The perfect summer is epitomized by long, lazy days filled with nothing particularly important. Summer albums are the same, capturing the carefree mood of a day at the beach, with nothing particularly important. In this sense, Eliza Doolittle presents the quintessential summer album for 2010.

Born Eliza Sophie Caird, the 22-year-old English newcomer released her debut album this July. The self-titled– or rather stage name-titled– album is as fleeting as an ice cream cone. Lasting barely 42 minutes over thirteen tracks, the singer/songwriter sets out to prove her talent and originality with some success.

Doolittle’s voice is certainly a force to be reckoned with. She effortlessly glides through the high notes, while her lower register reveals the sultriness of a mature voice.

However, there are moments throughout the album where this power is lost. Unfortunately for Doolittle, the album opens with one such song. ‘Moneybox’ praises life’s little pleasures, but the melody has such heavy, repetitive instrumentation that her voice is nearly drowned out in the first few minutes. Luckily, on ‘Rollerblades,’ Doolittle finds her voice, or manages to tame the studio’s apparent desire to overproduce her sound. The result is a simple, optimistic tune with a sweet melody.

Eliza Doolittle is a little quirky. She likes to whistle and tweet. It’s cute. Ms. Doolittle wants us to know that she’s really original – not so cute. It’s a little hard to swallow her message on ‘Smokey Room,’ when she sarcastically croons, ‘that’s so original,’ since this up-and-comer hasn’t quite left an individual mark on the music scene just yet. Also disappointing is the admittedly catchy 'Skinny Genes' when the young lady sings not-so-subtly about liking a boy for purely carnal reasons. Surely a songwriter (or team of songwriters) with such originality can find something else to chirp about to her young audience?

The highlight of the album is the already hit single ‘Pack Up.’ Sampling a famous WWI British morale-boosting tune and with the vocal assistance of gospel singer Lloyd Wade, Doolittle lets loose in this exceedingly happy tune about not letting the nay-sayers get you down. The song is perky, Doolittle’s voice is soulful, and the honky-tonk piano riff has us hooked.

Though a few of the tracks on the album are throwaway songs, the collection works well as an-ever-so-slightly off-beat girly pop listen of catchy tunes. However, for Miss Doolittle to leave her mark beyond the summertime, we’re going to need her to really belt it out a little more often. We also hope a second effort will include a few tracks for which she alone has writing credits.