My Amazon Reviews: James Lee Stanley "The Apocaloptimist"

Look on The Bright Side
4 Out Of 5 Stars

As a long time fan of James Lee Stanley, I am always excited when he settles in and records a new CD of original songs. He has also kept himself busy, recording duet albums in the "All Wood And..." series, so far mining The Doors and Rolling Stones for source material, Yet it is his solo CD's that I wait for with the greatest hunger. On the new "The Apocaloptimist," he weaves the magic again.

Combining the word apocalypse with the word optimist, he expects the worst and hopes for the best. The character he introduces in the first song is one who lives and sleeps, rises and falls and falls again while "Living The Party Life." Our up and coming yuppie parties when he wins, parties when he loses, and no matter what the result, is ready to party away. PBR in hand, he's probably the best dressed and most annoying person in the room, but James still sings with some sympathy for the guy. Later he hangs out at a bar and sweetly dreams of being rescued at "Last Call."

The character's not a complete yay-hoo. After all, how could he be if he likes Beatles' songs? Coming from the same respectful background as the "All Wood And..." series, "Drive My Car" gives a folk rock makeover to a classic, complete with a tasty harmonica courtesy of Corky Siegel. Or, for that matter, would such a bad man surround himself with great players like Little Feat's Paul Barrere (on slide guitar for "Gypsies In The Hallway")? James' hero may be searching for the best, and this being a story with a happy ending, lets the lead actor fumble his way to understanding with nothing but the best musicianship lighting the way. He comes to a realization about family on "Here We Have My Father," and figures out that maybe it's time to treat his life as something more precious on the strolling "When You Get Right To It."

Coming to terms with when life deals you a decent hand, James' hero ain't such a bad guy in the end. He finds true love during "Any Other Way" and learns the deepest love when singing a "Lullaby for Chloe." James takes our "Apocaloptimist" guy from annoying chump to adoring father in less than an hour, James Lee Stanley is the kind of storyteller who can do this narrative masterfully, and I love when stories have happy endings. Especially when set to music this good.

One more thing: The album's artwork. "The Apocaloptimist's" cover art is poster worthy. It harkens back to the days when the amount of thought given to the entire album package covered the music and how the artwork related to the songs within.

     

My Amazon Reviews: Cliff Eberhardt "500 Miles: The Blue Rock Sessions"

Every Journey Starts...
4 Out Of 5 Stars

Blessed with a voice as roughly hewn as crushed walnut, Cliff Eberhardt took a journey to Texas to record "500 Miles: The Blue Rock Sessions." He's a singer songwriter in the classic mold, delving into songs of introspection and the trials of live. Whether it's with his definitive originals or covering a chestnut like "500 Miles" (probably most likely remembered as done by Peter, Paul and Mary), he also takes a minimalist's approach to the recording process. In at least one instance, just Cliff and a guitar, in another, Cliff's guitar accompanied by bass, percussion and accordion. It's amazing just how much resonance he can get with just a few slight touches. Although he often appears with a full combo, best heard on "When The Leaves Begin to Fall."

There's also a great cover of John Hiatt's "Back of My Mind," transformed here into a waltz. But the best is saved for last, as Cliff revisits one of his earlier songs, "The Long Road." I have to admit that I am unfamiliar with the original, but this is a wonderful version. As Cliff states in his liner notes after "20 years, it has changed as I have...I decided to take a new look at an old friend." With its questioning look at the people and places that surround your life, it turns from a song about a young man's look at the future to a rumination of how you've lived your life. It's a great song and alone, is worthy of your listening to "500 Miles."

     

My Amazon Reviews: James Lee Stanley and John Batdorf "All Wood and Stones II"

There's More Than One Way to Roll a Stone
5 Out Of 5 Stars

For the third CD in their "All Wood And..." series, singer songwriter James Lee Stanley teams up with past collaborator John Batdorf and takes another dip in the deep well of Mick Jagger/Keith Richards compositions. The previous effort, "All Wood and Doors" (James with Cliff Eberhardt) was so well conceived that Doors members John Densmore and Robby Krieger pitched in on the effort, and while Keith and Mick didn't join in the proceedings, "All Wood and Stones II" is done with the same amount of respect as James and John did on the previous effort.

What happens here is that James and John take songs you've heard a million times over and turn them inside out, folk-wise. That's not to say that you'll never recognize what songs are here, but you will notice some angles that you may not have before. "Get Off Of My Cloud" still has the playful call and response Hey! You! hook, but it still sports a neatly strummed arrangement. "Honky Tonk Woman" sounds more like an actual honky-tonk song. These are sung primarily by John, whose rough hewn voice nicely compliments James' clearer sound. It makes for some terrific harmonizing ("Time is On My Side").

My favorite is when they do a total reconstruction on the 1978 disco thumper, "Miss You." Slowed down and minus the dance beat, "Miss You" becomes a bluesier lament for an absent lover. Interestingly enough, the other song arrangement that I enjoy also comes from "Some Girls," Richards' personal recounting of his drug misadventures with the law, "Before They Make Me Run." In my opinion, it's the biggest surprise on "All Wood and Stones II." It's worth making it a two-pack with 2005's "All Wood and Stones."

     

My Amazon Reviews: James Lee Stanley "Midnight Radio"

In the glow of the radio dashboard
4 Out Of 5 Stars

James Lee Stanley is a fine and prolific singer-songwriter whose career has something of a cult success among some very rabid fans. "Midnight Radio" was released in 1980 and leans to the kind of smooth adult contemporary sound of the day. You'll pick up the vibe from guests like Bonnie Raitt (guitar on "Born To Love You") and Stephen Bishop, who co-wrote a pair of songs with James for the album.

To also get a hint of how his talent reaches out to others, noted author Tom Robbins co-wrote "Even Cowgirls Get The Blues," after his book (and this was before k.d. lang some years later). The song may be the best one on "Midnight Radio," enough so that when the album got lost in record company politics, James resurrected it for a later album. James has a smooth vocal delivery that can go for the jugular when he wants to get personal, like the forceful "In Your Pocket." For the most part though, James goes easy on the ears. "Midnight Radio," after being out of print for several years, makes a welcome return. Fans of mellow James Taylor or Gordon Lightfoot will enjoy this.

     

My Amazon Reviews: Cliff Eberhardt "Borders"

It's a Fine Line
4 Out Of 5 Stars

Cliff Eberhardt revisited his past and laid the present bare on his 1999 CD, "Borders." Bending the notes on Dobro and harmonizing with Liz Queler and Seth Farber, Cliff crosses his first border by musing on "Why is The Road So Long?" The trio, along with notable assists from the likes of Lucy Kaplansky and drummer Doug Plavin, anchor "Borders" through it's twisting and turning views on love, loss and life in the hands of fate. Cliff's rich, raspy voice authenticates the emotions as each song travels its route.

What is also striking is how Cliff revisits a song from his 1984 debut. "Your Face" gains a pleading sadness after near 15 years of weathering, and gains from the experience. While it's a new song, the wear of "Wrong Side of The Line," about a Civil War family torn between the land they live on and the country they love, will take a hold of your heart. Given the sparseness of the arrangements, "Borders" has a resonance that stays with you.

Also recommended, his more recent 500 Miles: Blue Rock Sessions and his Doors tribute with James Lee Stanley, All Wood and Doors.

   

My Amazon Reviews: James Lee Stanley "Even Cowgirls Get The Blues"

Soundtrack to a Novel
4 Out Of 5 Stars

James Lee Stanley was so enamored of Tom Robbins' novel "Even Cowgirls Get The Blues" that he created an album based on the individual characters. However, the man was hampered by the fact that a big screen adaptation, starring Uma Thurman, was being released to theaters with a major label soundtrack featuring the music of KD Lang. Stanley had a secret weapon in his pocket, and that was Robbins himself. Robbins co-wrote the title track to the lonesome, harmonica driven title song. While Lang's movie soundtrack moved from the rodeo to the electric disco, Stanley's felt like a trek across the prairie.

James' CD also sounds like it should accompany the book. Where the movie soundtrack played like an accompaniment to the visuals, songs like "Racing The Moon" or "Open Your Eyes" made more a theater of the mind as you recall the book. Even the cover of "I Only Have Eyes For You" feels properly placed. James Lee Stanley may not have been the the music on the silver screen, but it ultimately is his version/vision of "Even Cowgirls Get The Blues" that has the musical staying power.

   

January Sucked. Back to Zero, Again.

As per my post on January 9th, I was offered a job that I thought might finally turn my situation from 2011 around. Unfortunately, things have been miserable since. I'd started the new job as an administrative assistant at a 5 Doctor medical clinic. It was a hectic and fast paced, stressful environment, and I thought I was doing OK. I was supposed to be learning the tasks of a pregnant female staffer before she left for maternity leave. She promptly had her baby boy three weeks early and well before I fully had the routines down. At the end of the 13^th day, I was informed I was not picking up the procedures of the office and was asked to resign. I have to admit, the stress of the place was literally giving me panic attacks. So here we are again, The end of January and I am right back in the same place I was a year ago this time.

The computer class I'd been taking since October is over now, and I did awful in it. I just could not absorb the amount of advanced technical information that was being thrown at me, and ultimately will probably not be able to use anything the course had to offer. Had I been better informed, I would have angled for a more beginners oriented course, but this is the class the grant landed me in. I will put in more effort at picking up the specifics here at home (I have until May to use the test certification scripts to see if I pass or not), but my guess is I won’t be able to master it.

What I really must thank everyone here for, and the brightest point of an otherwise wretched month, was the wonderful outpouring of help concerning Sophie Cat, covering over a third of the bills. She will still need her weekly shots - and as you can see by the picture of her shaved tummy, a trip to the vet warrants me serious "I'm going to poop on your pillow, you know that, don't you?" looks. The vet gave me a little trick; as soon as I get her home, Sophie gets a fresh can of cat food. Works like a charm. The first time I got her home, she made a bee-line to the space behind the sofa. But as soon as she heard the can-pop, she was right by her food dish.

My book selling annual trip to MAL was profitable enough that I was able to pay off the remainder of the bill soon after. Plus an extra special howdy to Cliff Clockner - we finally met! Another good thing about MAL? My table was next to these guys.

There was also a house concert featuring my old friend James Lee Stanely, along with Cliff Eberhardt. They are out promoting their collaborative tribute to The Doors, called "All Wood and Doors." (With surviving members of The Doors contributing.) It was my first time hearing Cliff live, and he's pretty easy on the eyes. James' voice is high and smooth, Cliff's is gruff and bluesy. As a duo, they harmonize beautifully. Having known James Lee since the mid 80's, it's always a pleasure to see him live.