Terry Kitchen recently re-released his debut solo album from 1991.Simply titled First Album, it shows the then budding Boston-based singer-songwriter offering promise. Tender lyrical wisdom and a fine melodic flow from his six string acoustic would soon make Kitchen a favorite of Boston’ s folk and singer-songwriter scenes.
Opening track “Turn Your Head Around” speaks of beginning a new life at college, new experiences instead of who you were in high school. Kitchen’s sweet, sooth vocal and his mellow delivery make it plain he would likely always be easily accessible. His title chorus spins the song into something even more catchy
“The Favor” finds Kitchen singing over a circular pattern built up by a percussionist. A female harmony vocalist chimes in on key verses, giving the song a more accented spin. When the vocalists shift dynamics, the song expands and pulls the listener in closer. A sax line appears, slow and easy, and that gives this all a coffee shop listening room vibe. Layering over the circular groove keeps this hip, listenable, engaging.
Nostalgic in lyric and wistful in delivery, “Somethings Are Worth Saving” travels in a light, dreamy manner. Kitchen’s reverence for what he would save sounds and feels authentic because of his sweet, gentle timbre adhering to tender reflection. His acoustic guitar feels like a bridge to greater feeling. Eventually, the feelings expressed expand with a sensitive backing vocal, and, a weepy fiddle line complete his song’s emotive value.
Weaving playful flute, acoustic guitar depth, accented percussion and beautiful harmony vocals, “Stonecutter” travels a familiar path, with folky highs and lows in the dynamics. Yet, Kitchen knows how to play those peaks and valleys to express dynamic emotions. This one makes it on vibe and on subtle shifts that carry the listener along with its subtle motions.
“Fall Like A Rock” is a testament to unrequited love. Kitchen remarks on how his intended is destined to fall hard for somebody, though he knows he cannot be him. Playing the role of friend makes him a supportive witness. Sincerity rings true in Kitchen’s vocal, a gentle unravel of emotion that moves smoothly beside some emotive guitar work, making this one a listener can feel and relate to. It also could have been a huge hit if it was released on 1970s radio stations.
A cover of “This Diamond Ring,” originally recorded and popularized by Gary Lewis And The Playboys, allows Kitchen’s subtle vocal application to wrap warmly around the lyrics and his adept guitar work flavors this nicely with its evocative vibe.
“Property” rides a rambling groove, like tumble weed rolling down a sidewalk with a steady breeze behind it. Here, Kitchen sprawls his mellow vocal over a handful of rippling notes. His voice fits perfectly into a space left open by his acoustic guitar on one side and a wistfully unwinding lead guitar on the other. His theme about ownership gets a strong boost from his vocal dynamics, his voice becoming more forcefully expressive in his chorus, turning it into a personal anthem.
A dreamy chorus makes “Tender Lee” feel like a warm summer breezes just kissing one’s skin in passing. Kitchen shows his vocal strength within his mellow framework by singing tongue twisting lyrics at a brisk pace. A fulsome, bluesy harmonica puffs a perfect feeling behind the emotive values developed by vocals and guitar, keeping this in its own sweet motion, a cloud flowing an air current.
“That’s The Way” is a breezy gem. Kitchens mellow vocal flows golden here, supported by a eloquent fiddle line, a line that travels a strident path. Contrasting with Kitchens’ smooth, soft croon, the fiddle highlights the beauty in each. An accented percussion line too contrasts perfectly with that voice, giving this song vigor as Kitchen gives it tender grace.
“Pray For Rachel” is another example of how Kitchen weaves a song with acoustic guitar and accented percussion. Here, he makes a slight vocal assertion going into the chorus. That’s enough to feel the heightened emotion of the song. It’s his mercifully mellow voice drifting like a cloud through his assertive strumming, the gritty percussion, and a dark, moody cello that makes his song come alive.
Kitchen contrasts his mellow croon with a line of rippling mandolin notes on “Deep Like A Well.” Those ripples indicate a presence of water and a depth of feeling in Kitchen’s voice also mirrors a well. Mandolin player Holly Gettings does double duty as backing vocalist. Her high pitched shadowing of Kitchen’s mellow voice thicken the music and amplifies the simple beauty of this song.
Close out track “Take Me Blues,” which was actually on Kitchen’s sophomore release, makes use of a droning guitar note to fill in a lot of space with a moody sound. Harmonica man Joe Paradis blows an intermittent bluesy wail, an urgent distress signal as Kitchen draws us further into the soulful matter of eternity.
Kitchen always leave listeners wondering why he never quite became as famous as James Taylor. His voice, boundless in expression, accessible, mellow, draws in a listener without even trying. His voice is one of those “it factors” that cannot be fully understood but just is. His melodies, his use of support musicians and backing vocalists, and his just the right touch through out each song are incomparable. This debut album, recently re-released, more than hints at the abundance of quality material that followed. Each song here teems with personality, and it’s the kind of album one can listen to day after day. Leslie Sterling, Brice Buchanon, Tricia Langlois, Bill Kulman, Mike Hall, Bill Morrison, Jennifer Shader, Page Hundemer, Laura Wood, Laurie Goldsmith, Steve Hurl, Chris Peeler, Matt Darian, Sharrhan Williamson, Geoff Poister, Sandi-Jo Malmon all come along for the ride, helping Kitchen flesh out his debut sound.
