What a great find this record is. Fantastic pop hooks, unexpected (but not overly quirky) melodic twists and turns and thoughtful (and sometimes whimsical) lyrics add up to a very strong effort here. There are hints of Michael Penn, Owsley, Jason Falkner, The Bevis Frond and Braden Blake in the songs which is very good company indeed. And of course, the Beatle influence is clear as well. A hooky, satisfying gem throughout. I'd recommend checking out Andrew's other band The World Record as well, which is a more straight on power pop outfit.

Listen to this! A must. Go Flash! Varied musical styles.

A terrific piece of work. Michael Penn meets The Rembrandts, and the results are brilliant!

Everyone’s all right is another example of 70’s style pop that has become popular recently. Andrew, who plays all the instruments on the album, has a talent for creating catchy hooks and melodies. Most of the songs would fit very nicely on the radio or an Everclear album. The problem with the album is when the songs are placed next to each other it becomes apparent that Andrew has a tendency to recycle his musical hooks. The album starts off with a good lighthearted number, “the letter s”, that captures the anxiety of a student who doesn’t want his teacher to call on him in class. Creighton use of swirling keyboards and his They Might Be Giants vocals really work well to create a tight pop song. Other highlights from the album include “ok now” and “here’s what i need.“ “ok now” is a short song that is nothing more than an airy finger picked melody and vocals. Creighton uses this simple technique to create a piece that is filled with tension. The fast guitar part works to push the song forward while the dirge like vocals pull the song back. “here’s what i need”, the song that closes the album, also deals with childhood fears. Unlike in “the letter s” the singers fears are soothed by figuring out what he needs. The songs on the album tend to run together. Most of the songs are well constructed (although the rhythm on “alligator shoes” and “magic’s secrets” falters in places), but Creighton’s choruses all sound the same. Each song seems to start out down a new path, but by the end they all end up in the same place. These songs would work wonderfully by themselves, but in album form the similarities become too obvious. Although the two childhood songs that bookend the album and “ok now” reflect the diversity that Andrew is capable of, the rest of the album shows that he needs to expand that diversity some more.