It’s all whistles and la’s as title track “Wrong” is playing. “I could be so wrong, I could be so wrong, I could be so wrong” tediously chants the Massachusetts boy, to his acoustic/ surf/ folk, or as he calls it, indie/ acoustic/ rock. Its Jason Mraz meets Jack Johnson.

‘She’s Gone’ is a similar number, but slower, with medicinally harmonic “oohh-ohhh-ohh’s” in the background. There’s nothing that sounds out in the music. No outstanding lyrics, no magically formulated melodies and harmonies, or phenomenal Hendrix/ Moon/ Armstrong instrumentals. It’s just songs, like a Victoria sponge without the filling- edible but not enjoyable.

The songs seem to go in one ear and out the other, there is a flow between each one, all similar but each with a slightly different pattern and marginally changing lyrics. “It’s only love, it’s only love love love” sings Taylor, with the same relaxed tone and smooth vocals that appear on Every. Other. Song.

‘Dangerous Girl’ starts of with a darker and bluesier bassline, meet with some soulful melodies introducing the vocals. This could well be the best track on the album. Taylor has stepped into a musical world of r’n’b, blues, soul and pop. It’s obvious that this would be a more successful sound for him to grasp and keep hold of. The deep garagey bass, more listenable with a cheeky groove as he sings “don’t be afraid of the night, right?” The lyrics are a little cheesy but so what, it’s a song that stands out and on this album, and cheese is one of the smaller problems.

After 'Dangerous Girl' is ‘Something for nothing’ and the desire to fast forward is nearly uncontrollable. It’s more wet-weekend in Margate than sunny week in LA.

Track 7 ‘Wilderness’ is a little more exciting, like ‘Dangerous Girl’. It’s got a cheesy electric beat at the bottom like the best of UK Garage. Almost like it has been ripped from Genuine’s ‘Pony’…which would be preferable right now. After all, who doesn’t want a trip down UK Garage memory lane now and again? In fact, get a cab in Shoreditch any evening and 3 out of 4 cab drivers WILL be listening to Genuine, Mark Morrison or MJ Cole.

The rest of the album goes on, so forth, with less of the Garage and more of the overcast moroseness. The continuity of the album is good; all the songs suit each other. They blend in, in a linear fashion- a comfortable jigsaw of songs. The last track, a piano ballad called ‘After It’s over’ sounds like a typical album- closing tune. It’s sweet.

Benjamin Taylor is the son of James_Taylor and Carly_Simon. Which is why there is a wave of disappointment after hearing ‘The Legend of Kung Folk’. Two amazing musicians creating a musical child and after 2 previous albums and an EP, you would’ve thought the standard of music could be stronger. With an album name like that, could there not of been more of a kick to the folk? After all, if you cross a martial art with a widely appreciated musical genre, it’s got to pack a meaty punch. Alas! Maybe next time…