More often than not when I buy an album on the strength of one or two songs the end result is disappointment and a CD that is quickly consigned to the bottom of the pile, Eagle Eye Cherry's album whatever it was called is just one such mistake. Then just as I'm about to swear off ever risking my hard earned cash on an album having heard only a single song an album like Metropolis Blue comes along. Having heard Georgie Boy, the power of Jack L's voice on that song alone was enough to convince me. So having made the purchase I rushed home, praying I wouldn't be disappointed.

From the opening notes of When The Moon Is High to the finale of Wish I Was A Dog, the only disappointment is that the album ever had to end. Jack L's voice is powerful, its dramatic, but to try and describe it will only do it an injustice. Jack L simply has to be heard. Jack L is obviously very aware of his rare talent and exploits it by writing songs that allow his voice to swoop and soar. Georgie Boy, Rooftop Lullaby and No Goodbyes would be great songs even if Milli Vanilli sang them, but by the time they get the Jack L treatment, they are awesome. Word's simply don't suffice.

The songs on Metropolis Blue are a mixed bag. The throbbing percussion of Bedsprings and Ode to Ed Wood compliment highly suggestive lyrics giving rise to songs that are more acted than sung. Jack L's frenzied delivery on I Ain't Crazy seems to suggest the title may be wishful thinking and Taste Of Fall is perfect for Jack L's strutting stage show, once again giving his voice the freedom to go where it will. The frenetic nature of these songs is in stark contrast to the beauty of Metropolis Blue and No Goodbyes amongst others.

Metropolis Blue is the perfect marriage of brilliant songs with a voice no human should possess. This album will probably encourage me to continue throwing away money on mediocre albums with one or two good songs, but if I manage to turn up another gem like this it'll be worth it. Let Jack L restore your faith.

Looper is Stuart David from Belle and Sebastian, it says so on the sticker on the cover. However on listening to this album the connection wouldn't be immediately obvious, as this is very different fare indeed. The proclamation on the cover isn't an idle boast either, with almost every song being David's work alone, apart from occasional guest vocals and even rarer guest musicians. Everything else is samples arranged by David, played by him and sung or spoken by him.

The songs are a diverse mix of funky beats, clever samples and spoken word stories, not unlike Eels, Susan's House, which display David's talent for writing engaging tales admirably. One such tale is told on Impossible Things #2, a gorgeous story set to a simple beat with flute and harmonica complimenting it beautifully. Similar songs are Dave The Moon Man, another example of sparkling prose set to an infectious tune and Columbo's Car, a tongue in cheek parody about the TV detective in which he investigates Stuart David for stealing samples, all set to a funky jazz tune.

Stuart David also has an ear for a catchy sample and knows how to mix them for maximum effect. The Treehouse is a thumping beat, a haunting melody and a brilliant sampled lyric. Ballad of Ray Suzuki is a dance tune on which David lets rip with all the samples he can find and Burning Flies is David mixing it up to the odd lyric of "I'm quite happy burning flies."

Just to prove that Looper isn't just about samples and funky beats, there's Quiet And Small, for which David owes the Velvet Underground's, Pale Blue Eyes a huge debt.

On the evidence of Up A Tree Stuart David may find Looper, unlike many side projects, outshines his day job as bassist with Belle And Sebastian. Let's hope this album isn't a once off, as Looper has too much to offer. A brilliant debut, haunting, funky, melodic, Up A Tree has it all.