(It's obvious Greggy here had never heard of DB before he wrote this review.)

For every superstar the music industry puts on a pedestal, there are 100 studio musicians propping them up. These unsung heroes provide rock-solid beats, tasty licks and often even the songs that bring fame to many "artists" with flawless skin, designer wardrobes and huge marketing and promotional dollars behind them.

While the music ultimately matters, the masses lust for pop and rock stars with an image. So when a group of talented but relatively nameless musicians band together and record an album without a plan to conquer MTV, MuchMusic and mainstream radio, their product had better stand on its own legs.

Unfortunately, David Baerwald and his revolving band of players fail to rise to the challenge. His press release touts him as a "crucial contributor" to Sheryl Crow's breakthrough Tuesday Night Music Club and Golden Globe nominee for 'Come What May' from Moulin Rouge, two impressive credentials indeed. But in crafting his own collection of songs, Baerwald paints mostly in shades of beige, showing quality in his songwriting but falling far short in his delivery.

The opener of Here Comes the New Folk Underground, 'Why', is a promising start with a lumbering, freight-train rhythm, lilting accordion and lush harmonies. The remainder of the album, however, is derailed by grating vocals (the insistent sha-la-las on 'Compassion'), limp ventures into rock ('Nothing's Gonna Bring Me Down') or empty lyrics ("Oh, I'm wondering / Where you are tonight / Oh, I'm wondering / Hope everything's alright").

Judging by the songs themselves, there's no question that David Baerwald has talent as a writer, producer and player. But while he shouldn't put down his guitar, he should definitely relegate himself to the back of the stage and out of the spotlight.

Greg Sarney