D. Trevor Kampmann,
Mark & Megan Walker,
Einstein's a Go-Go,
Paul Fischer at Better Looking Records,
Hrishikesh Hirway at Translucence,
Steve Frank at Planting Seeds Records,
Andrew Bowman at Alone Records,
The Shedd Family,
The Tritten Family,
The McSheehy Family,
The Biastre Family,
The Dudley/McQuaid Family,
The Tauch Family,
The Carter Family,
Brighton McCall Carter,
Pavement, for making Richard's life better,
and last but not least, the fans!"
"If you are the type of person that periodically goes through bouts of having had as much as you're ever going to take of singer/songwriter musicians, this is exactly the type of artist that brings you back into the fold. Slight melodies and a standard guitar/bass/drums/vocals setup are the backdrop for Shedd's touching, emotive delivery. Wistful sorrow, subdued hurtfulness and post-melancholic assertion are the tricks of Shedd's trade, and she's not exactly pushing the boundaries of the ode to love lost. But like Lois Maffeo, Shedd has a knack for the assured, confident delivery that is bound by an unavoidable resonance of emotional pain. Also much like Maffeo, Tracy Shedd's idiosyncratic take on the basics of soul-baring folk-rock renders fresh a format that rests solely upon the emotive capabilities of the performer. This is occasionally heartbreaking stuff, and Red is a fine compromise between subtly catchy guitar leads and tender, fragile vocals. The emotional weight of Red, which might otherwise threaten to be overbearing, is continually alleviated at just the right points. Following 2001's Blue, this record sees Shedd Moving toward more complex compositions, most notably for the fact that she utilizes a full band here, as opposed to taking on guitar/vocal/keyboard duties by herself on the former release. Red works surprisingly well with a variety of listener's moods, complimenting happiness with sweet tenderness and sorrow with reconciled grief."
- Cory O'Malley, LA Alternative Weekly
"Red, Tracy Shedd's second album, is a surprisingly wonderful little album. Though her previous album, Blue, was a slice of sad-eyed folk songs, Red is a bit of a different record. Where the songs on Blue were spartian and threadbare, there's a warmth to the songs on Red that cannot be denied. Instead of making songs that were, ahem, blue, her latest collection of songs are not necessarily any happier than her first set, but there's a warmth to them that was missing the first time around. Red's newfound warmth has a lot to do with her accompaniment. Backed up by a pretty rocking duo of Cash Carter (great name!) and bassist Richard Dudley, this trio makes a racket that's very much reminsicent of another great, famous Teenbeat trio--Unrest. (It doesn't hurt that Unrest mastermind Mark Robinson produced Red, either.) Indeed, the jingle-jangle nature of Red is less indebted to the folk world than it is to the sounds of mid-eighties to early-ninties indiepop. If you get the feeling Red sounds like a culmulation of all the things that defined Teenbeat Records, you're not alone. It would be easy to trainspot the influences and nuances of her labelmates, but that would be too easy. After all, it's never been a big secret that Robinson's partial to bands whose sounds are indebted to the label; you could say that Aden, True Love Always and the various post-Versus projects owe a certain debt to the label 'sound', and if such is the case, then yes, Shedd is simply following suit and is keeping the 'Teenbeat Sound' alive. But might I add that such a sound is not a bad thing? From the sad-eyed "End of Spring" to the hopeful pop of "I Wish We Were Still Friends" and "Somersault," Red is never less than lovely and charming. The only flaw with this, though, is that occasionally the album tends to get a bit of a one-sided sound that's unavoidable. Still, I'm not suggesting that you write Red off; instead, you should simply approach it as it is meant to be approached--a great little album of indie-pop folk rock that never once lets its guard down."
- Joseph Kyle, Mundane Sounds
(translated from the French)