Toby Lightman Little Things CD

This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.
Personnel: Toby Lightman (vocals, acoustic guitar, programming); Peter (acoustic & electric guitars, pianet, keyboards, bass, drums, programming); Nile Rodgers, Gerry Leonard (electric guitar); Sandy Park (violin); Jesse Levy (cello); Leon Pendarvis (strings); William Gallison (harmonica); David Mann, Andy Snitzer (saxophone); Jeff Kivet (trumpet); Ozzie Melendez (trombone); Tom Barney (electric bass); Bashiri Johnson, Joe Bonadio (percussion); Jen Scaturro (programming).
Recorded at Big Much Studios, New York, New York.
This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.
Personnel: Toby Lightman (vocals, acoustic guitar); Gerry Leonard , Joe "Coach" Hanna (guitar); Noah Rickun (electric guitar, organ, synthesizer); Peter Zizzo (electric guitar, keyboards, bass guitar, drums, programming); Nile Rodgers (electric guitar); Leon Pendarvis (strings); Tom Barney (bass guitar); Jen Scaturro (programming); Ming (scratches).
It's fortunate that Toby Lightman's vocals are so strong, since it's all that she can do to be heard over the electronic burble of her debut LP, Little Things (Lava/Atlantic). Peter Zizzo's production is furiously contemporary, with programmed percussion, intermittent string sections, shrill electric guitar, and layered vocal collages (of both Lightman's own voice and supporting harmonies) often choking the subtle acoustic chords that run throughout the record. About the only thing missing from the shallow bag of studio tricks is "Robo Toby," the processed vocal effect made infamous by the Matrix. Luckily, the young singer really does have a huge voice. Comparisons to Nelly Furtado and Lauryn Hill are valid; Lightman's phrasing is perfect and her singing's throaty and sassy, even if her lyrics are the usual mix of aw snap empowerment, romantic woe, and dear diary soul-searching. She's mature and confident over the light contemporary R&B of "Leave It Inside" -- is that a Mary J. Blige influence? -- and the processed poptronica of "The River" gives her some strong material as well. But Lightman's vitality really shines through in "Everyday," which finally, mercifully strips away the accompanying instrumentation to a simple and refreshing acoustic guitar line. The song suggests what Lightman might've sounded like before her tunes were shoehorned into the blatant and unimaginative MOR arrangements that clutter Little Things. They have pop hooks, sure, and the busy, ingratiating "Devils and Angels" or "Frightened"'s tasteful Dido-isms should appeal to casual listeners content with a pretty melody and a comfortably non-threatening smattering of not quite here, not quite there instrumentation. But Little Things' strict adherence to the now sound -- as in what is destined to be so yesterday -- doesn't give Lightman a fair chance at building an identity. ~ Johnny Loftus
LITTLE THINGS, the confident debut from Toby Lightman, finds the New Jersey singer heavily under the influence of R&B and pop, and refreshingly devoid of the vocal tics and twirls beloved by some of her contemporaries. With a sound reminiscent of a poppier Norah Jones, Lightman is by turns seductive, innocent, and accusatory, backed by production that's supportive but not overly intrusive. This leaves plenty of room for her vocal talents to shine through on songs such as "Devils and Angels" and "The River."
She toughens up the light R&B of "Leave It Inside," but is sensitive enough to let the simple message of "Running Away" speak for itself without resorting to melodrama. This last track is a particular highlight, with Lightman's vocal framed by acoustic bass and guitar, proving that this talented young singer needn't restrict herself to a purely pop framework to be successful.Entertainment Weekly (4/2/04, p.66) - "[V]eers from hip-hop to folk rock and top 40 [and] suggests bigger things to come." - Rating: B