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“[Part of Me] is one of those CDs you can put in your car for weeks and forget it’s all the same artist, but will enjoy no matter what cut is playing. Many artists will tell you they defy categorization. Natasha Wood truly brings that to the table.”  -Jimi Yamagishi, The Los Angeles Songwriter’s Network

“Part of Me” Album Review

Natasha Wood is a Songwriter.

She puts that statement boldly forward in just the first two songs on this collection. Opening with Santana-inspired guitar riffage done by Yogi Lonich, you’d think at first “Maximino” was a track by that famous band, then you suddenly realize, “Hey, that’s NOT Spanish!” The groove and lyrics are deeply Brazilian with Natasha’s smooth vocals tying it all together.

Sitting back to savor that, the gentle swell of a pedal steel guitar starts speaking to you with that same smooth vocal illustrating a sweet story with “To Grandpa.” A perfect country song with just a hint of an R&B groove that belies Natasha’s love of jazz, you begin to realize this is a really special collection of songs.

Then, the exotic pop of tablas, sitar-esqe Indian sounds and ringing zithers pull you into an entirely different place, only to drop you into a richly harmonized R&B pop groove, returning at the bridge in yet another language, Hindi. “Henna from Afar” is a song that really needs a second listen to grasp the cinematic quality of it all, as the lyrics describe a culture clash in a relationship that is perfectly complemented by the juxtaposition of these different grooves and sounds.

With the voice of fingerstyle guitar familiar to those who have seen Natasha in concert, “Part of Me” brings to mind the coffeehouses and acoustic Americana venues while the familiar and warm sounds of viola and piano complete the picture.

The distinctly tropical vibe of “Vovó Americanzada,” once again in Portuguese, mirrors the legendary and timeless pairing of Jobim and Gilberto, and you’ll find yourself chair dancing in spite of yourself. Opening with the bright sounds of the cavaquinho and a wide variety of percussion, this is that classic Brazilian fusion that easily crosses all boundaries with its infectious vibe.

Opening with the sound of gusting desert winds, “Fennecus” continues that beautiful journey in Brazilian jazz. Yeah, I had to put my player on repeat for a while…it just feels so good.

With just her guitar and a mandolin on the side, Natasha shines through in this simple arrangement of her song “Sunny,” showcasing both her vocal and instrumental talents.

Blending Indian droning and the sharp ring of tablas with the rich harmonies of guitars and vocals of straight up Americana, “Small Town Boy” works because of the lyrics and Natasha’s voice. There’s even a hint of harmonium near the end to complete the blending of this perfect cross cultural casserole.

The opening of “Writing too Much” paints a vivid and detailed image. Sweet backing harmonies kick in to both launch and land Natasha’s voice. A perfectly balanced lyric and arrangement describing the fullness of life in a way that wraps around you like sunshine on a brisk San Francisco morning.

Shadowing the rich piano stylings of vintage Carole King, “My Heart Will Not Be Broken” easily brings the emotion through with just Natasha’s voice and that single instrument. Very much a classic right out of the box.

Appropriately, this musical journey finishes off with a world percussion reprise from “Vovó.”

Some CDs and albums are just random collections of songs where you skip through and find your favorites. “Part of Me” is not like that. It needs to be listened through in its entirety because every song speaks, and the variety is perfect after being hammered with so much repetition during our days. It’s one of those CDs you can put in your car for weeks and forget it’s all the same artist, but will enjoy no matter what cut is playing. Many artists will tell you they defy categorization. Natasha Wood truly brings that to the table.

Fans of the legendary Brazilian vocalist Elis Regina will love Natasha, who also has the contemporary sweetness of Michelle Branch and the clarity of Latin Chart topper Thalia.

Yeah, this one’s staying in my car for a while.

—Jimi Yamagishi, Director, The Los Angeles Songwriter’s Network (SongNet)