There seems to be a resurgence of singer/songwriters in music today. Artists like Rufus Wainwright and Ryan Adams have introduced many willing audiences to this splendid genre of poetic musicians. These artists rely on the strength of both lyric and melody without the aid of theatrics and light shows. In a world of instant gratification, this pure dose of sound and art is tincture for the soul. Jeffrey Harrison has crafted a fine record with Venus Sessions. The albums first cut; "Down from the Moon" sounds like an indie track straight off WFUV's playlist (the publicly supported station in NYC that helped break artists such as John Mayer and Norah Jones). Here Harrison sounds like a mixture of early Neil Young and the Thorns. "Gwendolyn" showcases the artists' melodic abilities, and it's easy to imagine this song as a backdrop to an emotional scene in a hot television series (Brothers and Sisters perhaps). Harrison brings the energy up on "Venus of Astoria." He nails a hooky chorus and combines his rock roots with pop sensibilities. Venus Sessions is worth a listen for certain. If Jeffrey Harrison has his publishing together, there is little doubt you'll be hearing his songs somewhere soon. earbuzz.com

Jeffrey Harrison strips down pop-rock for his self-titled debut. The pop wizardry of Eric Clapton is felt with some blues-rock undertones not far behind. Two musicians that definitely should be mentioned anytime Harrison’s name comes are Tom Petty and Pete Yorn both of whom share his knack for good narrative, crafty pop hooks, and unique vocal styles. 
J-Sin - Smother Magazine (Mar 5, 2006) 


Jeffrey Harrison is a singer, songwriter and producer. Jeffrey also plays guitar and keys on his self-titled debut EP. Harrison has performed and recorded with a number of bands but decided recently to work on a solo project, which includes other able musicians. Jeffrey draws from a range of influences but his sound is reminiscent of classic Tom Petty. Harrison is a storyteller, writing psychological songs from a mostly narrative point of view. He sticks to a guitar driven, melodic rock format on all five of his colorful songs. 'In The Nude' is sexy with lively instrumentation building up to the chorus. 'Reason to Live' features subtle rhythms blending with expressive guitars and vocals. 'Midnight Train' melds a slide with countrified guitars as the song moves to the catchy hook and crafty leads. Jeffrey Harrison is a distinctive artist and his music is dramatic!
• Recommended Tracks: (1,2,5) 
Laura Turner Lynch - Kweevak.com Music Magazine (Mar 8, 2006) 


Jeffrey Harrison's music is guitar based rock/pop with a country tinge that reminds us of Petty and the Willburys. His songs are about longing and self discovery and his voice is an accessible tenor friend. His latest CD, "Jeffrey Harrison", is a 5-song EP that establishes his sound firmly and professionally. Background vocals are lush and full - and lyrics are pure poetry. In track 1, "In the Nude", Harrison writes, 'your looks are irrefutable but you're stoic as a mannequin'. "Reason to Live" has a Springsteen feel in a story about longing and depression. 'she's looking for a reason to live, waiting for a sign, and someone to hold onto'. Wonderful tune. Track 4, "Stranger to Myself", has Harrison touching on the country genre as he looks back on his life and realizes he's discovering who he is. The final track, "Midnight Train", paints a locomotive snare drum behind a Petty inspired approach - Harrison sings again of a woman in a similar loveless situation as in 'Reason', 'so she dreams of that midnight train, she dreams of a midnight getaway'. Tremendous pop/rock effort and we look forward to more.
Don Kimenker - earBuzz.com (Dec 22, 2005) 


Review of a CD by Jeffrey Harrison's previous band, The Shakes, in Westword's Best Music of 1997

The Shakes
(Shattered)

What The Shakes lacks in production value it more than makes up for in sheer catchiness. The act specializes in pop music sans the bombast, delivered with a warmth that's beyond most of today's Oasis clones. Because the presentation is so modest, some listeners may overlook the album's charms. But pay closer attention and you'll discover that there's a lot of merit in these grooves.
Michael Roberts - Westword's Best of 1997 (Jan 1, 1998)