"You're only as good as the company you keep. Annie Wells has always been a good 'un in any capacity I've seen her perform, and for her latest record, "Lonely Hearts Club," she's in excellent company. For this outing she has plugged in studio cats like the incomparable Phil Marshall (who also wrote four of the songs on the CD), Steve Frank, Ken Frank (the album's producer), and Chris Teal. Wells' voice is absolutely beautiful in this setting and is a study in constraint, and the band ably cops to the same M.O. It's pretty, but nobody gets particularly cute on the project. That helps this GFI-recorded platter in its own punch and power at any volume and in any key or mood. It's classic singer-songwriter fare taken to the next step by the veteran rockers found here. They aren't afraid to holster the heat and play pretty for those that want to dance with their soon-to-be-sweethearts. "Lonely Hearts Club" is pretty but not too flowery; it's got moxy and sand."

“Lonely Hearts Club is [a] tight, spare collection of tiny moments. Songs peering into the lives of people like Johnny, who “lives in a high-rise box in the sky, lots of beer bottles piled high, bedbugs walked away with his bed, he’s got no place to lay his head.” And the album cover is perfect: It’s Hitchcock’s Rear View Window, and we’re Jimmy Stewart, a voyeur peering through the window at Miss Lonely Hearts. The arrangements bring to mind Canadian chanteuse Holly Cole, on the edge of jazz and pop. Wells’ voice sometimes echoes Suzanne Vega, especially when she’s bringing the characters to life. And when you’re keeping things close to the bone, the accompanying cast has to be dead on. Drummer Chris Teal, bassist Ken Frank and Steve Frank’s occasional trombone are just that. And Phil Marshall is all over Lonely Hearts Club, writing or co-writing half the songs. There’s also a cover, with a gender switch, of “I’m N”

“Annie’s newest CD, released in 7/2009. 'Tell Me' CD is compilation of heartfelt stories… she does it so beautifully. "It's important when you're playing music and when you're writing music that it's coming from your heart." Perhaps Wells' finest moment is "Little Sparrow," a tribute to the waifish French chanteuse, Edith Piaf. ”

“[Her] piano accompaniment complements perfectly her reflective lyrics and expressive singing. She’s got a warm breathy delivery and she’s able to move easily from full deep notes to delicate ethereal highs. Her voice is amazing.””

“SAD AND BEAUTIFUL “On each of twelve songs, Annie Wells finds a new way to surprise her listeners. … Wells messes around with a piano with the same idiosyncratic confidence that [Bruce] Hornsby displays, and goes boldly beyond him in other ways, challenging the listeners to rethink the definition of a pop song.” ”

“SLEEPY TOWN “A collection of lullabies for all ages: Wells delivers 11 blissfully sleepy vignettes full of innocence and genuine sweetness as seen through the eyes of her nieces and nephews”. ”

“SOMETHING TO DREAM ABOUT “This time around, Wells goes for a bigger band driven sound that creates a point/counterpoint between vocals and music. This effort allows both to weave and blend beautifully”. ”