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| Damien Leith Where We Land, Sony BMG The most complete artist Australian Idol has yet uncovered. On his second album, Leith has had a hand in composing almost all the songs, and his producers Bryan Jones and James Roche understand his strengths and continually play to them. Sweet and gentle balladry is the order of the day. Leith uses that heavenly falsetto as often as possible without making himself appear a one-trick pony. Best bit: 22 Steps. Great to see he had enough sense not to let a great song pass, even if he didn’t write it. Worst bit: Songbird and Danny Boy. He sings them well but such well-known songs are an unnecessary hedging of bets. Verdict: Three and a half stars |
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| The tepid arrangements of previous Idol debuts are generally absent, yet there are still too many ballads. Where We Land....Damien Leith Casey Donovan and Kate DeAraugo are often cited by those who argue that Australian Idol is a poisoned chalice. Both artists' albums stiffed. The truth is viewers got it wrong, voting more out of sympathy for their shortcomings. In contrast, last year's Idol, Dublin-born crooner Damien Leith, was the right choice. It's faint praise to suggest his album is better than any made by previous winners - who were given just days in the studio. Leith, who had a hand in writing all but two tracks, was allowed a few months to put together a considered and sporadically impressive debut. Although he is genuinely affable and a competent vocalist, his recent single 22 Steps was spurned by radio and is emblematic of the album's foibles. The tepid arrangements of previous Idol debuts are generally absent, yet there are still too many ballads. I Still Miss Us is the best of them, with Leith on acoustic guitar over restrained keyboards. The requisite cover, a sparse reading of Fleetwood Mac's Songbird, is a strong choice, too. And for those curious about Alex Lloyd's whereabouts, he co-wrote two songs. |