Piper Hayes is WAY too young to have been in the 60s folk scene but she sure sounds like she came straight out of it and its decorous outfall, kind of like a cross between Melanie Safka, Janis Ian, and a bunch of the time's chanteuses without ever seeming quite like any of them. The sound, though, is pure 60s/70s with some Bacharach tossed in (Love Song), though I doubt Burt would ever pen a tune about DNA in a love song…but, then again, who knows? There's also a very broad swath of the stage running through Ain't Nothin' Like, as Hayes has been quite involved in musical theater and in theater studies. Nor has she been a stranger to touring, having hit Toronto, NYC, Denmark, Iceland, and the Netherlands. Hayes isn't classically trained and in fact sounds like the lead singer from an alt-rock band who decided she wanted to diversify and then landed in off-Broadway.
On the other hand, she also sounds like the bright rising star in Chorus Class in high school and the community college, someone who hasn't quite distinguished herself but is on the cusp of doing so. Her writing style—she scripts the four cuts here—is well suited to modern musicals but could use a bit more spit and polish as well, inserting more in the way of wider dynamics into the comps. The title cut comes the closest to achieving that but still falls a bit short. Last year, she emitted a live CD, which I'm guessing was likely somewhat a rough and tumble affair, and this is her first tentative studio foray, wisely kept to just a quartet of selections. That's one of the advantages of EPs: they test the waters. At the moment, the waters are tepid.
Edited by: David N. Pyles
Copyright 2014, Peterborough Folk Music Society.
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