Beldock and Watson: Press

Beldock & Watson
Written by Mike Alvarez

David Beldock and Peggy Watson have recorded a charming CD of acoustic tunes that run the gamut from jazz and blues to folk. They have chosen a simple, straightforward approach to production and arrangement that really showcases their songwriting. Instrumentation is sparse, sometimes just voices and acoustic guitar as on the opening song "Feel the Wind." At other times they spice up the proceedings with light percussion and acoustic bass, courtesy of Jeff Berkley and Pete Harrison, respectively. A good demonstration of this is the Watson-penned and sung "Running Away." The additional players serve to create a more energetic sound, but they leave plenty of space for the song to breathe. "Running Away" can still be played by an acoustic duo without losing any of its essence.

Beldock is a multi-instrumentalist, playing guitars, banjtar, electric bass, and keyboards. Watson plays guitar in addition to singing. Both of them have pleasing voices that sound good individually as well as when blended in harmonies. They take a roughly equal share of lead vocal duties, which doesn't necessarily correspond to the person getting the songwriting credit. "Jesus on the Radio" is a gentle ballad by Beldock, but it is Watson's sweet voice that sings the melody while his warm baritone takes a supporting role. The jazzy "Second Chance" is his opportunity to shine as he croons a plea for forgiveness over a rhythm track of strummed guitar chords and tasteful keyboard soloing.

They show a real feel for acoustic blues on "Leave Her Baby Behind" and "Downtown by the River," breathing freshness into a tried and true genre. The album takes a humorous turn with the whimsically upbeat "Clone," which superimposes a sci-fi theme over an old time feel. Sure, it's played strictly for laughs, but it's also a neat song. Then things turn a little wistful with "Tom's Song," a colorful tune that is a Rockwell-like reminiscence of days gone by sparked by an old friend's postcard. The album ends with "Everything You Do," a return to the blues, written and sung by Watson. It's got a great last-call, smoky mood that makes for a perfect closer.

The overall feel is relaxed and casual, which belies the obvious craftsmanship that went into the compositions and arrangements. Their lyrics depict a wide spectrum of human experiences that just about anybody can relate to. Instrumental performances are tasteful and flawlessly executed, never getting in the way of the songs. There is a truly natural sound to this recording. You can tell it was made in a great room! The songs themselves are comprised of well-chosen chords with vocal melodies that sit perfectly on top of them. One gets the sense that this music was created by seasoned artists who have perfected the craft of saying a lot without talking too much.