While Jeff Buckley's powerful debut 'Grace' has been the yardstick for many a introspective singer/songwriter (and every third British muso) this past decade, his 'never really completed' second album has never been required listening in terms of popular music's imaginary course in learning from the Idols past. Which is a shame because there are some exciting moments on 'Sketches (For My Sweetheart The Drunk)'. It is here that Buckley is at his most worldly ('The Sky Is A Landfill'), his most seductive ('Everybody Here Wants You') and his darkest (Pick a track, any track).

Queens, NY resident Jason Brody is therefore the nerdy student taking the extra credit assignment, because 'Sketches' has definitely had an impact on his first album 'To The Quick'. Released through indie label Loud Hearts Records, 'To The Quick' is steeped in the same elements, both musically and lyrically as Buckley's 'Sketches' and in the end is better for it. Because why would you want to remake a masterpiece? Isn't it more exciting to work at the frays of something unfinished and at the same time forge your own work of art?

On 'To The Quick', Brody isn't rushing into things. Sure he has a voice that I'm willing to murder and pillage for (if I had such tendencies) and some great stories to tell, but it is all executed with a nice understatement in terms of production.

Like most good storytellers in the game, Brody also knows how to write a great love song. 'Angel On Earth' has the narrator smitten over, scrap that, absolutely possessed by this creature of beauty. Whether or not the subject in the tale is dead or alive, man or woman, lines such as: "You were one with the sounds in my mind" can only be created by people who have completely fallen for someone. Diane Warren better take notes.

Working on the adage of "real love will always return", 'Boomerang' has Brody pleading for his to not fly too far away. Boomerang's jazzy tones are due in part to a prominent bass line that would sit well in any cafi or bar packed with lonely hearts. On one of the more upbeat numbers on the album, 'To The Grave' is a fun throwback, musically, to those heady angst-filled days of the mid 90s when American college rock was the unusual gap between grunge and nu-metal. I wonder whatever happened to Better Than Ezra?

Final track 'Descent' is a strong parting shot, full of hopefulness and possible rebirth despite the imminent demise of the relationship. Beginning with some sweet finger picking before being taken over by a wash of electric guitar, Brody promises that "we'll start it up again".

With songs this entrancing, here's hoping that this fine musician makes good on his promise.

NB: To purchase the album, visit www.jasonbrody.com