All Music
We are the lucky ones, your mother's daughters, your father's sons," Patrick Park sings in the early innings of his third studio album, Come What Will, and while those words are married to a minor-key melody that's sweet and dour at the same time, it somehow seems to fit just right. There's an undertow of quiet determination to Come What Will even in its frequent downbeat moments, and Park's songs point to a light at the end of the tunnel that may be faint but doesn't seem to be an oncoming train, either. A good share of the album's tone comes from Park's vocals; he's been blessed with an instrument that's bright but rich, and it carries his lyrics with a strength that belies its flexibility. The ten songs Park wrote for Come What Will further demonstrate he knows well what works for him, and the music strikes a graceful balance between the thoughtful end of indie rock and the introspection of the '70s singer/songwriter community; Park plays many of the instruments himself on Come What Will, and his guitar and banjo work is impressively nimble, while Matt Mayhall's precise drumming and the string accents from cellist April Guthrie and violinist Jennifer Furches add valuable punctuation to the arrangements (and the production and engineering by Dave Trumfio brings a sleek clarity to the material that steers clear of slickness). Park's meditations on the nature of love and fate don't tend to tell stories you've never heard before, but he gives them a twist that's very much his own, and he never sounds less than genuine and heartfelt on these songs. Everyone has fallen in love and had their heart broken; the real trick is bringing an individual perspective to this universal story, and Patrick Park does just that with skill and imagination on Come What Will.

— Mark Demming



Absolute Punk
Those of us that miss the ruminative musings of Ryan Adams should focus their collective attention on Colorado singer-songwriter Patrick Park. His fifth album Come What Will sounds so much like Adams in certain places, its downright eerie. But whereas most comparisons can detract from the music itself, this comparison is most assuredly a good thing. This kind of introspection was sorely lacking from the mainstream and thank God that Park has released this absolutely gorgeous disc.

From the lush, mid-tempo grandeur of "The Lucky Ones," to the melancholic meanderings of "You'll Get Over," Come What Will is one enduring gem. On the intimate 'Blackbird Through the Dark," he chases down an Adams-like moment while also channeling the sensitivity of Gordon Lightfoot. With deeply poetic lyrics, it's one of the album's early triumphs and inevitable proof that Park is undoubtedly an engaging and winning talent.

On the lightly rolling "You're Enough," he sounds as dusky as an Iowa sunset while on the gnomic title track he sounds playful albeit somewhat languorous. The disc's best composition is the David Mead-esque "Silence and Storm" an inspiring and sweetly affecting ode to overcoming adversity that deftly illustrates Park's subtle potency. He doesn't have to throw in a Wall of Sound or a cavalcade of studio musicians to accomplish his goal. Instead he puts his vision in the hands of a select few and the end result truly pays dividends.

Of the disc's final four offerings, Park contemplates hopeless romanticism on the tender "You Were Always the One," details his worries and fears on the organ-infused ballad "Starry Night," says goodbye to his former self on the gently rousing "Time Won't Wait," and muddles apprehension on quiet album closer "The Long Night." No one more powerful than the other, and none being any less than stellar.

Perhaps what's best about Come What Will is that Park seems to understand who he is as an artist. Whereas most outfits would chase down something ballsy and progressive, Park goes for something comfortable, timeless and deeply affecting. Come What Will is chock full of songs that resonate and smolder inside the psyche. Five albums into an oft-overlooked career, Park may have just written the album of his life.

— Gregory Robson

The California Aggie
The first time I heard "Something Pretty," I fell in love with Patrick Park's voice - infused as it is with soul, folk and lullaby. His soft vocals and gentle guitar riffs are probably the strongest aspects of his music, although the simplicity of the lyrics also adds to its appeal. Park sings with such calm passion and emotion that it's hard to resist feeling serene and carefree when you're done listening. His music doesn't sound like a reflection of his fumbling attempts at self-discovery, nor does it sound like Park is forcing a message or genre on anyone; he's just Patrick Park with a guitar and beautiful songs.
This new album delivers similar tracks to what I found in his prior ones; tracks about waiting, contentment and starry nights. The album ends with soothing lullaby track, "The Long Night" that may just help put you to sleep.

Give these tracks a listen: "The Long Night," "You're Enough"

For Fans of: Wilco, Richard Buckner



The Marquee Mag
Colorado native Patrick Park got a huge leg-up as a singer/songwriter. With a published poet as a mother and a folk and blues guitar playing father, Park is able to deliver deep songs that don’t get hung up on trite lyrics, or trite arrangements, for that matter.

Park has also been at it for some time, deciding at the age of 13 that this is what he would do with his life. With three EPs and two critically acclaimed full lengths under his belt, the now L.A.-based Park returned to the studio with producer Dave Trumflo (Built to Spill, Wilco) to create Come What Will. But not all the tunes were laid down in the studio, and one, in fact, was recorded at his home in the middle of the night in the same room where is girlfriend was asleep.

Park simply nails it on Come What Will and with it positions himself alongside of some of today’s great singer/songwriters. Let’s just hope he comes home to Colorado soon for a few gigs.

4 out of 5 stars

— Brian F. Johnson



Songs:Illinois
Patrick Park is a solid singer-songwriter with a slight folky bent. He’s more polished than the typical Songs:Illinois fair. He also has a great voice which is also not always the case on here. I tend to gravitate toward singer-songwriters who focus more on the song than the singing. Exceptions include folks like Rufus Wainwright, Josh Rouse and Ron Sexsmith. Add Patrick Park to that list.

Whale In A Cublicle
I’ve always said that if I could write and play music, I think it would come out sounding like Patrick Park.

Something about his music has always resonated with me. It feels personal and honest. A genuine singer-songwriter creating elegant and simple music that can swell to something complex and beautiful.

His newest album, Come What Will, is all of those things.

It sounds insulting to say, “Patrick Park is back with more of the same.” But those of you familiar with Patrick’s music will know this is not a bad thing. Patrick has craved out a nice little place for himself as an artist. He has a sound all his own and I wouldn’t be surprised to find his albums tucked away in the personal collections of some of my favorite artists.

Inner Ear Media
Those of you who read my reviews for Patrick Park’s previous albums will remember that I am a big fan of this singer/songwriter. And the funny thing is that I can’t really explain what it is exactly that makes me like his music so much. Obviously I am able to connect to it on a very personal and direct level and the folk/rock arrangements are very pleasant to the ear and make for great radio pop songs. This combined with Patrick’s clear and soothing vocals give you the idea that he’s speaking to you personally.

Not necessarily musically, but in the approach, Patrick Park reminds me a lot of earlier folk singers like Carole King, James Taylor, and even Bob Dylan in his earlier days. These people could deliver a song (and they still can!) to you with so much conviction and at the same time invest in it personally so that you not only believe the song but that it literally speaks to you. Patrick Park also possesses this quality. Apart from being an excellent songwriter he is also a superb performer. Musically one might put Park in the same strait as artists like Joseph Arthur or Tom McRae.

On his new album “Come What Will”, which will officially be released in April, Patrick Park treats us to 10 new songs. The personal feel and relatable lyrics are brought to life by Park’s passionate and soothing vocals. As a vocalist he has a good range and knows how to use it to get the maximal emotional response to his music. And with gems like You’ll Get Over, Blackbird Through The Dark, You’re Enough & Starry Night, Patrick Park shows he’s come together as an artist. “Come What Will” has the intimate and personal feel of his breakthrough record “Loneliness Knows My Name” yet also the pop appeal of his previous album “Everyone’s In Everyone”. It’s the perfect comfort zone for this groovy, laid-back and intriguing performer. It gives his songs a chance to shine and it showcases the great talent that is Patrick Park. His current fans will be very happy with this record and he is sure to win many, many more fans with this excellent new album!



Limewire Music Blog
The word ‘troubadour’ doesn’t get thrown around too much these days in the indie music world, but it’s a description that fits Patrick Park to a tee. The Colorado-born singer/songwriter has always kept his act fairly self-contained, touring the country and opening for the likes of Gomez, Beth Orton, and Liz Phair with just an acoustic guitar and harmonica to support him. With a voice like Park’s though, you don’t need much else getting in the way, and his third full-length record Come What Will serves as proof positive. Sweet and meditative and firmly couched in the folk tradition, the songs on Come What Will have a touch of melancholy to them, as on the album opener “You’ll Get Over” as well as the title track — but it’s not all finger-picking and heartache. Long-time collaborator and producer Dave Trumfio (Wilco, Built To Spill) gives the record a steady backbeat that keeps things buoyant under Park’s smooth and dexterous guitar work, especially in the heavy groove of “The Lucky Ones” and the rootsy shuffle of “Blackbird Through the Dark.” A touch of Patrick Park’s political bent comes through on the album closer “The Long Night,” easily the most modern track of the bunch. A beautifully layered hum serves as interlude between war-themed verses (”and blood for blood our dead / in hollow ground is laid” ), with the slightest touch of a scratchy electro beat lurking in the background, hinting at future possibilities for the world-weary troubadour.

StereoGum.com
NEW PATRICK PARK - "HERE WE ARE"
Tired of watching the final episode of The OC on repeat? Well, the FOX soap you stopped giving a shit about in '04 is long gone, but Patrick Park isn't. Remember "Life Is A Song," the smooth ditty that helped bring the show's four-year tenure to an emo-folk finale? Life is also a highway: Fast forward a few months and Park's but a few weeks away from his sophomore full-length Everyone's In Everyone. Fitting title for someone who made their name via a prime time teen soap, no? Okay, that's our last OC joke because, really, the first single "Here We Are" shows a marked upgrade and depth to the L.A.-based singer/songwriter's intensity, chops, and all-around skills.

Actually, the rambling three-minute meditation would make good sense for some desert-based moment of epiphany in a Wes Anderson flick (fitting, especially, if you remember Park's old promo pics during his Richie Tenenbaum phase). We kid, but the track's a great listen: check how this thing simmers into a low-level mountain-high dust spinner and oddly abridged denouement. Yup, dude's good at endings … dusty, elegant



Spin.com
The singer/songwriter gears up to drop sophomore album and perform bi-coastal residencies.

Los Angeles-based troubadour Patrick Park, the man behind the O.C.'s softly strummed death knell, has announced the release of Everyone's in Everyone, his sophomore album and follow up to Loneliness Knows My Name out Aug. 7 via Curb Appeal. The new album was recorded in Los Angeles and North Carolina with cast of renowned producers and mixers, including Dave Trumfio (Wilco), Rob Schnapf (Elliott Smith, Beck), David Bianco (Tom Petty), and Chris Stamey (Whiskeytown). Everyone's in Everyone will deliver tracks with titles like "Life is a Song," "Arrive Like a Whisper," and "Saint With a Fever," and not unlike another fan appeasing band, Park will deliver his new tracks and more to both Los Angeles and New York City with alternating coast-to-coast four night residencies in the cities' Spaceland and Living Room venues, respectively.



The Firenote
Everyone’s In Everyone is the long awaited sophomore album from singer/songwriter Patrick Park. It seems like forever ago since his critically well received Loneliness Knows My Name was released back in 2003 that basically was horribly promoted by his label and put him on the road opening for big bands in big venues with his guitar and harmonica. Sadly, retail success never came and Patrick dropped off the scene but time heals all and Park’s time was well spent creating Everyone’s In Everyone, which is truly enjoyable to listen to. The songs are not only well crafted but Park’s voice is in top form. His style of music is in the same category as a Ryan Adams, Elliott Smith or Pete Yorn because it just seems appropriate in so many different situations. His songs are about everyday events which can fit into a TV show, a movie or just simply the soundtrack for your own life. Patrick Park was shamefully put on the back burner with his first outing and now it is his time to shine because with one listen to Everyone’s In Everyone, you will discover what critics have known for four years – Park is a natural talent!

Key Tracks: "Here We Are", "Saint With A Fever", "Life Is A Song"



NY Daily News
Songwriter Patrick Park never saw a single episode of the soapy show "The O.C." before the series ended earlier this year. (The singer hasn't owned a television set in nearly a decade.)

So how did Park's "Life Is a Song" end up landing the sweet spot as the series' final musical number?

"The music supervisors just heard the song on my Myspace page and left a message," Park says. "That was pretty cool. Usually, all I get on there is spam for Viagra."

So far, the exposure hasn't resulted in the kind of "O.C."-driven boost that helped break bands like Death Cab for Cutie. But it deserves to. Operating under the radar, Park has written some of the most lyrically astute, and sonically sensitive, songs by a solo artist today. His debut CD, 2003's "Loneliness Knows My Name," threatened to give old-fashioned singer-songwriters a good name, providing a modern answer to early Jackson Browne.

This week Park issues his second CD, "Everyone's in Everyone," which kicks off with "Life Is a Song." The number epitomizes the album's main motif.
Here, and throughout the disk, Park ruminates on how our assumptions about ourselves doom us to repeat bad behavior and bar us from change. "It's time to let go of everything we used to know/ideas of strength and who we've been," he sings. "It's time to cut ties that won't ever free our minds/from the chains and shackles that they're in."

"Certain things happen to us in our lives and we identify those things as being part of us," Park explains. "But once they're gone there's no reality to them anymore. The past is a figment of our imagination. If you hold on to it too strongly, you can't see what's really around you."

That struggle came to obsess Park between his first and second CD. After his debut ran its course, he says he was "a complete mess."

While declining to go into specifics, Park offers: "There are a million ways to self-destruct and I feel like I've found a lot of those - whether that be sabotaging relationships, personal and professional, or substance abuse - trying to get away from whatever feeling I haven't been able to deal with."

The struggle to confront those emotions defines much of the new CD. Lyrically, Park does so in an uncommonly clear way. Unlike many pop scribes, who seem hell-bent on making their words as inaccessible as possible, Park pens vivid verse that's poetic, too. "The trick is to be clear without being too literal," he says. "I want people to know what I'm getting at."

Park learned some of that from his mother, a poet. "She taught me that there are a lot of ways to say something. You can make it more powerful by turning it on its head."

Park has written songs since he was an early teen growing up in Morrison, Colo. "The place was out of the way of a lot of things," he says. "So I didn't have a lot of outside influences."

His father, a doctor, played American folk and blues records around the house, which made a deep impression on Park. While he played in bands as a teenager, the singer says he never collaborated much with the other members. "I don't how much fun I was to play in a band with," he laughs. "I just wrote the songs on my own and then would take them to the other members."

In 1998, Park moved to New York to try to make it. But he lasted less than eight months. "[The city] pretty much kicked my a-," he says. "I was really young and didn't know anybody."

The singer retreated to Los Angeles, which felt a little more like Colorado. There he took jobs as a waiter, retail clerk and karate teacher (he's a black belt, incongruously enough). At the same time, Park self-produced a CD called "The Basement Tapes," which he sent to producer David Trumfio (Wilco, OK Go). He'd met Trumfio some time earlier in Denver. Impressed by the music, the producer cut an EP with Park, which led to a contract with Hollywood Records and his "Loneliness" debut.

The CD's title reflected the end of a bad relationship, as well as the death of Park's father (who'd been sickly for years). While the CD got great reviews, it didn't sell. Park became disillusioned with the company. "They had no idea what to do with me," he says. "They're a pop label, so they were always trying to fit a square peg in a round hole."

The new CD appears on the indie imprint Curb Appeal. While it continues the melancholy mood of the first, the music has a more spare beauty and its lyrics show a new precision.

Park's lyrical questioning of assumptions has more than a psychological resonance. There's a political angle too. Many of the songs muse on the rigid ideologies that led us to the Iraq war. "So many problems in the world have to do with us acting like there's truth in things that are really only opinions," he says.

Of course, it's threatening to question those things - especially on a personal level. But to Park it's necessary. "Sometimes the hardest thing to do is to admit you're not the person you always thought you were," he says. "But in the end, that's the only honest place change can come from."



AllMusic.com
The previous albums by Colorado-born, Los Angeles-based neo-folkie singer/songwriter Patrick Park have been promising but spotty, but coming nearly four years after 2003's Loneliness Knows My Name, the far more self-assured Everyone's in Everyone is a big step forward. Opening with the immediately engaging solo voice and guitar tune "Life Is a Song," Everyone's in Everyone moves from strength to strength. Highlights include the genuinely great "Here We Are," a propulsive country-rocker in the vintage '70s Laurel Canyon style that features a strong, memorable chorus, and the moodier, mysterious "Saint with a Fever," which mines territory closer to vintage Richard Thompson. There isn't a single duff track on this concise 11-song album, which seems destined to put Park alongside Josh Ritter and Josh Rouse in the top tier of American folk-rock singer/songwriters.



The Tripwire
Ten years ago, I would never have guessed that folk records would be in frequent rotation on my CD player. I'm not sure if it is a sign of getting older, or perhaps just musical maturity, but I've found myself obsessing over records from Sea Wolf, Tim Williams and now the sophomore effort from Patrick Park.

Everyone's In Everyone contains production work from some of the industry's finest, with Dave Trumfio (Wilco), Rob Schnapf (Beck, Elliott Smith) and Chris Stamey (Whiskeytown) all twiddling the knobs on various tracks throughout the album. With that kind of talent, it is pretty obvious that the album is going to sound amazing, and it does.

Patrick Park's debut, Loneliness Knows My Name, brought plenty of critical praise but remained under the radar. With Everyone, we'll hopefully see the singer/songwriter get more well deserved attention. He has already gotten some media bites from the opening track, "Life Is A Song," but we'll get to that later. "Time For Moving On" adds a nice bit of country twang a la Ryan Adams And The Cardinals. The jangly acoustic guitar and harmonica solos are backed by gentle waves of pedal steel, with Park's vocals remaining front and center.

The song that first really caught my attention was "Here We Are," which for some reason brings to mind taking a road trip across the desert as you head west towards California. The plucking of a banjo meets up at the chorus, giving this track a cool blend of Simon & Garfunkel and Elliott Smith. There is a timeless quality to his songwriting, as this one could have appeared on AM radio back in the '60s.

With other noteworthy tracks such as "Arrive Like A Whisper" and "Pawn Song," Patrick Park is able to encompass the better qualities of fellow musicians Joseph Arthur and Ron Sexsmith in a mighty strong collection of tunes. If you like gimmick free, well written Americana, don't miss out on Everyone's In Everyone. Oh yeah, his "Life Is A Song" was also the last song on the final episode of The OC, but we won't hold that against him. Ya gots to pay the bills, so we understand.

PE.com
Singer/songwriter Patrick Park just got tired of waiting around.

Park was embroiled in a years-long battle with Hollywood Records to allow his sophomore effort, "Everyone's In Everyone," to be released. The label had a finished record in its possession but for a variety of reasons was unwilling to release it or give Park the opportunity to release it elsewhere.

After years of haggling, he got the record back and got out of his contract. More than four years after his promising debut, "Loneliness Knows My Name," was issued, the 11-song follow-up set will see the light of day on Aug. 21 via indie imprint Curb Appeal.

"It was a complete fiasco ... a typical major label nightmare scenario," Park said over the phone from his Los Angeles home. "I actually had enough time to record more than 30 songs in between the records, so I just picked 11 that seemed like they went well together for this one."

Park claims he has enough material for a new release every few months, which is why the 11 numbers on "Everyone's In Everyone" are new to everyone except for their creator.

"I've already been playing some of these songs for quite a while, but a lot of people have not heard them, so I'll definitely being playing them live," he said. "But I'll also be playing some new stuff and some older stuff ... a good mix of everything."

Unlike his debut, which was rich in production and instrumentation, "Everyone's in Everyone" finds Park relying mainly on his guitar prowess and smooth voice for the bulk of the material.

He teamed with several producers and mixers including Dave Trumfio (Wilco), Rob Schnapf (Elliott Smith, Beck), David Bianco (Tom Petty) and Chris Stamey (Whiskeytown) on the project, but maintained a minimalist approach throughout.

"The last record was really my first time ever in a studio, and I kind of had the everything-but-the-kitchen-sink approach," he said. "I wanted to try all the things I was never able to do before, but this time I really wanted to focus on the songs."

The approach serves Park well. "Everyone's in Everyone," with its intricate guitar lines and sugary melodies, at times recalls the early work of Elliott Smith only with a much sunnier outlook.

The lead single, "Life Is A Song," which gained traction during an episode of "The O.C.," is a timeless acoustic gem that is both sentimental and contemplative. Another number, "Stay with Me Tomorrow," brings U2 to mind with a main riff that seems right out of the Edge's repertoire.

"I have so many different influences all around me that inspire me to write new songs, so hopefully, I won't have to wait another four years to put a new record out," Park said. "That gets frustrating."

Orlando Weekly
Thankfully, touring with My Morning Jacket and Grandaddy didn’t toughen up Patrick Park’s sound. The unhurried introspection of this Colorado-to-L.A. songwriter’s 2003 debut, Loneliness Knows My Name, is maintained throughout his subsequent release, Everyone’s in Everyone. That consistency is notable, since Park had multiple producers on board, from the dBs’ Chris Stamey (a natural fit) to Rob Schnapf, who doesn’t pull out the shuffling rhythms that marred his efforts with Elliot Smith and Beck. Instead, the emphasis is on Park’s pristine songwriting, an approach that is so gimmick-free it threatens to pass by without notice. Park doesn’t resort to shocking pronouncements or glitzy novelties; he settles for a workman-like acoustic-electric guitar approach that succeeds because the songs are that good. The unpretentious elemental grace and pathos of “Stay With Me Tomorrow,” “Nothing’s Lost,” “Pawn Song” and “Saint With a Fever” should turn a few heads, for those who still have the energy to spot a quality song.

Treble Zine
Los Angeles based troubadour Patrick Park has a special knack for evoking the strongest of feelings and capturing the most poignant of moments within the constraints of a three-minute acoustic folk-pop song. The barer the arrangement, the better—while his debut full-length Loneliness Knows My Name was an impressive set of songs, hearing his soft baritone live, accompanied only by a lone acoustic guitar, can provide an experience that no amount of studio magic or orchestration can duplicate. Not to mention I'm still upset about the steel drums added to the album version of "Home For Now." Nonetheless, his recorded output to this point has been nothing short of beautifully heartbreaking, and I, for one, have been anxiously awaiting his next move.

Turns out his next move was a pretty darned big one, having his song "Life is a Song" play over the last moments of The O.C.'s finale. I didn't watch it, but apparently seven million others did, which could have Park starting off on the right foot with his second album Everyone's In Everyone. Whereas Loneliness Knows My Name had its share of bombast and grandly building crescendos, not to mention rocking numbers like "Honest Skrew" and "Sons of Guns," this new effort is a bit more subdued, opting for sparser arrangements and more hushed tones, both of which suit Park wonderfully.

That now famous O.C. closer "Life is a Song" opens the record softly and melancholically, asking the question "tell me why you live like you're afraid to die/ you die like you're afraid to go?" From there, Park and associates add a bit more instrumentation on the gorgeous lap steel-laden "Time For Moving On," an early highlight with a feel that recalls the Laurel Canyon scene of the '70s, a sound that soon comes to color much of the other songs on the album. "Here We Are" rides a wave of shuffling guitar plucks, reminiscent of Harry Nilsson's "Everybody's Talking." In this song, he seems to question people's own self-absorption, or perhaps even the mopey singer-songwriter image, with his catchy chorus of "we can't see past our own sad stories and wonder what we're missing,"before a stunningly harmonized bridge.

There's a dusty country vibe on "Arrive Like a Whisper," as well as the highlight "Nothing's Lost," which recalls early Elliott Smith, given better production values. With "Pawn Song," Park finally escalates into a louder, rock sound, and here's where I contradict myself, it's among the best tracks on the album. Granted, he does a supreme job with just his acoustic, but here, the tension builds so slowly with such subtle tones that its climax seems to pay off that much stronger. By now, Park's got his approach down, finding the right balance of subtlety and directness to make each of his songs strike just the right chord. On, Everyone's In Everyone, Park sounds more comfortable and commanding than ever.

New Music Nation
Sound: Patrick’s gentle and highly hummable vocals caress your eardrums, uplift your soul and distract you from his cynical and wounded lyrics. Various combinations of acoustic guitar, harmonica, pedal steel and the occasional piano or electric guitar guide you through his folk rock, alt country and even a fuzzy, anti-war indie rocker.

Heavy Rotation tracks: “Here We Are” (Top 20 Songs of 2007 Candidate); “Pawn Song”; “Saint With A Fever”

Medium Rotation tracks: “Time For Moving On”; “Life Is A Song”; “Arrive Like A Whisper”

Recommended: Thanks to a steady rhythmic pulse, great melodies and brevity, Everyone’s In Everyone showcases the kind of mellower music that never drags or gets bogged down in its earnestness and beauty. It’s hard to find an unlikable track on this little gem of an album.
Grade: A- (Top 20 Albums of 2007 Candidate)

Any Given Tuesday
Newly released on Curb Appeal Records, Patrick Park's Everyone's in Everyone is full of somber emotion in the timbre of Park's voice, but also thrives on bright guitar tones and the occasional piano. You know how they say as one life ends, a new life begins? Well, in the world of insightful-man-with-guitar, this saying works. Jeff Buckley may no longer be with us, but Patrick Park rises like a phoenix from the ashes and carries on. Dare I say it, but "Stay With Me Tomorrow" takes me to a place where I can almost think I'm listening to a discontented James Taylor, as Park's unadorned, yet passionately pleading, voice runs 3:35 over 12 strings and a Hammond organ.

Everyone's In Everyone takes a focal shift away from the introspective and purging LP Loneliness Knows My Name, decidedly standing up and getting on with things rather than continuing to dwell on "Time For Moving On", outwardly criticizing the brutality and violence of war on "Pawn's Song", and exploring the interconnectivity of mankind on the title track, "Everyone's In Everyone". Beyond the audible brilliance of Patrick Park's voice, he blends both acoustic and electric guitars to near perfection.

Everyone's In Everyone demands you to step outside ourselves ("Here We Are") and really think about what it is to be alive in the world we live in. I, for one, am glad to have Patrick Park's music to listen to while I do it.

Patrick Park plays tomorrow and Wednesday night at The 8x10, supporting Grace Potter & The Nocturnals (read a review of This Is Somewhere).