Fans of Collins and Baez, as well
as Joni Mitchell, may most ap-
preciate the pretty pleading of
“White Paint,” which structurally
recalls such folk songs as “If I Had
a Hammer” and “Where Have All
the Flowers Gone,” and lyrically re-
sembles Kris Kristofferson’s “Help
Me Make It through the Night.”
The lovely, spirited vocal turn of
“All We Can Do” offers hope in an
age when it’s vanishing rapidly.
While it’s not as soulful as Curtis
Mayfield’s “Keep on Pushin’” or Al
Green’s “Keep on Pushing Love,”
this great track has a similar senti-
ment, plus a gorgeous lap steel
contribution from Chris Colon of
Levy and the Oaks.
The closing jazzy sass of “What’s
in It for Me?” offers the tale of a
lass who comes to her senses and
NJ STAGE - ISSUE 61
exits a dead-end relationship with
a two-timer who can’t settle down.
“What’s in It for Me?” sports one of
my favorite verses on the EP: “But
it’s time to admit that there’s noth-
ing in it for me, baby. There’s noth-
ing in it for me because I need a
man who won’t waste my time,
and when I’m with him, I can call
him mine. It’s been nice. It’s been
real fun, but a girl needs to know
when it’s time to run.”
“Table for Two” was produced
by brothers Matt and Chris Du-
brow at Matt’s Oceanport-based
Firehouse Studio, where he also
recorded, mixed and mastered.
Christine has a dynamite all-star
band backing her on the record.
In addition to Colon and Chris Du-
brow of The Burns on bass/guitar/
mandolin, there are Sophisticated
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