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Obadiah is the archetypal sleeper: Its burnished songs--an unlikely marriage of plainspoken folk and blue-eyed-soul--wash over you on a cursory listen, start to percolate the second time around, and finally burrow deep into your brain.
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The tempos remain rigorously uniform across these 13 tracks, as though quickening the pace might change the genre or break the spell. It makes for a warmly moody, albeit strangely static album.
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She phrases intuitively, waiting on a word and then drawing it out, and turns good lyrics to oatmeal, adding strange new colors to vowels, making whole syllables vanish.
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In the moving disc closer "Mimi Song," she asks her listener to "tell them about me when I'm gone" and to "remember me." With an alluring album such as this one, that request shouldn't be hard to do.
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There's a laid-back, late-night vibe maintained throughout Obadiah, as Ford unleashes her moody croon over slow to midtempo tunes colored by piano, organ, and Tanyas member Trish Klein's guitar work and powered by mellow but funky, slow-rolling grooves.
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UncutFord's transporting voice is let down by tunes that are anything but. [Aug 2010, p.92]
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As a debut solo record Obadiah is quite impressive, but only if you're in the mood the album wants you to be in.