), DAVE CLARK, BOB EGAN, MIA SHEARD, SARAH HARMER, MICHAEL JOHNSON and Reid's muse, CAROLYN MILL. The well-attended CD launch party at The Rivoli featured many of these guests, plus LORI CULLEN, PETE ELKAS (who opened the show) and DAVE CELIA. There was indeed a lot of love in the room, and Jamieson responded with a charming and convincing performance.

April 29, 2004
Eye Magazine
Howard Druckman

IF IT'S ONE OF THOSE DAYS WHEN YOU'RE feeling angry, sad, scared or downright disgusted, there are alternatives: you can hit the gym and work it out; disconnect the phone, get into the tub and soak it out; call a good friend and talk it out; or you can listen to Reid Jamieson's new album and hear it out.
The Unavoidable Truth is an inspirational collection of songs about facing reality (as in the title track), speaking your truth instead of maintaining silence ("Common Problems," "End of the World Small Talk") and opening up to loved ones ("Grass & Dirt," "Another Kind of Man"). Jamieson is an intelligent, eclectic-pop tunesmith with a rich voice in the tradition of Neil Finn or Glenn Tilbrook, but his short, sharp songs are more guileless, emotionally honest and vulnerable.

"That's because I've had a life of not doing that, up until the past little while," says Jamieson. "Because I haven't been that open, I now strive to be as open as I say in my songs. I get to sing them and remind myself all the time." So what opened the door? Jamieson stops for a full 10 seconds before responding, weighing privacy against publicity. "Definitely a huge influence has been my relationship with Carolyn [Mill, Jamieson's significant other, his sometime co-writer/backup singer and a full-time publicist-about-town]. Her standard of honesty has done a lot for me. I think women are more open, emotionally, than men. Another huge influence is, about five years ago I stopped reading fiction, and all I've read since then is self-help and Buddhist books."

And Jamieson has become more conscious and intentional in his writing. "You write what you're thinking about, so if you're thinking about yourself and how you live, it seems weird just to pluck a story out of the air," he says. "If you really get a good hold on what you want to write about, it comes out much easier." That intent remains clear even when Jamieson co-writes with Mill (who acts as a kind of contributing editor, lyrically) and Skydigger Josh Finlayson (who also plays guitar with Jamieson).

Jamieson recorded The Unavoidable Truth with Lewis Melville at the board, and former Rheostatic Dave Clark on drums -- which is a fitting kind of full circle, because Melville and the Rheos were involved in recording the first cassette of Jamieson's old band, Alvy, about 10 years ago. "[Dave] Bidini brought us up to Lew's house in Guelph," Reid recalls. "We got our first indie cassette out that way. That felt incredible; we'd only been together a year. It really did set me on a good path." Of course, the path of the righteous is beset on all sides by the tyranny of evil men: the risk of emotional honesty is that it will draw the scorn of the cynics among us. But Jamieson carries on regardless. "I don't feel like I should change it at all," he says of his heartfelt content. "It feels like the right thing to do."

April 29, 2004
Now Magazine
Elizabeth Bromstein

Local singer/songwriter reid Jamieson is a genuinely and almost freakishly gentle soul. He's one of those people who, no matter how hard you try to be a good person, makes you feel like an asshole just by virtue of his, well, virtue. "I could never live with someone who ate meat," Jamieson informs me over dinner at the downtown apartment he shares with Carolyn V. Mill, tireless promoter of overlooked Canadian singer/songwriters, who has cooked up a vegan repast.

Normally, such a comment would make me want to cook and eat its communicator. Don't get me wrong – I'm a vegetarian myself (90 per cent of the time). It's just that such pronouncements usually reek of self righteousness, which is so irritating. But in this case I just think, "Aw, of course you couldn't."

This rare quality, his fetching good looks and keen songwriting ability have led some to dub the former Alvy frontman "the George Clooney of the music scene." Not bad for a guy who was so shy he barely left his house as a kid back in Brampton. "I'm much less shy than I used to be," he notes, "but I didn't go out on my first date until grade 12."

It never fails to baffle me how these people who were so terrified of the human race as kids wind up wanting to get onstage in front of people and be the centre of attention. "I started playing when I was 13, but didn't play in front of anybody for quite a few years. Not even family members. I was very timid. You can tell in the recordings that I'm hunched over a microphone in the corner." Then he met another musician kid in high school, and the two of them played a school assembly. "I didn't think I was going to be able to do it, but when I was up there it was amazing. Everybody was there watching me, and I could express myself in a way that was controlled. I didn't have to talk."

But even back then he was breaking hearts. He just didn't know it. "We went to his eighth grade reunion a little while ago," Mill tells me, "and of course all the girls told me they had crushes on him."

And now Jamieson is launching his second solo record, The Unavoidable Truth (MapleNationwide/Universal). A more generous offering than previous LP Cowlick Bravado and EP The Noise in My Chest, The Unavoidable Truth features guest appearances by Sarah Harmer, Mia Sheard, Bob Egan and others. The result is lush, mellow country-folk-tinged pop with piano, pedal steel, accordion and banjo. The lyrics feel warmly confessional, and Jamieson's voice sounds delightfully like a honeyed, more mellifluous Neil Young. "I love Neil Young," he acknowledges. "If I had to list my three main influences, they'd be Neil Young, Willie Nelson and the Beatles."

Live, Jamieson has a rep for being terribly compelling. "I think part of that comes from being honest with people from the stage. I like revealing parts of myself or telling stories, like maybe revealing bad things I've done. "I stole $10 from my best friend when I was 10 and bought a GI Joe, but I couldn't bring it back home because I couldn't explain where I got the $10, so I had to throw it out. "So all I did was enjoy a GI Joe for half an hour and throw it out at the expense of my best friend's $10. Isn't that evil?"

Yeah, I guess. Well, no. Not really. Good story, though.

April 26, 2004
Toronto Life
Jason Anderson

With his soaring, Jeff Buckley–like vocals and plaintive folk-pop songs, this charismatic local singer-songwriter is more than just another promising upstart. Toronto native Reid Jamieson spent the better half of the ’90s fronting the alt-pop band Alvy. Though the group never made much headway with the wider public, it still made Jamieson plenty of friends in the local music scene. Sarah Harmer, Mia Sheard and John Southworth showed up to sing backup on Jamieson’s second solo disc, The Unavoidable Truth (2004), recorded in Guelph last spring with producer Josh Finlayson, the long-time Skydigger who’s also produced Gord Downie’s solo discs. Like local luminaries Ron Sexsmith and Andy Stochansky, Jamieson excels at thoughtful love songs delivered in a manner that’s rootsy, mellow and honey-sweet. Launched at the release party at the Rivoli, The Unavoidable Truth deserves to bring Jamieson some of the praise and attention lavished upon cohorts like Harmer.

April 27, 2004
Chart Attack
Shannon Whibbs

Last year, Toronto-based singer-songwriter Reid Jamieson released an acoustic EP called The Noise In My Chest. This full-length album features yet another batch of Jamieson’s sweetly articulate storytelling melodies backed by a full band, giving his sound a welcome new dimension. And what a band — featuring Lewis Melville, Josh Finlayson, Dave Clark to name a few, with Mia Sheard and Sarah Harmer providing some of the backing vocals. Name-dropping aside, The Unavoidable Truth is an engaging listen that provides head-turning moments on songs like the densely layered "The Sum Of Your Parts," the flamenco flavour of "Another Kind Of Man" and the rollicking "Grass & Dirt." Jamieson’s talent becomes more and more apparent with each new effort.

October 24, 2003
Artists Studio Magazine
By Marqus Bobesich

As the former frontman for Toronto band Alvy, Reid Jamieson's latest solo release is an understated mix of folk twang and summertime pop. Produced by Josh Finlayson (Skydiggers, Gord Downie), the liner notes read like a who,s-who of the Canadian folk/alt-country scene, including Dave Clark (Rheostatics, Country of Miracles), Bob Egan (Blue Rodeo, Wilco) and Pete Elkas (Local Rabbits).

With a definite nod to fellow Canuck's Ron Sexsmith and Gregory Hoskins (and even Thom Yorke in the sad lamenting "Holding Out") Jamiesons' vocal approach makes for some easy listening. There are some subtle variations from the pop-rock template throughout the 11-song disc. From the bassa-tinged Another Kind of Man, to the train chug chorus of Grass and Dirt, to the closing Dixieland twirl of Orange and Red, the addition of banjo, trumpet, and pedal steel certainly adds some nice Josh Rouse coloring, as do the backing vocals from Mia Sheard and Sarah Harmer.

Lyrically, it's Paperback Fantasy that sets itself apart from the rest, although the breathy, laid-back phrasing in Last Day of the Year also makes for a standout track. Nevertheless, it's track 6 ("The Unavoidable Truth") that serves as the best indication of where Jamieson is coming from; a country-esque shuffle coupled with a simple pop vocal, all of it done with a loose, live-off-the-floor feel. Hell, you might just feel like whippin', up some lemonade and tappin', your feet on the porch.

May 30th , 2004
Metro News - Metro Toronto
By Brad Frenette

First as front man for the band Alvy, and now as a solo artist, Reid Jamieson has spent years developing his craft in the Toronto indie music scene. Jamieson independently produced and played all the instruments on his well-received debut, Cowlick Bravado (2001). For his 2004 sophomore disc, The Unavoidable Truth, he pulled in some help. Produced by Josh Finlayson of the Skydiggers, and distributed by Maple Music, the album features some talented guests, such as Sarah Harmer (on Holding Out), ex-Local Rabbits singer/guitarist Peter Elkas (on The Sum of Your Parts) and Mia Sheard (background vocals on various tracks). The album is also graced by the pedal-steel guitar work of the well-travelled Bob Egan (Wilco, Tragically Hip, Blue Rodeo).

Cut from the same fabric as fellow Toronto singer/songwriters Jason Collett and Ron Sexsmith, and with influences as varied as Neil Finn and Willie Nelson, Jamieson adds a bit of '60s-style jangle and overtones of country twang to his songs. By the end of The Unavoidable Truth's first track, Last Day Of The Year, you can get a sense of the album as a whole: warm guitars, shuffling drums and smooth vocals crooning heart-sleeve lyrics about regret and redemption, leaving and returning. One of the finer tracks on the album is Starting To Learn, a lullaby guitar under an impressive vocal range. The track is taken from Jamieson's previously released EP, but fits in well in the middle of the album. Other highlights include the foot-dragging song of loss, Holding Out, and the banjo-laden foot stomper, Grass & Dirt.

June , 2004
Stylus Magazine
By Jeff Robson

If I could ever judge a guy by the strength of the company keeps, I knew I’d like Reid Jamieson before I even heard this CD. The CD is produced by Josh Finlayson, the co-leader of the Skydiggers, who also appears on several tracks and does some co-writing. The stellar backing musicians include former Rheostatics Dave Clark and Lewis Melville, now-Winnipegger Michael Johnston, Mia Sheard, Blue Rodeo’s Bob Egan, and more. The CD also features the obligatory Sarah Harmer duet on “Holding Out,” a lovely slow poetic ballad. The sound of the disc is guided by the stellar band and top-notch production, but it’s held together by Jamieson’s high, resonant voice. Think Rufus Wainwright without the operatic warble. Jamieson’s powerful voice works best on the upbeat numbers like the perfectly poppy title track and the infectious upbeat roots (pardon the pun) of “Grass & Dirt.” But he can also pack a lot of feeling into the slow tunes as well, like “Starting to Learn,” an introspective look at fears and emotions. He’s got a gift with a memorable melody and a way with words as evidenced by the opening track, “Last Day of the Year,” where Jamieson writes, “Time often spends itself with no concern for mental health/ Care how you expand your wealth the last day of the year. / Longing and looking back, major change there is no lack, of sacred blessings, heart attacks, the last day of the year.” I’d be very, very surprised if Jamieson is an indie artist for long.

June 2004
Soulshine.ca

****This is an album graced with silky vocals and romance. It still maintains its Canadian roots with the use of banjo and pedal steel, but the purpose of Jamieson gives sympathy to men who are just 'out to do good' – without being cynical. Stand out tracks include the opener, "Last Day of the Year" which speaks volumes for Jamieson's style and song structure. Another, incomparable, but more soulful is "Starting to Learn" which is reminiscent of Dylan and floods with the talent of Jamieson's falsetto capabilities.

---

'Excellent! There are so many good songs, the production really supports them. Reid is certainly an artist who should get a good shot...'
Earl Rosen ( Marquis Classics, Socan)

The Noise In My Chest - EP:

March 2004
Exclaim!
Brent Hagerman

It's hard to argue with Reid Jamieson when he sweetly coos 'the television lies' on the opening track. In fact, the former Alvy frontman could soothe you into accepting outright lies. With only spare accompaniment, Jamieson's songs have to stand up to a vitreous scrutiny and they bare no blemish. Jamieson keeps his songs short, brisk, interesting and leaves you wanting more. Luckily there is a full length in the works.

November 2003
Eye Magazine
Holiday Record Buying Guide

**** With a rich, honey-thick voice, an ear for the catchiest turn of vocal and lyrical phrase, and a harmonious way with a melody, Reid Jamieson turns eight homemade acoustic demos into a thing of beauty. And he does it concisely: more than half the songs are under three minutes, and only one is longer than four. Wide-eyed and open-hearted-- a hopeful romantic, if you will --Jamieson skirts the line just shy of gushy sentiment. From the irresistible, fast-fingered-folk of "Imaginary Lifestyle" to the country-style donut "The Invitation Stands" to the impeccable pop of "Sweet Words," this one's a keeper.

November 11, 2003
Chart Attack

Reid Jamieson is a regular presence around Toronto’s indie-folk scene, performing with just an acoustic guitar at the local coffeehouse or on club stages with a full band. For The Noise In My Chest, he’s chosen to capture his acoustic side, featuring spare and beautiful guitar accompanying his gently melodic voice, which flows smoothly, wrapping itself around picturesque lyrics describing people and relationships in a straightforward. Far from being a monotonous acoustic folk record where each track sounds like the one before, Jamieson stretches his limbs in the genre, moving from gentle ballads to quick guitar-picking and country-influenced sounds. "Imaginary Lifestyle" is one of the best. Now I just want to hear him all plugged in.

November 19, 2003
The Gazette

"Starting to Learn" Charm - some have it, some don't; but this Toronto native, whose eight-song EP The Noise in My Chest will get the town buzzing, oozes charm. How does he do it? By using his boy-next-door vocals to croon this simple tune about understanding the warm, fluttery feeling of love as he backs himself up on acoustic guitar. You'll want to burn your John Mayer CDs after hearing this (even though you should've burned them a long time ago).

Reid Live:

Friday, June 11, 2004
Umbrella Music
NXNE - Oasis 9pm

Effortlessly and utterly charming onstage, Jamieson kept a packed room in pin-drop silence as he showcased songs from his acoustic Noise In My Chest EP and current full-band album, The Unavoidable Truth. He revealed one new secret about himself, as he does every show (as a newborn, he had to wear casts on his legs for the first few weeks of life). He enjoyed a shot of sambucca provided by his lady love, manager and co-writer Carolyn Mill. He closed with “That Lucky Old Sun” as a tribute to the late Ray Charles. He caressed the notes with his honey-sweet croon, held a space for us all with the clarity of his vision, intent and purpose, and melted hearts throughout the set. Lori Cullen sang warm and wonderful backup. A very satisfying set, and hopefully a harbinger of great things to come.

December 4, 2003
Now Magazine
BRENT RAYNOR

PLUMB GOOD! JASON PLUMB AND THE WILLING with REID JAMIESON , JESSE BELL SMITH and HOWIE BECK at the Rivoli, November 28. Tickets: $10 Attendance: 110. Rating: NNNN

In a few short bars, local Reid Jamieson stole the show with heartfelt songs delivered with teary-eyed emotion against excellent acoustic guitar-picking. Jameson's voice has that angelic quality that leaves you rooting for him to come out on top. Add witty between-song banter and there's no doubt that his true calling is the stage, not some downtown record shop. And it's good to know there's someone else out there under 50 who wears slippers.

October 21, 2003
The Toronto Sun
MARY DICKIE

Canadian reflection - Reid Jamieson hosts, plays and DJs the Rivoli's Maple Lounge Canuck night

The Maple Lounge is a new weekly series with a shockingly unusual premise: Canadian music. Each Wednesday night at the pool hall upstairs at the Rivoli, a DJ spins Canadian music only, and a Canadian musician plays a 45-minute acoustic set.

Reid Jamieson, the affable local singer/songwriter who's hosting the first five instalments of the Maple Lounge (including tomorrow night's), says that the free event is already a success.

"Every night so far -- there have been three -- all the seats have been filled, and people have been really enjoying themselves," he says. "We basically just bring our CD collections in and play everything -- from people you've never heard of to The Tragically Hip."

And at 10 p.m., Jamieson plays a set featuring songs from his arresting new acoustic EP, The Noise In My Chest, as well as his upcoming full-band opus, due next spring.

"This has been my first experience playing a series like this," says Jamieson, "and it's been interesting. It changes week to week -- if I do something that doesn't work, I can always redeem myself the following Wednesday."

Jamieson's as-yet-untitled new album has a much fuller sound than the simple acoustic backdrop for his dazzling voice that you'll hear on the EP and at the show. Former Skydigger Josh Finlayson produced and plays bass, joined by drummer Dave Clark and a list of high-profile guests including Sarah Harmer, Bob Egan, Mia Sheard and Andy Maize.

"I really like having all the different flavours and different people's voices," says Jamieson, who played all the instruments on his previous album, Cowlick Bravado, himself. "I let the musicians play what they thought was right for the song. A lot of times it was different from what I'd envisioned, and better."

Former Walton frontman Jason Plumb takes over from Jamieson in November, followed by former Local Rabbit Peter Elkas for the month of December.

Saturday June 07, 2003
ChartAttack.com Staff
http://www.chartattack.com

NXNE - Reid Jamieson @ Horseshoe
Grade: 95

You know how painted portraits of dead people can really creep you out 'cause it looks like their eyes are following you around the room? That was the case with Reid Jamieson (if you forget the whole creepy bit). No matter where you stood in the tavern, it was like he was singing directly for you. Very intimate. In tune with the crowd, his banter displayed his boyish charm and satirical qualities, dedicating songs like "Grass and Dirt" to all who suffer from allergies.

Singing about tongue-in-cheek romances, the audience really responded. Such politically tinged songs as "End of the World Smalltalk," written two days after September 11, seemed ironically sweet and full of boyish charm, making it ingeniously subversive. The audience was captivated throughout, culminating in their breaking into a frenzied dance during Reid's cover of "Ticket To Ride" by The Beatles.

Reid is quite the George Clooney of the music scene, dripping in boyish charm and subliminal seduction. I would compare his image to other bands, but he's actually rather unique. He pulls off the Reid Jamieson image flawlessly. Remember this one . . .

October 19, 2003
Tandem http://www.tandemnews.com
-Kerry Doole

On The Beat - Maple pride

MAPLE LOUNGE: With pride in our country's musical past and present at an all-time high, the timing is perfect for this new series (no cover!), held every Wednesday in the nice upstairs Rivoli space. Maple Lounge will feature a singer/songwriter playing a 45-minute set at 10 p.m., preceded and followed by all Canadian music and videos in the club. The launch party was a big success, attracting such top Canuck talent as DAN BRYK, MOLLY JOHNSON, LORRAINE SEGATO, ANDY MAIZE (SKYDIGGERS), KURT SWINGHAMMER and CHRIS WARREN. They enjoyed the charming set of REID JAMIESON, one of the city's most promising young singer/songwriters. He played most of the tracks on his new eight-song CD, The Noise In My Chest. Reid will play every Wednesday in October, followed by JASON PLUMB of (THE WALTONS fame) in November, and PETE ELKAS (LOCAL RABBITS) in December

January 8, 2002
Now Magazine
SARAH LISS

Boys Play Girls at Hugh's Room

Reid Jamieson's set demonstrated that the adorable frontman of now-folded local outfit Alvy is one of the most underrated talents in town. Fresh-faced covers of Carole King/Gerry Goffin-penned faves showed off Jamieson's resonant choirboy voice. His earnest take on Natural Woman blew the roof off the house.

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