This wasn't my introduction to Gemma Hayes - her follow-up to "Night On My Side" ("The Roads Don't Love You") was, and whilst that was something of an eye-opener for me a few years ago, I wish I'd known about this little gem when it was released back in 2002. As far as I am aware, most of the material on this, her full length debut, unfortunately managed to sneak under most people's radar due to it having very little airplay (she's never broken into the Top 40 but then again that's no yardstick re quality) - if I had heard any of the tracks from it at the time, I would have immediately gone out and bought it. You may infer from the above comments that I'm quite a fan of Gemma Hayes and this album in particular - so if I tell you that track 3 ("Back Of My Hand") is probably my favourite song of all time (so far), it won't come as so much of a surprise.

So who is this girl who managed single-handedly to bowl me over with her voice and a guitar? She's in her late twenties, Irish (from a small village near Tipperary - indeed, the ancestral home of former US President Ronald Reagan) and dropped out of university early on to follow her instincts that told her a career in music was more worthwhile. Apart from the releases already mentioned, her third album is due out shortly - and eagerly anticipated by this writer at least - and she also came out with a couple of EPs ("4.35am" and "Work To A Calm") before "Night On My Side" was brought out. Indeed, on the special edition of this particular album, some of the tracks from these two EPs are included. It may therefore be worth searching out this second version if you're interested enough in hearing a little more from this largely unsung yet extremely talented singer-songwriter.

The original version of "Night On My Side" lists 12 tracks (with a further two 'hidden' tracks), and that is the CD I am reviewing here.

1. Day One
2. Hanging Around
3. Back Of My Hand
4. Over & Over
5. Let A Good Thing Go
6. Ran For Miles
7. What A Day
8. Tear In My Side
9. I Wanna Stay
(*hidden track "Dartmouth Square")
10. Lucky One (Bird Of Cassadaga)
11. My God
12. Night On My Side
(*hidden track "Pieces of Glass")

"Day One" is a bit of a curiosity piece - it lasts just short of two minutes long yet bridges the gap between her folk roots and the much more rock-orientated sound that she'd cultured for this album. There's only the tiniest hint of how good she is with a guitar whilst her vocals shine straight away - almost fragile at the beginning, though never wavering and getting stronger as the song nears its end.

"Hanging Around" was the first track that immediately hit me - grabbed me around the throat more like. It hits the ground running straight out of the blocks, wave after wave crashing around your ears, her sublime guitar almost taking on a persona of its own, almost providing backing vocals to Gemma's strong and confident vocals. Get to the second half and there's a treat in store when she alternates the acoustics and ratchets up the tempo to an explosive climax. Arguably the most radio-friendly track on the CD, I practically played this track at least once a day for an entire month or more after buying the album. Check it out on Youtube if you feel inclined - whilst I can't guarantee you'll enjoy it as much as I do, even if you like it half as much will make it a winner....

So to what I billed above as 'my favourite track of all time (so far)' - the totally sublime "Back Of My Hand". Gemma's folk roots are entwined with a more pop-conscious sound here, but the finished product is so beautifully sung and arranged that I can't begin to think of another track that has resonated with me as much as this one has. With a bass line that in places almost sounds as though it was performed by Hooky from New Order (you'll recognise it when you hear it!), it's complemented perfectly by her gorgeous voice here - almost a drawl with a rocky core that should by rights belong to some mid-Western singer rather than a young lass from Ireland. Whilst in the end it is as (and probably more) radio-friendly than "Hanging Around", and a typical story of unrequited love, it's definitely more intimate and personal - almost like she's delivering her words directly to you. I've heard of people at gigs having 'moments' with the artist where the latter seems to be looking right at them - well, this track seems to be the CD equivalent. Did I say I liked it? (It's on Youtube as well - if you only ever hear one Gemma Hayes track, make sure it's this one.)

Just when you think you've got Gemma Hayes nailed as far as predicting what she's going to come out with, she hits you between the eyes with "Over & Over" - a much more relaxed, acoustic and folksy piece that doesn't try to win friends by sounding as though it belongs on the radio. Slowed down virtually to a crawl, her vocals take on a completely different aspect - becoming an instrument of their own with previously unheard or recognised depths and nuances that only a ballad could bring to the fore.

Once you're comfortable with the more mellow sound she's capable of, Gemma then completely outfoxes you once more with "Let A Good Thing Go". To say there's a lot of energy being spent here is something of an understatement, at least where the guitar is concerned - but she's content to let that do the hard work whilst her voice almost remains calm in a frenzied sea of jangling rock. Again, this is on Youtube if you want to check it out.

Time for a change of pace again with "Ran For Miles", very similar to "Over & Over" in pace and tone, but with a vulnerability that is palpable both in the vocals and the arrangement. Beautiful - there's no chance this was made with commercial gain in mind, but when it's this good, you can almost be happy that hardly anyone's heard it before - you have it all to yourself.

"What A Day" starts off quietly with an almost introspective intro, her virtually spoken vocals leading into a rather unexpected yet exquisite flute break. A fairly short yet very sweet track - and another example how Gemma somehow manages to add layers to a song each time you hear it.

There's definitely a heavier edge to "Tear In My Side", which could be described almost as a dirge given a rocky coating - whilst some might get annoyed with the repeated lyrics (mostly the title over and over again), they're missing the point here. The line is sung plenty of times, yes, but in different ways as the song progresses and it is parceled up with some wonderfully peculiar accordion and snatches of backing vocal.

"I Wanna Stay" is just lovely - we're back to the softly delivered vocals and acoustic guitar, together with gentle waves of accompaniment by drum and electronic guitar flowing through the track. This is another example of how Gemma manages to make a simple song so intimate and beautiful, even when the tempo and tone is stretched towards the end. Tacked onto the end of this is the first of the two 'hidden' tracks - "Dartmouth Square", which is a short instrumental piece complete with children's voices providing the backing.

"Lucky One" remains an enigma - initially it's another slow burner in the mould of "Ran For Miles" but all the while you detect a gathering in momentum in the background, her gentle vocals seemingly unaware of the approaching storm. Once the guitar-wrenching chords and speaker-destroying notes erupt from virtually nowhere, however, you're placed firmly in unknown territory for Gemma Hayes, and she's fooled you again.

"My God" is a much more conventional piece, a wonderful slice of acoustic guitar and Gemma's gorgeous voice providing virtually all that is required here. Sounding more like someone signed to an Americana label, she gives ample evidence that musical laments are part of her repertoire too. Whilst on the surface this particular track may not seem to register too much, I've found myself mentally summoning it up on occasions - so there's definitely something about it....

The title track is saved for (almost) last - "Night On My Side" providing an upbeat if slightly laconic ending to her debut album. The lazy drums and guitar create a hazy atmosphere in keeping with her uplifted vocals that fade into nothingness - at least for the following twenty seconds before "Pieces Of Glass" slides into consciousness. Included as the last track on the CD single of "Let A Good Thing Go", it's another slow-burning, introspective ballad.

"Hanging Around" and "Let A Good Thing Go" were all released as singles (reaching 62 and 54 respectively). Well, that's the single-buying public for you - but then I've never let chart success dictate my musical tastes or what I should buy.

Whilst the inlay doesn't provide lyrics for the tracks, they are available on the Internet.

I can't really praise Gemma Hayes enough - her songs have always managed to touch a nerve or two inside me. Whether it's her vocals, the arrangements or the lyrics (or a combination of all three), I don't know, and on reflection I don't really think I want to know, in case it spoils the magic. Suffice it to say that she's largely unknown, undiscovered and unfettered by outside influences - her music remains steadfastly her own and she manages to blend her folksy roots with an 'alt-rock' sound that together, easily worms its way into you. Clearly I'm biased here - but I can't imagine anyone not hearing "Back Of My Hand" and then deciding to dismiss her completely.

I don't often give out 'Flawless' as a mark but I'm prepared to here.

Oh, and it's an added bonus that she's absolutely gorgeous, too! :)