“This album is a fairytale come to life. It is flawless in its simplicity and beauty, giving the listener a sense of peace and tranquility about life. 'Let Love Begin' will put anyone in the perfect mood for a romantic picnic with a loved one, knowing that there is nowhere else you'd rather be.”
     Ben Foley, DB Magazine review, 15.06.09


     "In an interview with Australian Music Online while promoting his 2002 solo album, It’s All About Love, Tim Oxley (of various bands, most notably The Dearhunters) recalled getting “way too high for recording anything but laughs and giggles”. Six years on, Oxley may present the single biggest missed opportunity to properly measure the long-term effects of marijuana on the brain. His collaboration with Jodi Phillis (of – ex pop-rockers The Clouds) is an album of treacly folk songs about love: being in love, sharing love with another, wishing others love, and the “love that is just around the bend, and it’s hesitating, – until you are its friend”. The result is so insipidly twee that even the makers of the Teletubbies wouldn’t use the songs for fear of patronising their audience.   
     If the health department wants to discourage teens from smoking weed, they should forego the TV ads about little Susie who’s too depressed to dance with the girls, or little Jimmy who can’t concentrate on his footy game. Instead, they should have teens listen to Oxley and Phillis harmonise throughout The Happy Song: “This is our happy song / It makes us smile and feel good inside / This is our happy song / Where the suns shines bright all day and night / There are no tears here / Just smiles and Christmas cheer / Oh, I’m glad this song is here.”
     The duo has more wisdom to share with the children of the world. On the jangly oom-pah of The Polkadots of Purpletown, about how the polkadots’ efforts to get along with the stripes weren’t reciprocated, and the polkadots had to seek refuge across the valley in Purpletown. And on the sweet lullaby Crazy Life, about how living out their childhood in a car “will be so much fun” when the nasty establishment won’t rent mummy a house.
     Take note, kids. The dangers of drugs are all too real."
    by a person named Mr Blue who doesn't have a clue what we're about, Faster Louder, 18th June, 2008

'Kitchen Songs' by Tim Oxley

"Tim Oxley was the last in the famed North Coast musical family to strike out on his own, but he is by no means the least. His pleasurable second album has moments of funkiness, stabs at bouncy guitar pop and even a Coldplay-like journey in ‘Radiate.’ He’s at his best in the quieter sections such as ‘Warm Night’, a gorgeously drifting mood piece that is equal parts Ry Cooder and Elliott Smith. That minor gem is languorously followed by ‘Where The World Goes Away, and the Smith homage ‘Elliott’, which is operatically touched and reggaefied. To get a country-folk stunner such as ‘Johnny And June’ after all that is like having Christmas two days in a row."
**** out of 5
Review By Bernard Zuel - Sydney Morning Herald

'For Lovers, Artists and Dreamers' by Jodi Phillis

"Jodi Phillis dreams radical dreams. She believes in living life as an artist no matter what job you do, and that taking care to do this will set you free. She's drawn on the writings of Bob Ellis and Henry Miller for her second solo album, and it's a batch of self-proclaiming yet fragile songs this time round. Recorded by partner Tim Oxley and J Walker in intimate acoustic mode, Phillis appears to have discarded any prior self-delusions and is intent on knuckling down to the heart of heartfelt matters. Is god a businessman? she asks on Greed Versus Humanity, the most despairing moment in which she ponders a place for those who feel at odds with consumerism, for those who desires are bigger than a big bank balance.
    There's a theme of displacement throughout the album, from strolling aimlessly through London and Sydney streets in search of kindred spirits, to trying to find a home in which to dream and create and survive. The few moments of grave melancholy are delivered with such striking self-exposure, it's hard not to feel uncomfortable. You've No Idea concerns single parent hardship, but Ivy's Song reconfirms Phillis' pledge to guard her child from relationship breakup. Elsewhere, there's plenty of talk and action about love. On White Beanie, a stretched-out, slowed down ragtime singalong, Phillis sings We fall in love every hour/And make love every three, like it's the only way to live. Her extraordinary vocals are given wide berth on The Pier, where she reminds us why the Clouds were so compelling ten years ago, as she comes to a near-shriek about finding enlightenment. True To Yourself warns that finding true love is not about becoming consumed by another, because true love loops back to that original idea of freedom and creativity. In the hands of a lesser artist, these sentiments might come across as self-righteous and precious, but Phillis surpasses all manner of poses to deliver an album that is lucid and disarming. In her willingness to cut to bare bones, she gives us an inkling of what grace can feel and sound like."  
Review By Elizabeth McCarthy - Beat Magazine