Tim Brough's Black Leather Bookshelf

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."

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.





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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.

Crosby, Stills, Nash and Morrison: A Fantasia
5 Out Of 5 Stars

Sometime in the mid 60's, a young James Morrison was walking along the Sunset Strip in California, frustrated that his musical aspirations were constantly hitting a brick wall. A girlfriend invited him out to the Canyon to rest and mellow out, and she mentioned that she had a few musician friends hanging out with her. Maybe Jim would like to meet them? He agreed and hitched a ride into the hills.

Once he was there, Jim's lady-friend introduced him to her friend Graham. Jim was familiar with The Hollies and told Graham that he liked his stuff. Would he liked to hear some of his own material? When Graham agreed, Jim picked up a guitar and began a frenzied version of "Break On Through." Graham smiles, he likes this young kid's assertiveness. Then he has an idea. "Jim," he says, "slow it down a bit and maybe add a shuffle to it?" Jim thinks a moment, works the chording out in his mind and plays it like Graham suggests. Both Jim and Graham light up; this arrangement sounds incredible. Telling Graham he has a ballad he really likes and thinks would be huge if people heard it, Jim strums the opening portion of "Light My Fire."

A friend of Graham's, Stephen, likes what he's been hearing from across the room. He picks up his guitar and began picking out some sliding, blues lines. Morrison follows Stephen's lead and bends the song into a slow, folky blues song. All three like what they hear. "What else have you got," asks Stephen. Jim, delighted, pulls out a notebook filled with poetry and opens it to "Riders On The Storm." As Jim begins to play, Stephen begins to improvise the vocal line. Graham is so stoked that he pulls his third friend, David, in to listen. By the end of few hours, the four of them decide to form a collaborative and call is CMNS, their initials in alphabetical order. Stephen hits the record button on his brand new home reel-to-reel and the four of them begin to capture the moment. They even work up an incredible harmony arrangement to take "The End" to a new level.

Well, OK, this never happened. But if it DID, then somehow, James Lee Stanley and Cliff Eberhardt  found the reels. Like James' collaboration with John Batdorf did to The Rolling Stones on "All Wood and Stones," James and Cliff take The Doors' classic repertory and folk it out. The duo have an all star guest list that includes Timothy B Schmit of The Eagles, Peter Tork of The Monkees, Paul Barrere of Little Feat, Laurence Juber (who has played with Paul McCartney & Wings), and Chad Watson on Bass. Even more remarkable is that Doors members John Densmore and Robby Krieger pitch in. It was even Densmore's suggestion to Stanley to take on The Doors after he'd heard "All Wood and Stones."

With the blessing of the two Door-keepers, James and Cliff deliver a diverse and delightful reading of classics like the aforementioned songs, as well as classics like "People are Strange," "Crystal Ship" and "Touch Me." I love the way that the pair interchange vocal duties. Cliff is gruff and hardy, James is clear and full. They make great harmonies and trade leads. The guitar playing is wonderful (and having seen James live, up close, I can attest to his guitar prowess), and is captured in rich tone. With both the exceptional musicianship and full endorsement of the original creators, "All Wood and Doors" is how cover albums should be done.

Front and Center Stage
5 Out Of 5 Stars

James Lee Stanley has been around the block a few times. His first album appeared on Wooden Nickle records (home to the early Styx albums) in 1974. He worked in the Cali-pop galaxy that predominated the scene at that time, yet something wonderful slowly happened in the ensuing decades. James Lee Stanley just kept getting better and better. With "Backstage At The Resurrection," he hits a fresh peak.

Working the rich folkish vein he's been mining since the mid-90's, James continues to find new depths in his songwriting. In particular, there are two songs on "Backstage" that really strike me. The title track is a political screed that taunts with Bob Dylan lyrical imagery and a hard-driving guitar solo by Len Ruckel at its conclusion. Then there is "What Would You Do?," a song so invigorating and uplifting, it could easily be gospel. Like the call for balance, "Change," on 2007's "The Eternal Contradiction," "What Would You Do?" is a thing of beauty.

"Backstage At The Resurrection" handles its messages with an adept hand, as James' voice glides silky-light above it. From Memphis blues to snappy pop to the expert folk that inhabits "Backstage," James Lee Stanley has crafted a terrific album that his fans and acoustical music types will fully enjoy.