What separates
Rufus Wainwright and the other second-generation singers who sprang up at the same time (
Sean Lennon,
Emma Townshend, and
Chris Stills the most notable among them) is that
Wainwright deserves to be heard regardless of his family tree; in fact, the issue of his parentage is ultimately as immaterial as that of his sexuality -- this self-titled debut cares little for the rock clichés of an earlier generation, instead heralding the arrival of a unique and compelling voice steeped most solidly in the traditions of cabaret. Like his folks,
Loudon Wainwright III and
Kate McGarrigle, he's a superb songwriter, with a knack for elegantly rolling piano melodies and poignantly romantic lyrics; while the appearance of
Van Dyke Parks and his trademark orchestral arrangements hints at an affinity for the pop classicism of
Brian Wilson or
Randy Newman, the vocals come straight out of opera, and although
Wainwright is unlikely to be starring in La Boheme anytime soon, he conveys the kind of honest emotion sorely lacking in the ironic posing of many of his contemporaries. Maybe the kids are alright after all. ~ Jason Ankeny