Album Notes

"Favorably compare a young songwriter to Dylan, and you might as well slap a "kick me" sign on his back. So I'll spare Austin's Graham Weber that albatross, but he's gonna have to live with the next-best-thing-to-Jeff-Tweedy tag. "Please stop me if you've heard this one," the Ohio-native sings at the outset of his third album, and damned if "Snow in July" doesn't sound like it coulda been a standout track on Wilco's 1995 debut, A.M. --- right down to the lazy charm of Weber’s Midwestern drawl. Ditto “Candle’s So Close” and “After the Boulevard”, which find Weber and a crack studio crew (anchored by producer/guitarist Leatherbag) capturing the same loose-limbed Flying Burrito Brothers/Exile-era Stones vibe that Wilco nailed on Being There. Those three tracks open The Door To The Morning with a bang, but as shown on his last outing, 2005’s terrific Beggar’s Blues, Weber is at his absolute best when he settles into the languid, twilit beauty of more meditative fare like “End of the Fall” and “Kings Highway.” Granted, even then he still sounds an awful lot like Tweedy, but the poet’s voice at the heart of the songs is unmistakably Weber’s own.”
-Richard Skanse Editor, Texas Music

"Currently finishing his third effort, Graham Weber may have one of next year's best albums with the release of The Door to the Morning, as he steps away from the singer-songwriter folk that defined 2003's debut, Naive Melodies, and last year's Beggar's Blues. The Ohio native's new songs roll through a full, piano-based rock sound that nonetheless maintains the subtle revelations of Weber's delivery, channeling John Prine ("Candle's So Close"), early Wilco ("Snow in July"), and Tom Petty ("After the Boulevard")"
-Doug Freeman Austin Chronicle November 9, 2007