ALBUM REVIEWS

*Click on CD cover to see album details*

Chris Titchner and Sunday Rain Dog: Some Things Never Change

Scene and Heard, Burlingon Free Press - October 19, 2000    

          After scarfing down a delicious Paradise Burrito some months ago, I saw singer/songwriter Chris Titchner busking on Church Street. Only occasionally am I struck by street performers. Usually, they are well-meaning folks who are playing old Grateful Dead or Bob Dylan tunes and practicing their chords on out-of-tune acoustic guitars. Even worse, they sometimes match Pan Flute Man in wholesale annoyance.
          But while sitting on the rock across from the performance, contentedly digesting my burrito, I was impressed by the strong, clear voice and his cellist partner who rounded out the whole sound; the duo melodically intertwined three parts very nicely. They sounded much better than your average folkie street musicians, playing original songs and fearlessly belting out for all to hear.
          After a brief conversation, I learned they were working on a new CD at the time. That disc has been out for about a month and a half now (call me lazy), and it's entitled "Some Things Never Change" by Chris Titchner and Sunday Rain Dog.
          Titchner has done an admirable job in recreating and adding a bit to his street sound in the studio. While the music falls into your singer/songwriter/pop/folk fusion category, it's clear when you hear the songs that he and his recording cronies have made the right decisions to get the most out of the songs with the least instrumentation.
          The strums of his guitar weave nicely with Ana Jesse's cello lines- a perfect match to offset each other and bring more to the table than if working alone. The sliding, doleful and rich sound of her cello juxtaposes nicely the often brisk strumming of Titchner's acoustic. Touches of percussion and extra guitar parts and vocal harmonies only help the CD from falling into a predictable and stultifying sound throughout.
          But comparisons can be made. Vocally, I found myself thinking of a less bassy Reid Genauier, former singer for Strangefolk. Some of the faster strummed pop/folk fusion had me reminiscent of locals Aaron Flinn and Salad Days without the brawn of a full rhythm section and electric guitars behind him. And, lyrically, I found Titchner to be a more romantically inclined student of Steve Forbert at times. The acoustic nature of some of the quieter romancers had me in the mind of some of those hit movie ballads of Goo Goo Dolls a couple years back.
But those moments are fleeting, and Titchner proves he's his own man- sensitive as he might be. Sometimes he's a loser in love, but with a hopeful song in his heart for all to hear his pain.
          Be prepared for several songs too concerned with the vagaries of the romantic world. But somehow, Titchner manages to avoid many of the pitfalls when talkin' 'bout the lovin'. It doesn't come across as too schmaltzy or disgustingly oversensitive. "Waltzing Away" might cry a bit over infidelity, but it's done in such a way that one does not need too many hankies.
          "Bad Dog" tries early to break out of the love's labor lost material with a catchy upbeat canine-inspired tune, and "My Town" takes a few potshots at life in a small town where anonymity is rare (loud neighbors are a problem as well for Titchner). But most songs, one way or another, rely on the pangs of heartstrings as fodder.
          I found the inclusion of a few hidden reprise live in-the-studio radio recordings at the end of the disc a bit unnecessary after having done a better job with them earlier in the disc.
          The songs on "Some Things Never Change" are as good as they are because the melodies are catchy and the vocal performance is strong. The blend of acoustic guitar and cello is an easy sell to folks who like folk-based music with a pop edge to it, and the performances are honest, forthright, and don't try to over extend themselves. An overall fine job for Titchner and his friends.

-- Steve Lemcke

Seven Days - September 27, 2000

          It's hard not to like Chris Titchner on some level. As he sings in his uncomplicated tenor voice about noisy neighbors, misunderstood dogs and young love, you might see a piece of your own life. That wouldn't be a surprise in Titchner's latest release, which is clearly inspired by the Burlington singer-songwriter's environs.
          It's not just the photo of the Midtown Motel on the cover that makes it feel like B-town. It's moments like the one in "My Town" where Titchner tells of neighbors cranking reggae and rap: "All they're tryin' to do is stand out in this crowd/All I'm tryin' to do is not smash in their face/I don't want to rain on their parade/but I don't want to live my life to their repetitive bass lines." Wow, did that one hit home for this writer!
          Like Titchner's first release, this one features the nicely moody cello stylings of Ana Jesse. This time around, however, the duo is joined by guitarists Lyle King and Aaron Giroux, singer Emily Day and percussionist Adam "Irving" Rabin. Their combined talents make for a well arranged and enjoyable folk-rock casserole.
          "Bad Dog" is clearly the most fun track of the bunch. Carried by a quick tempo, its narrative from a dog's point of view feels like something from the Lemonheads: "I get hot under the collar/when they throw all those leftovers away/ Dogs are starving in China..." Just as the vocals of Juliana Hatfield and Evan Dando fit like peanut butter and jelly, so do those of Titchner and Day.
          The award for catchiest song goes to "What About You?" A sweet guitar melody and bouncy flow justify high volume - if the neighbors don't mind. Day's feminine echo scores again, while Titchner's brief dalliance with a filter teases with the prospect of a more diverse vocal presentation. His voice is nice, if not unique, but my ears need a different pitch every so often.
          Rabin was clearly a major force on this sophomore effort, as he played drums, did the mastering and mixing with Titchner and even helped with the CD's design. Titchner has broadened his sound with a solid cast and taken the next step in his musical development. Contrary to the title, some things do change. And that's a good thing.

--- Kurt Zimmer

www.leftoffthedial.com - November 18, 2002

          I’ve stumbled across quite possibly the most poignant, introspective songwriter I’ve been privileged enough to listen to in years, and his name is Chris Titchner. His voice is pure, smooth and sounds similar to a young John Denver. Using nothing more than a cello, guitars, and a little percussion, nothing is left to clutter the melodies, or distract from Titchner’s hauntingly beautiful voice. Some Things Never Change has yet to leave my CD player, and I doubt it will ever leave my mind.
          Complete with a generous serving of soft ballads and quicker beats, Some Things Never Change sounds much like an unplugged or live version of standard albums. This certainly is not meant as a negative comment, rather a compliment to the lack of pretentious, synthetic-sounding mixes that could have detracted from the quality of Titchner’s music. Rather than distracting the listener, his soulful voice pulls the listener in, and wraps them up in its warmth.
          Lyrically, Titchner writes about everyday sentiments as with “Smile,” a song about his upstairs neighbor. Track seven, “Waltzing Away,” is a passionate, gut-wrenching ballad about infidelity coming between two lovers. While his faster songs, like “Bad Dog”, “What About You,” and “Chasing You Around” are quite good, Chris’ talents truly shine through on the ballads, which literally gave me the chills several times.
          Chris Titchner is the most talented independent artist I have ever had the pleasure of listening to. I cannot adequately praise this CD in the manner it deserves to be praised. I try to avoid comparing artists, but Titchner’s approach reminds me of the style Tracy Chapman and Jewel have made popular. Anyone who decides to listen to Some Things Never Change will not be disappointed, except for the fact that the eleven tracks will leave you wanting even more.

-- Amy Robson

www.indie-music.com - April 11,2003

          Rainy Sunday coffeeshop crooner. Rustic folk music brushed with a magic touch of cello. Lyrics that are sometimes clever, sometimes insightful, and sometimes slowly unfolding a story. I consider Chris Titchner an intellectual songwriter because he’s not someone whose music you can just play in the background. You really have to pay attention, or you’re missing something.

          Fans of pure and simple folk will like this guy. There’s an innocence in his songwriting, even when he’s writing about an abusive relationship in the apartment next door (“Smile”). We don’t get the violence right away. He meets his new neighbor, has an innocent flirtation with her, and describes their slowly-growing friendship. It gradually turns dark when he starts hearing things through the wall. Very well done.

          Innocence emerges from the playful songs as well. My personal favorite is “Bad Dog,” written from a dog’s point of view. He has a theory that the cat really likes to be chased around, he gets upset when he sees the humans of the house throwing away food – don’t they know dogs are starving in China?

          I like the contrast of the soothing cello and the impulsive, restless guitar and percussion. Cellist Ana Jesse left the biz to become a nun (yes, she really did), but her participation in the CD is a contribution to the secular world that she can take pride in. As for Titchner, he’s making a name for himself in the Raleigh area as someone to see in cafes and coffeeshops. Bring the kids.

-- Jennifer Layton, Review Editor

Chris Titchner and Sunday Rain Dog: Self-Titled

Vermont Times/VOX - March 3, 1999

          Chris Titchner and Sunday Rain Dog, on their new and eponymous CD seem to pick up where Three Mile Limit left off. Or at least present Chris a bit farther on his musical progression - this time working with Cellist Ana Jesse and delivering an album chock full of heartfelt acoustic songs which tend to rub me the right way. Chris' strumming presents a bright and upbeat feel which combines nicely with Ana's cello, which seems like such a melancholic instrument, creating a good space for simple and earnest lyrics to stretch their wings. Most of these songs dwell in the singer-songwriter relationship zone, either remembering, wishing for, or getting over various situations. For some reason, these kind of songs appeal to me, looking closely into the mechanics of an instant, usually with a hint of hopelessness. I like this disc more then I expected to, and have to give Mr. Titchner the props for delivering consistently hummable melodies and lines which carefully avoid becoming overwrought or cheesy. I particularly like "Let Me Play the Fool" and "Everything I've Said (Comfortableness)". Come to think of it, I'm also quite partial to "Miss You" and "Acadia", although there's probably plenty to like for fans of low-key acoustic songs. Give it a listen for yourself, I bet you'll like it.

-- Colin Clary