Lord delivers songs with sincerity, talent

Mary Lou Lord sings as if her life depends on it.

The funny thing is, for a while, it did. Several years ago, singing and playing the acoustic guitar was Lord's livelihood in a much more literal sense than it is for most other professional musicians.

When she was a busker (a street performer) in Boston subway stations, Lord performed to impress -- and hopefully, at the end of the day, she'd walk away with enough change in her suitcase to survive for a few more weeks.

Three records and more than seven major-label contract offers later, Lord still emanates the same passion she personified on her first release.

What sets her apart from the typical MTV "chick with guitar" stereotype are three things -- her voice, her guitar and the fact that those are the only things she's ever had.

There's just something about her playing that transcends the melody (and the occasional rhythm she adds by banging and tapping the guitar) and demonstrates a passion and personal element more powerful and distinct than most voices ever convey. Even though she now receives national attention, she plays with the same desperation she relied on when she was performing for passing subway riders.

Although Martian Saints, Lord's new five-song E.P., is yet another release comprised mostly of cover songs, Lord sings and plays them in a way only she could and makes them her own.

Pete Droge's "Sunspot Stopwatch" is a beautiful song to begin with, but Lord adds an element of dichotomy to it that makes it intriguing. Her vocals combine innocence and experience, observation and introspection -- like a child who's just learned her first lesson.

And there's nothing cheap about reviving great forgotten songwriters such as Peter Laughner (of Pere Ubu fame), as Lord does on her interpretation of "Cinderella Backstreet."

Most of all, Lord's original songs may be few and far between, but they're always the best, most lively and unique tracks on the record.

Just listen to "Salem '76." Trust me.