My all time favorite is Hands off by Patrick Redford. It's fairly easy to do and really gets close to the Berglas effect in my opinion.
I perform this routine often; it does take practice but its impromptu and packs a punch. There are three phases and each one is a little better than the prior one.
You need to spread the deck face up after the card is named, so to some that would be a drawback. I personally don't think this takes away from the reactions. Plus, if you perform a lot in one night (i.e., walk around) then you can do this with your regular deck.
I give it a very high recommendation because it is something I use all the time.
Chris
That is the problem I am having with the routine I am practicing. I have to spread the cards face up as I have the spectator name their card. I always practice on my wife because her feedback is brutally honest. When I started the routine she yelled "YOU'RE LOOKING AT THE CARDS!" I never even got to do the effect because, in her view, as soon as someone knows I am looking at the cards then the trick is ruined, no matter how good the ultimate effect would be. So, any advice for how to cover this move, some reason I should be looking at them at the start? She said my line about making sure we had a full deck was B.S. Frustrating to say the least.
Check out this innovative ACAAN out where it's not all about cards, but it incorporates music and the spectator's cellphone. It plays great on stage as well.
ASAAC (Any Song At Any Card) by John O'Toole
They load an unknown song on their phone. They then randomly select any card (Free choice). When the song is played on their phone, it's all about one card. Incredibly the song's card matches the selected card. No forcing. An
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