Birch her own singer.

Byline: Craig S. Semon

COLUMN: TRACKS

"Bible Belt"

Diane Birch (S-Curve Records)

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Enough with all the Carole King and Laura Nyro comparisons when describing 26-year-old ingenue Diane Birch.

While these comparisons are well-warranted, they don't mean a heck of a lot to a fast-food generation that is more familiar with Burger King than Carole King, and probably think Laura Nyro is a specialty roll-up sandwich.

On top of that, it's a little unfair to be comparing her to these legendary artists when Birch is very much her own person, eclectic creative influences aside.

America's first serious response to Britain's neo-soul invasion fronted by Amy Winehouse, Duffy and Adele; Birch is an ivory-tickling preacher's daughter who sounds much older and wiser than her age, at least when it comes to pop smarts, not necessarily the language of love. On her debut disc, "Bible Belt," the sultry chanteuse delivers pure, pristine pop that could have easily been recorded decades before she was born. Her music is timely, timeless, but as good music always proves, never outdated.

Birch wants to snuff out the smoldering embers of desire that still burn for a dearly departed lover on the gospel-tinged, broken-hearted opener, "Fire Escape." Alongside a swaying, sophisticated jazz melody of somber strings, swirling keyboards and a splattering of horns, Birch longingly questions, "What makes the hurt go away?/The fire escape?" Naturally romantic without being cheesy or sleazy, Birch unleashes a very soulful and sensual voice that harkens back to a simpler (but far from simple-minded) time of well-crafted pop songwriting of the '60s and '70s.

"Valentino" is a delightful and delicious slice of bubblegum pop with its clickety-clack rhythms (that recall the Dixie Cups' "Iko Iko") and an irresistible, hook-laden "oh-oh-oh-oh" chorus. Birch is an absolute charmer, especially when she coos sweet nothings in the listener's ear. If images of her lackadaisically running circles in the graveyard and throwing daisies in the air aren't enough to be smitten by this doe-eyed daydreamer, chances are you're already dead.

On the first single, "Nothing But a Miracle," Birch has had her fill of trying to please a Rhett Butler-like lover who just doesn't give a damn. The newly liberated Birch decides to don a little black party dress (mercy me) with plans to paint the town red. She's at her best when she nervously can't contain her excitement for a new beginning, so much so that her inspired vocals refuse to be confined to the melody. And the listener can't help but be swept away by her irresistible swagger.

Birch wishes she could right the wrongs of her romantic past on the sweeping and majestic pop pouter, "Rewind." Here, Birch shows kinship with "Goodbye Yellow Brick Road"-era Elton John, with barebones intimacy and sparkling piano playing. It might be too late for her and her ex, but her career has just begun.

"So if it's happiness you want/That's what you'll get," Birch promises on the unorthodox, uncompromising piano sermon "Rise Up," and she delivers. Alongside smoldering Stax-Volt horns and honky-tonk piano, Birch is having a ball rebelling against her strict upbringing, as well as shrugging off her mother's advice.

Birch has her Elton John-inspired mojo working again on the lovelorn piano lament, "Ariel." Her emotionally rich and resonant voice and sparkling lively piano playing are testimony to the classics; and some of her contemporaries (as well as Sir Elton as late) can be reminded how it's done.

On "Choo Choo," Birch initially thinks she riding on the passenger train to heaven, but finds she's actually on a speeding locomotive going straight to hell. Raspy, rowdy vocals combined with her feverously pounding of the piano keys make this the album's best rocker.

With her silky hair anointed with fresh flowers and her tarnished soul cleansed in the "river of forgiveness," Birch feels like a woman reborn (and the listener is rooting for her) on the Memphis-inspired gospel-soul opus, "Forgiveness." While the song is a breath of retro-fresh air, it will be hard for the listener's heart to forgo Birch.

Despite her real or imaginary bad track record with men, Birch can't resist falling in love again on the album's closer, "Magic View." Although she feels she's setting herself up for another down-in-the-dumps failure, there is something to say about her resiliency to continue on this path. And one doesn't have to have a magic mirror to know that she's destined for big places - alas, though, maybe not in her love life.

Key to the Stars

* * * * ... Hot Stuff

* * * ... Good Job

* * ... Not Bad

* ... Never Mind

ART: PHOTO

CUTLINE: Diane Birch