Lee’s Listening Stack: Sixteen Sound Ways to Start off the Summer

Tom Freund
Two Moons
(Surf Road Records)

Tom Freund is a gifted singer-songwriter who makes albums of exceptional merit, each a master work deserving of widespread recognition. Sadly, Freund is yet to achieve the kudos that match his work ethic; but, happily, that doesn’t stop him from trying. On his latest album, Two Moons, Freund creates a happy/sad dichotomy that matches the ying/yang suggested in the title. From the weary sprawl of opening track, “Angel Eyes,” to the wistful reflection of “Mind Of Your Own” and “Happy Days Lunch Box,” the latter of which name checks the familiar characters from the show of the same name and ties the premise to his a back story of his own, Freund finds himself immersed in a tangle of emotions, all of which he expresses eloquently and without remorse. “I’m basically hooked on this life/It’s got a lot of problems/But it treats me real right/And you don’t have to agree with me/but let me fly my freak flag,” he declares on “Let Me Be Who I Wanna Be.” On the other hand, “Heavy Balloon” finds him ruminating on impending doom, a fate he seems to accept without hesitation. “Next Time Around” and “Same Old Shit Different Day” have him acknowledging a certain looniness as an essential additive of everyday routine, but accepting it nonchalantly if somewhat bemusingly. All in all, Two Moons comes across as a convincing parable on life’s contradictions, a premise that’s baffling, beguiling and another stunning example of Freund at his finest. (www.tomfreund.com)

Shoebox Letters
Honest Truth
(independent)

Shoebox Letters have established a tidy little enterprise over the course of their six albums, a quality-guaranteed trajectory that encapsulates country rock, Americana and bluegrass in the form of a collective with a steady sway and unblinking devotion to craft. This latest effort continues in that same spirit, but also ups the ante in terms of song craft and delivery. There are numerous talents at work here, with no less than four vocalists contributing to the mix and a veritable arsenal of back porch instrumentation. The songs are striking — “Another Heartache,” “Honest Truth” and “Desperate Days” among the many — and chief songwriter and cheerleader Dennis Winslow deserves to be commended for his determination to steer Shoebox Letters towards greater glories. It’s not easy being an indie band these days (Has it ever been though?) but Shoebox Letters clearly possesses the verve and vitality needed for the big breakthrough that will hopefully come their way. Music this memorable deserves to be heard. (www.shoeboxlettersrock.com)

Sam Morrow
Ephemeral
(Forty Below Records)

A young but promising newcomer, Sam Morrow has crafted a sterling debut LP that offers ready comparisons to the inspiring melancholia of Bruce Springsteen’s Nebraska, Steve Earle’s Train a Coming and Jason Isbell’s more recent Southeastern. Nevertheless, a similar sound aside, Morrow is a singular presence, an artist who can turn a slow moan into a song that’s truly compelling. Admittedly, most of these offerings tend to be of the mournful variety and given to a lowered gaze, but happily, that doesn’t detract from the emotional infusion and adept arrangements that are plied here so skilfully. So too, the songs that offer added intensity – “Sure Thing” and “14” in particular – practically soar with sentiment, making them both memorable and mesmerising as well. Ephemeral is a relative term, but be assured – there’s nothing fleeting or transient about Morrow’s music. He’s clearly positioned to make a lingering impression. (www.sammorrowmusic.com)

Matt Woods
With Love From Brushy Mountain
(Lonely One Records)

With tattered vocals that detail an evocative array of hard luck stories, Knoxville Tennessee’s  most intrepid troubadour, Matt Woods, often seems far more wizened than his years. Then again, given the fact his tireless touring schedule has taken him to practically every bar, back room and road house from the Smokeys to the Rockies, that knowing perspective seems to come naturally. Taking its title from a now-shuttered penitentiary, With Love From Brushy Mountain makes for a rugged travelogue, mostly drawn from a first person perspective. Yet despite the rough edges and   an often insurgent attitude, Woods’ sentimental side is never far from the surface. His love of home is evident — while recalling the trying times detailed in “West Texas Wind” or contemplating the end of yet another far journey in “80 Miles An Hour.” Remarkably, all these self-composed tunes sound like standards, and Woods’ clear appreciation for the likes of Townes Van Zandt, Guy Clark and Rodney Crowell echoes through each of these offerings from first note to last. Like Jason Isbell, another son of the South who bears a tenacious tone, Woods is in the vanguard of a country music’s feisty new generation. And in With Love From Brushy Mountain, he’s helping set the standard. (www.therealmattwoods.com)

The Piedmont Brothers
Back to the Country
(independent) 

A cross continental combine — mainstays Marco Zanzi and Ron Martin hail from opposite sides of the world — the Piedmont Brothers find common ground in the fact that Zanzi is a native of the Piedmont region of Italy and Martin, piedmont North Carolina. It’s an unusual juxtaposition, but it serves far more than providing a convenient handle. All those involve owe their allegiance to the sound of classic country rock, that once proffered by Poco and the Flying Burrito Brothers in particular. Their devotion doesn’t end there though; aside from the fact that each of their albums take flight from the sounds of a ‘70s-style alt country crossover, they also offer employment possibilities to the original architects of the era, Richie Furay, Rick Roberts and Herb Pedersen included. Furay himself makes a distinctive cameo here, singing lead on his own composition “And Settlin’ Down,” a slab of pure Poco confection, while former Burrito Brother Roberts apparently came out of retirement to lend lead vocals to “The Road,” which follows a renewed take on his song “In My Own Small Way.” All in all, it’s an ideal mix, the kind found on their earlier albums, and evidence enough that the Piedmonts are revivalists who mix reverence and relevance in equal measure.(www.piedmontbrothersband.com

Luke Elliot
Provisions
(independent)

An outstanding follow-up to a superb debut, Provisions offers further proof that Luke Elliot is destined to be a force to be reckoned with, and soon. Elliot possesses obvious ability when it comes to varying tone and temperament, as he proves so adeptly when he shifts from the rapid fire tempo of opener “Benny’s A Bum” to the swaying rhythms of “To Feel Your Love” and then back again for “Virginia.” Incidentally, the aforementioned “To Feel Your Love” is not the Dylan song of the same name, even though Elliot shows he can emulate the Master’s art of imagery ever so succinctly, especially with the like-minded “Virginia” and the dark and mysterious rumination of “I Get It Anyhow.” Elliot’s melodies are often probing and austere, but they never remain at arms length; the seesaw “Ballad of a Priest,” for example, expresses an upward glance and hopeful desire, making it an astute blend of suggestion and seduction. Though only five songs long, Provisions is an essential acquisition. (www.lukeelliot.com)

The Delines
Colfax
(El Cortez)

After receiving rave reviews in the U.K., the Delines’ debut album makes a belated Stateside bow where it’s sure to prompt even more critical kudos. A supergroup of sorts, its roster consists of moonlighting members of Richmond Fontaine, the Decemberists, the Damnations TX, and the Minus 5. While that alone is bound to make indie afficianados pant with anticipation, happily the album itself fulfils expectations. Most of the tracks already sound like standards, even though only one song actually is — an appropriately languid cover of Randy Newman’s “Sandman’s Coming.” The rest of the set follows suit, a hazy, nocturnal stroll that that sounds like nothing less than an after-hours sojourn following the regular shift at their day jobs. Yet, despite the weary, laid back ambiance that pervades Colfax as a whole, the album is instantly engaging — intimate, seductive, sublime and remarkably memorable even from the get-go. Let’s hope this isn’t merely a one-off effort; with the assured presence the group possesses already, a sequel is definitely called for. (www.thedelines.com)

Half-Handed Cloud
Flying Scroll Flight Control
(Asthmatic Kitty)

Don’t expect any concise description when it comes to Flying Scroll Flight Control, or, for that matter, anything in the Half-Handed Cloud canon. After all, how does one even begin to describe an album that finds no divide between songs despite a series of distinct soundscapes that incorporate all kinds of spectral effects, including banjos, brass, effusive harmonies, fuzz bass, odd audio snippets and a complete choir? It’s probably best not even to try, although the album does sometimes sound like the Beach Boys on brown acid or a children’s tome as interpreted by Captain Beefheart. Not surprisingly, that master of mayhem, Sufjan Stevens, has a hand in all this, inspiring Half-Handed Cloud to emulate his penchant for exotic experimentation. Not surprisingly then, while there are ostensively 18 tracks and a constant ebb and flow, the album as a whole clocks in at a relatively short 30 minutes. Don’t let the supposed weirdness deter you; Flying Scroll Flight Control is a fascinating sojourn and as melodically inviting as any effort you’d be likely to encounter. (www.asthmatickitty.com)

Waylon Speed
Kin
(Crow on Ten)

You’d expect any album co-produced by a founding member of the Blood Oranges and a current Son Volt member (MarkSpencer ) and a former associate of the Rolling Stones (Brian Thorn) to offer more than a hint of insurgency, and indeed this sophomore set by Waylon Speed doesn’t disappoint. The alt country crossover is evident from the get-go, particularly on songs such as “Coming Down Again,” “Union,” “Until It All Ends,” “Days Remain the Same” and “Tally-ho,” when the twang is matched by tenacity. Indeed, there are harder rocking tracks that moot the down home aspects entirely, although they are mostly fewer and far between. Still, one wouldn’t expect a band possessed of such a snarl and swagger to hail from the more genteel environs of Vermont, but any assumptions about breed or birthright are quickly dispelled. Happily, the Waylons find a fine divide between aggression and Americana and offer up both sides of the spectrum with confidence and authority. No doubt the “Waylon” evoked as their namesake would be plenty proud. (www.waylonspeed.com)

Shilohs
self-titled
Light Organ Records

With only two albums to their collective credit, the Shilohs seem to have quickly come into their own, rapidly establishing a penchant for pure pop that’s neither wholly predictable nor prone to pander to any particular audience. However, there’s no need to expect alienation here. Echoes of past masters reside within these grooves, all part of an apparent effort to reflect an earlier era when rock was unapologetically pure and unconcerned with anything other than easy and immediate accessibility. The initial strums of “Student of Nature,” the track that opens this new eponymous disc, brings to mind the acoustic sway and slide guitar often associated with prime Badfinger, while “Bless Those Boys” sounds unerringly like ELO courtesy of its dreamy pacing and shimmery sound. Of course, those descriptions are not intended to offer the impression that the Shilohs are mere mimics; the fact is rather that they have such a pure pop essence, nearly everything they offer up here brings an instant bond. As a result, it should come as no surprise to find this sophomore set prominent in many year-end best-of lists and a staple in some collections for many years to come. It’s truly that good. (www.lightorganrecords.com)

Mike Mattison
You Can’t Fight Love
(Landslide Records)

Best known for the essential supporting role he’s played with both the Derek Trucks Band and its effective successor, the Tedeschi Trucks, singer Mike Mattison steps out on his own with a superb solo album that suggests his true skills have been hidden up until now. While Mattison’s vocal prowess has never been in doubt, You Can’t Fight Love adds the role of superb songwriter to his credits, thanks to a set of songs that recall the essence of pure classic R&B. Mattison’s music is so good in fact that any one of these songs could be mistaken for a vintage soul classic, particularly when it comes to tracks like “That Makes Two of Us,” “Piece of Clay” and “You Can’t Fight Love,” any one of which Otis Redding or Al Green would have probably have been proud to claim back in the day. Each selection resonates even on first hearing, and it’s a credit to Mattison’s credence that there’s not a weak link in the bunch. Clearly, Mattison needs to step out more often, or better yet, simply opt for a solo stint entirely. After all, it’s clearly obvious he deserves more singular time in the spotlight. There may be truth to the precept suggested by the title, but given only a single listen, it’s ridiculous to even try. (www.mikemattison.com)

Jim Keller
Heaven Can Wait
(independent)

As one of the founders of the essential power pop combo Tommy Tutone, Jim Keller’s penchant for drive and determination was fully formed early on. Yet, once he reinvented himself as a solo troubadour, he took a change in direction, initially opting for the guise of an affable singer/songwriter. Somewhat surprisingly then, his third individual outing finds him shifting gears once again, even if it’s ever so slightly. Heaven Can Wait may sound like a title to a motion picture (an in fact it is), but the music that emerges is decidedly grounded and underscored by a gritty, soulful sound more akin to a stoic soul man. “Rescue Me,” “Take Me For a Ride,” and “Count The Rain” affect the sound of standards, solid, riveting and always expressive. Keller, who managers composer Phillip Glass in his day job, gets some impressive help here — David Hidalgo of Los Lobos) and Solomon Burke’s Chris Bruce on guitars and Elvis Costello and the Attractions drummer Pete Thomas among them. Still, it’s Keller’s own feisty blend of folk, blues and R&B that makes these melodies so memorable. (jimkellermusic.com)

The Emperors of Wyoming
self-titled
(Liaison Music)

Largely overlooked the first time around, the Emperors of Wyoming’s eponymous debut gets a second spin courtesy of the newly formed Liaison Records, which now offers added bonus of three bonus tracks that weren’t included on the original offering. In a sense, the Emperors were a super group of sorts, due mainly to the presence of its ringleader Butch Vig, who, with fellow Emperor Phil Davis, first made his mark in a soft rock outfit called Fire Town before achieving fame and fortune in Garbage and a stint sitting behind the boards for Nirvana’s Nevermind and Dirty by Sonic Youth. However, for anyone who suspects Vig’s still in the grip of grunge here, a listen to The Emperors of Wyoming should dispel all fears. It’s a surprisingly melodic set, blessed with the immediacy of superb melodies and a stylistic variety that takes in rock, bluegrass, country and folk. It also has its share of superb songs, several of which would have achieved immortality had the album been properly promoted. “Bittersweet Sound of Goodbye” boasts the sound of a standard, while “Cornfield Palace” has a remarkable refrain of the hum-along variety. The rest of the album meets the same high bar, proving once again that good music doesn’t deserve an expiration date. Two years after its original release, The Emperors of Wyoming still rules. (www.theemperorsofwyoming.com)

Tom Heyman
That Cool Blue Feeling
(independent)

Tom Heyman boasts an impressive resume, thanks to stints with the likes of Go To Blazes, The Court and Spark, Chuck Prophet, Mark Eitzel, John Doe, and John Murry among others. Still it’s his three solo albums — four if you count an early effort that remains sadly still unreleased –which have earned him special distinction. His latest, That Cool Blue Feeling, demonstrates yet again why he’s such a singular talent, an artist capable of offering sensitive reflection without ever sinking into the realms of morose melancholia. The sprightly and sparkling “Time and Money” and the easy sway of “Chickenhawks and Jesus Freaks” recount tales of his early adventures and seminal musings, but they come across with such affinity and familiarity that he never puts his listeners at arms length. From the opening rumble of “Black Top” to the easy lilt of the self-deprecating “Losers Like Me,” Heyman manages to continually coax listeners into his cool groove. Any sunshine aside, there’s also an occasional late night haze that accompany these tunes, although happily, there always seems to be some sort of light on the horizon. Suffice it to say, That Cool Blue Feeling is contagious.(www.tomheymanmusic.net)

Dan Cohen
Bluebird
(independent)

A journeyman musician of special distinction, Dan Cohen has notched up an impressive resume, having written for such stars as Steve Wariner, Tracy Byrd, Andy Griggs and others. An artist who represents the so-called “other side of Nashville,” both literally and figuratively, he makes his best music when he writes it for himself. Accordingly, Bluebird shows an impressive array of songs and style, from the instantly compelling title track to the jaunty “Don’t Make Me Wait,” the McCartney-esque “Love Is Gone,” and the sweetly sentimental “Shine.”  Any country inclinations aside, Cohen represents himself as a fine pop provocateur, a singer/songwriter with a keen sense of melody and an easy accessibility. A fine support crew — among them, Brad Jones, Matt King, Jace Everett and Doug Powell, each a superior artist in his own right — help out, allowing Bluebird to soar to unexpected heights. (www.dancohenmusic.com)

Ruthann Friedman
Chinatown
(Wolfgang Records)

There seems to be something of a folk revival taking place these days, particularly among those who apparently didn’t get their due the initial time around. A month or so ago, we saw the release of Linda Perhacs’ The Sound of All Natural Things, the Laurel Canyon songstress’ first album in forty years. Now, fresh on its heels, Ruthann Friedman comes along with a new set of songs equally long in the making. In truth, Friedman, known as the composer of the Association’s hit “Windy,” began working on her record at the end of the last decade, but judging from its quaint sound and delicate arrangements, it would have found a fine fit in that sepia tinted era when incense and patchouli were the essential elements. In fact, the carefree vibe contrasts rather dramatically with today’s frenzied pace, but that only makes it an even nicer respite. As far as catching up is concerned, Friedman shares her story quite clearly on the descriptive opening track “That’s What I Remember.” No one hit wonder, she proves it’s never too late to reclaim one’s credence. (www.ruthannfriedman.com)