Draw the Line (Deluxe Edition) [Deluxe Edition]

David Gray | Format: Audio CD

Product Details

• Audio CD (September 22, 2009)
• Original Release Date: 2009
• Number of Discs: 2
• Format: Deluxe Edition
• Label: Downtown
• ASIN: B002L5GQKU
• Also Available in: Audio CD  |  Vinyl  |  MP3 Music
• Average Customer Review: 4.3 out of 5 stars  See all reviews (47 customer reviews)
• Amazon Best Sellers Rank: #31,936 in Music (See Top 100 in Music)

Track Listings

Disc: 1

1. Fugitive

2. Draw the Line

3. Nemesis

4. Jackdaw

5. Kathleen

6. First Chance

7. Harder

8. Transformation

9. Stella the Artist

10. Breathe

See all 11 tracks on this disc

Disc: 2

1. World to Me [Live][*]

2. Sail Away [Live][*]

3. Ain't No Love [Live][*]

4. Babylon [Live][*]

5. Slow Motion [Live][*]

6. The One I Love [Live][*]

7. Other Side [Live][*]

8. Nightblindness [Live][*]

Editorial Reviews

Deluxe two CD edition housed in a hardcover digipak includes a bonus nine track live CD. 2009 album from the Irish singer/songwriter. His most captivating work to date, Draw The Line is the rich, warm, organic sound of David Gray reborn and starts a new chapter in the storytelling for which he is known. Recorded in London, and produced by the artist himself, David Gray's voice and songwriting are as distinct as ever on the release, showcasing the intensity with which he performs. Ripe with melancholic beauty, key tracks on the album include the glorious sublimely layered 'Fugitive,' the album's lead single, the pensive 'Draw the Line' and the emotive composition 'Nemesis.' Also featured on the album are two duets not to be missed with Jolie Holland and Annie Lennox.

Most Helpful Customer Reviews

41 of 46 people found the following review helpful

4.0 out of 5 stars Return to form September 22, 2009

By Elliot Knapp

Format:Audio CD

Somewhere after David Gray first hit the big time with White Ladder, it seems he started compromising the gritty vision of his early albums with a desire to continue making hits. Who could blame him--after releasing three top-notch albums to a seemingly deaf public, he was unceremoniously dropped from his label before rising from his own ashes with White Ladder, which could arguably be called a modern classic. Since then, A New Day at Midnight seemed like a White Ladder 2 attempt without as strong material, and Life in Slow Motion was a bit overproduced and sadly too slow for its own good, while both included songs that were obviously written for the primary purpose of radio play. Not that I disliked those albums, in retrospect they sound like they are simultaneously straining in two opposite directions (commercial vs. true to Gray's more artistic vision) and their potency diluted.

In the intervening 4 years, it appears Gray has decided that compromising his natural songwriting impulses (which can often be quite dark) in order to try to offer up a couple jangly hit singles doesn't feel as good as channeling his true feelings into song form without pandering to a pop audience. I couldn't be happier; I prefer the imperfections of reality to the artificial candy of pop, so this album feels like return home. From the opening "Fugitive's" pounding drums and piano and the singer's triumphant "Yeah!", Draw the Line is eager to show that Life In Slow Motion's deliberate tempos and subdued mood are just a memory, and maybe that it feels good to return to his artistic roots. It's also clear that he's not pulling any punches this time; the typically poetic lyrics are full of paranoia, the weight of mortality, the slow grind of life and the occasional rays of happiness that can tilt the scales in the opposite direction.

"Fugitive" sets the tone for the album--sonically, it's not a huge departure for Gray--the songs are all based on the piano riffs and guitar that have long been his bread and butter, but they absolutely crackle with energy that was lacking on the last album, and the subtle pop impulses that propelled White Ladder bring just enough hooks to the table without sounding forced. On "Draw the Line" Gray sounds like a man on the edge raving at the world, and "Nemesis" is one of the most touching lyrics of his career. The upbeat "Jackdaw" pairs a catchy piano line with tasteful strings and an ecstatic vocal, and rivals "Stella the Artist" for the album's most energetic rocker. David Gray the cynic (perhaps my favorite side) rears his incisive head on the cutting "First Chance," and fans of White Ladder's weary love songs will find it hard to resist the gripping "Harder" and the aforementioned "Nemesis." Throughout the whole thing, it sounds like he's singing the last show of his life, and his vocals (which have always been a main draw) are full of passion and enough rough edges and cracks to necessitate multiple listens. By the anthemic album-closing Annie Lennox duet ("Full Steam")--on which she sounds to my ears like a dead wringer for Judy Henske--I'm ready to collapse in a satisfied heap.

Draw the Line isn't a perfect album--a couple songs, like "Kathleen" and "Breathe," don't leave as much impression as others, and I suspect that in 10 years time the production (particularly the current mainstream obsession with strings) will date the album to some ears, though not nearly as much as the pseudo-Coldplay XY (involuntary shudder) production of Life In Slow Motion. The haters will probably still malign Gray with cries of "adult contemporary" (well, White Ladder WAS quite overplayed), but I'll argue that they never really listened to the fire, the venom, the rarefied humanity in Gray's best words and vocals, of which there are plenty here. For me, this album proves that Gray is still one of the most challenging lyricists writing songs today.

10 of 10 people found the following review helpful

4.0 out of 5 stars Return to form September 22, 2009

By Elliot Knapp

Format:Audio CD

Somewhere after David Gray first hit the big time with White Ladder, it seems he started compromising the gritty vision of his early albums with a desire to continue making hits. Who could blame him--after releasing three top-notch albums to a seemingly deaf public, he was unceremoniously dropped from his label before rising from his own ashes with White Ladder, which could arguably be called a modern classic. Since then, A New Day at Midnight seemed like a White Ladder 2 attempt without as strong material, and Life in Slow Motion was a bit overproduced and sadly too slow for its own good, while both included songs that were obviously written for the primary purpose of radio play. Not that I disliked those albums, in retrospect they sound like they are simultaneously straining in two opposite directions (commercial vs. true to Gray's more artistic vision) and their potency diluted.

In the intervening 4 years, it appears Gray has decided that compromising his natural songwriting impulses (which can often be quite dark) in order to try to offer up a couple jangly hit singles doesn't feel as good as channeling his true feelings into song form without pandering to a pop audience. I couldn't be happier; I prefer the imperfections of reality to the artificial candy of pop, so this album feels like return home. From the opening "Fugitive's" pounding drums and piano and the singer's triumphant "Yeah!", Draw the Line is eager to show that Life In Slow Motion's deliberate tempos and subdued mood are just a memory, and maybe that it feels good to return to his artistic roots. It's also clear that he's not pulling any punches this time; the typically poetic lyrics are full of paranoia, the weight of mortality, the slow grind of life and the occasional rays of happiness that can tilt the scales in the opposite direction.

"Fugitive" sets the tone for the album--sonically, it's not a huge departure for Gray--the songs are all based on the piano riffs and guitar that have long been his bread and butter, but they absolutely crackle with energy that was lacking on the last album, and the subtle pop impulses that propelled White Ladder bring just enough hooks to the table without sounding forced. On "Draw the Line" Gray sounds like a man on the edge raving at the world, and "Nemesis" is one of the most touching lyrics of his career. The upbeat "Jackdaw" pairs a catchy piano line with tasteful strings and an ecstatic vocal, and rivals "Stella the Artist" for the album's most energetic rocker. David Gray the cynic (perhaps my favorite side) rears his incisive head on the cutting "First Chance," and fans of White Ladder's weary love songs will find it hard to resist the gripping "Harder" and the aforementioned "Nemesis." Throughout the whole thing, it sounds like he's singing the last show of his life, and his vocals (which have always been a main draw) are full of passion and enough rough edges and cracks to necessitate multiple listens. By the anthemic album-closing Annie Lennox duet ("Full Steam")--on which she sounds to my ears like a dead wringer for Judy Henske--I'm ready to collapse in a satisfied heap.

Draw the Line isn't a perfect album--a couple songs, like "Kathleen" and "Breathe," don't leave as much impression as others, and I suspect that in 10 years time the production (particularly the current mainstream obsession with strings) will date the album to some ears, though not nearly as much as the pseudo-Coldplay XY (involuntary shudder) production of Life In Slow Motion. The haters will probably still malign Gray with cries of "adult contemporary" (well, White Ladder WAS quite overplayed), but I'll argue that they never really listened to the fire, the venom, the rarefied humanity in Gray's best words and vocals, of which there are plenty here. For me, this album proves that Gray is still one of the most challenging lyricists writing songs today.

4 of 4 people found the following review helpful

5.0 out of 5 stars David Gray October 22, 2009

By Garp10

Format:Audio CD|Amazon Verified Purchase

This has been in my player since I received it four days ago. The new music is all great; more like Gray's earlier work, and the second CD of his "greatest hits - live" is worth the price of this double CD by itself. Its alway nice to hear old favorites played live.