Here are some ONE & TWENTY press clips and online reviews

When Carol Thomas sings, you can sense the joy in her, and that joy (if you let it) can penetrate your soul (if you believe in it). It’s not that her work is not infused with melancholy and grief. On the contrary, songs like “Poor Ophelia” and “Keeping Quiet” are fiery retorts to the lament that accompanies silence and silencing on many levels and “Just You and Me” is really a deconstruction of the institution of love albeit one dressed up as a wedding song... It probably has something to do with the act of singing itself—that magical trick of breath and shine—and how we can’t take it for granted.” - Award-winning writer, musician, and educator Alan Semerdjian

Click here for the full review of 2019-10-18 Swing the Teapot performance

The world is small indeed. Check out the story behind this review/post by David Mills (Fellow DC homie and American writer on Homicide and Treme, amongst many other things) & on my BLOG. It's pretty amazing and sad, yet uplifting.”

David Mills - Undercover Black Man Blog

Article describing organizing for Ladyfest East 2001 - 09/01, and ONE & TWENTY's performance at the May 2001 benefit”


With its a cappella opener for "Beekman Place" One & Twenty grabs the listener's attention with deep soulful lyrics delivered with the rich beautiful voice of Carol Thomas. Poetic lyrics describing one's soulful search for life's meaning and need for human connection are complimented by equally good musical arrangements and fine musicianship.”

— Deborah Keith, GO GIRLS MUSIC

Carol Thomas has a bold and powerful voice, plays a solid rhythm guitar, and with her bandmates fires up a mix of rocking and introspective tunes. On "Bass Line," the guitar leads... positively sizzle as Thomas urgently advises a lover. And on the slower songs, like "Poor Orphelia," again it's the combination of lead guitar and vocals that are front and center and define the song...I'd hazard a comparison to Joan Armatrading, since both artists share a commitment to songwriting, crafting the musical and lyrical side intently. Here is a disc to savor, to be enveloped by, to fall into. Thanks to One & Twenty, the listener gets the feeling that the world's a better place.”

— Bill Ribas, NYROCK

PICK OF THE WEEK: How many times have you seen a black woman leading a kick-ass rock band? asks Carol Thomas of One & Twenty. Hmm...lemme think about that. Jazz? Sure. Blues? Uh-huh. Reggae? Of course. Rock? Um...probably never. She's right. It ain't that common. Thomas is the songwriter, lead singer, guitarist and driving force behind the New York City quartet whose groovy, funky, rockin' sounds have been her emotional emancipation since 1995. "It's the freedom to explore honest emotions and feel without distraction," she says. Thomas formed One & Twenty--whose name came from a poem about cynicism and love by A.E. Houseman--and they regularly played at the Rhinecliff Hotel, Tinker Street Cafe and Cabaloosas before branching out all over the northeast. Thomas, a finalist in the 1998 Lilith Fair Talent Search, has been accused of conjuring Grace Slick, Bessie Smith, Janis Joplin and Anne Wilson with her raging vocals. Teaming up with drummer Clyde Alford, bassist Jon Chazen and guitarist John Hickey, they recently released their debut CD, I Don't Remember Falling, describing it as honest, involving and relevant music with soul and conscience--which ain't that common in rock either... Give your ears a wakeup call, your minds some expansion and see Carol Thomas rock.”

— Sharon Nichols, @LMANAC, Woodstock Times (and 6 other area papers)

Lead singer/rhythm guitarist/songwriter Carol Thomas has a powerhouse voice which handles emotion, strength, and sensitivity with equal skill....With amazing songs, musicianship, and Carol Thomas' exceptional vocal talents, ONE & TWENTY is definitely a band to check out and watch their development.”


A cool 'Zine article on the LadyFests of 2001”

Grassroots Feminism Zine

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