A New Day at Midnight

1	Dead in the Water 3:06
2	Caroline 3:39
3	Long Distance Call 3:41
4	Freedom 6:48
5	Kangaroo 3:31
6	Last Boat to America 4:50
7	Real Love 4:40
8	Knowhere 3:54
9	December 3:35
10	Be Mine 4:23
11	Easy Way to Cry 3:53
12	The Other Side 4:31

Barnes & Noble

Following up his first international hit, White Ladder, which sold more than 2 million copies in the U.S., Welsh singer-songwriter David Gray seems at first to have played it safe. But as the sinuous, deeply affecting New Day at Midnight unspools, it becomes obvious that Gray doing what he knows is Gray doing what he does best. On his sixth album, the Grammy nominee reconvenes with partners Clune and Iestyn Polson, sticking to the same subtly electronic folkie vibe that gave White Ladder its crossover wings. But here the orchestrations are modestly grander: Pedal steel guitar from Brit wiz B. J. Cole meshes with the blips and beats on "Caroline"; brass and strings augment some songs; and a hypnotic kalimba lends space and depth to "Last Boat to America." But none of these detract from Gray's voice, the most endearing bleat since Dylan (or Leonard Cohen, whose lyrical penchant for "honey" and women's names Gray shares). As the title hints, Gray's incisive focus falls on the moments of hope that flash from the deepest despair -- whether it's the global cataclysm rued on "Dead in the Water" or the more personal loss of "December," Gray finds a counterbalance: the aching piano chords of "Freedom" that celebrate commitment and the euphoric "Be Mine," a frankly delirious ("Jumpin' Jesus, holy cow!") celebration of love that echoes White Ladder's "Sail Away." While he's equally adept at limning misery as bliss, it's love that really sends Gray over the moon, and even at his most downbeat, this gift resounds with a disarming hopefulness that's spiritual soul food in these dark days. Choosing to end the album with the elegiac "The Other Side," Gray confesses, "Honey, now if I'm honest/ I still don't know what love is." It's a patent fiction, though: New Day at Midnight shows a universal compassion deeply understood, a declaration of love in all its tattered glory. Mark Schwartz

All Music Guide

David Gray's 1999 release White Ladder was not only a chart hit around the globe but a career turnaround for the artist. His folky techno sound was refreshing and raw, and the public finally took notice to Gray's honest approach. White Ladder went double platinum in America and earned Gray a Grammy nod for Best New Artist. Expectations for a follow-up were naturally high, and Gray wasted no time making another album. A New Day at Midnight, intermittently recorded between his spring 2001 tour and early fall, marks his sixth. He sticks with simple acoustics and subtle string arrangements; however, A New Day at Midnight doesn't possess the heavy heart of White Ladder. Perhaps Gray wasn't going for that, but fans were looking for an emotional disposition. The structure on this particular record is much more loose and carefree. What an impressive move for Gray, for he created something from his heart and mind without concerning himself or what was expected of him. The piano-driven "Meet Me on the Other Side" highlights personal reflections with grace. "Be Mine" is lyrically sweeter, but the winter chill of "December" ironically finds a peace of mind. Gray's father passed away during the recording of A New Day at Midnight, so this is his swan song. The twinkling "Last Boat to America" offers classic White Ladder optimism, so Gray's intent in making the lush and desirable more apparent is real. Gray's definitely more introspective this time around, but he's less digital. Will fans appreciate that? Sure, but it will take some time. MacKenzie Wilson

Entertainment Weekly

A truly moving work. (B+) Rob Brunner