Reviews: What Folks Are Saying ...

Wednesday, October 5th, 2011 8:32 PM PDT

Review of 'Backstage at the Resurrection' by Paul Zollo for BlueRailroad.com

http://bluerailroad.wordpress.com/reviews/

By PAUL ZOLLO

James Lee Stanley, Backstage at the Resurrection. [Beachwood Recordings].

Inspirational, inventive and inviting. A great achievement. Just when we think James Lee Stanley won’t ever record a new album as great as one of his past classics, he comes along with something like this, a collection of poignant, charged songs by one of our greatest singer-songwriters. He’s long been a beloved presence on the L.A. folk music scene as well as throughout America with good reason: not only is he a gifted and original songwriter, he’s also one of the best singers and guitarists around, with a voice that just takes flight in songs.

Produced and arranged by Stanley, the tracks are rich with the love of great musicians with whom he’s performed over the years, including Chicago harmonica legend Corky Siegel, trombone and bass by the great Chad Watson, Bill Kole on banjo, John Batdorf joining Stanley on acoustic guitar. But it’s the harmony vocals throughout that raises this one far above the level of most current projects. The man knows harmonies – and also knows lots of the best harmony singers around, who are enlisted to grace these songs, including Dan Navarro, Lisa Turner, Severin Browne and Joe Rathburn. “Backhand Man” sounds like a new standard, cushioned by rich, often complex harmonies and sparkling acoustic guitars. It sounds like one of the best Byrds songs you’ve never heard. “I Can’t Cry Anymore” is an infectious testament to persistence and strength, the kind of song we need now more than ever.

Throughout Stanley cannily merges jazzy harmonies and chords with great soul, as on the glorious “Don’t Wait Too Long,” a stunner with the kind of close jazzy harmonies CSN can only do cause of David Crosby’s vocal genius, and Stanley shares this dynamic. Humans love to hear harmonies, and when voices fold into harmonies this richly conveyed, it introduces a wonderful depth – a whole other dimension – to a song.

Backstage at the Resurrection is yet another chapter in a remarkable career; one of the best albums I’ve heard in a long time by a guy who has been making great albums for a good while.

-

Wednesday, October 5th, 2011 8:29 PM PDT

A Review of 'Backstage at the Resurrection' by Lory Lazarus

James,

You are brilliant. I know you already know that, but we artists all like to hear it (especially from fellow artists). I have finally had time to listen to your CD in its entirety. Excellent work! Some specifics:

I CAN'T CRY ANYMORE: Your chord progression on the chorus is inspired. I had to take out my guitar and figure it out -- it was that cool. Unusual and catchy and wonderful.

COMING OUT OF HIDING: Great BG vocals from the lady, and guitar work is exceptional.

GOIN' BACK TO MEMPHIS: my first "favorite" song on the disc. Great guitar work again, and inspired placing it right after LET'S GET OUT OF HERE (like, "Hey, let's get out of here" -- and you do and you end up in Memphis. Cool).

FEATHER RIVER NOCTURNE: Beautiful.

DO AS YOU'RE TOLD: Been there in my upbringing. The words got to me. Of course, I didn't do as I was told, and ended up a playwright/songwriter working in a restaurant. But I am HAPPY. Good song.

ALL ABOUT LOVE: my second "favorite" song on the CD. Just wonderful. The banjo was a great touch. Nice vocals. Gorgeous song (and sentiment). You should sing this one in New Age churches on Sundays. Hell, you should sing it in any church.

WHAT WOULD YOU DO: I think I heard you do this one live. Always liked it a lot (especially the words).

BACKSTAGE AT THE RESURRECTION: Amazing that I listened to this song for the first time today -- the day before Good Friday. Clever words, great performance. Loved it.

LET'S GET OUT OF HERE reprise: Nice hearing you solo with guitar. Great touch putting this at the end of the disc.

Thanks for recording -- once again -- another great CD. I'll send you a check soon to get ALL WOOD AND DOORS from you. Looking forward to that one.

I send a massive, insane hug (p.s.: liked the old photo of you with the banana on the inner sleeve. It is because you have eaten all those bananas that you're still going strong today).

Lory

-

Monday, April 4th, 2011 11:31 AM PDT

Lee's Listening Stack: James Lee Stanley -- 'Backstage at the Resurrection' and 'All Wood and Doors'

James Lee Stanley
Backstage at the Resurrection
(Beachwood Recordings)

James Lee Stanley and Cliff Eberhardt
All Wood and Doors
(Beachwood Recordings)

Despite the fact he’s already considered one of the standard bearers of today’s singer/songwriter and neo-folk movements, James Lee Stanley somehow manages to outdo himself every time out. His latest effort, Backstage at the Resurrection, provides all the proof needed. A breezy collection of festive melodies with a decided tropical feel, its songs convey the unassuming but obvious confidence of a man well versed in his craft. That’s clearly evident even at the outset, given the celebratory designs of opening tracks “Backhand Nab” and “I Can’t Cry Anymore,” and in spite of titles that might suggest otherwise. Surreptitious at times – “Coming Out of Hiding” and “Feather River Nocturne” could be offered in evidence – Stanley’s sound is engaging and accessible, given rich harmonies that recall Crosby Stills and Nash or America at their sweetest and most sincere. Still, if there’s any doubt as to any early allegiance, “Going Back to Memphis,” with its riveting grit and solid groove makes it clear he’s got a poet’s eloquence and a reverential heart.

Also add imagination to Stanley’s list of attributes. The second in what’s now become a highly anticipated series that touts reinvention of certain standards, All Wood and Doors picks up on the buzz generated by last year’s All Wood and Stones, in which Stanley found himself interpreting classic Rolling Stones songs with acoustic guitar and a back porch sensibility. As the title implies, the current project applies that treatment to the music of the Doors, doing so in a way that’s equally sympathetic but no less conspicuous in its drastic redesign. Purists might balk at some of the treatments – indeed, few of the songs bear anything other than a perfunctory resemblance to the original template – but having gained the blessings -- and in fact, the participation -- of former Doors Robbie Krieger and John Densmore, he easily deflects all charges of heresy. Fellow folkie Cliff Eberhardt helps at the helm, his gruff vocals adding the necessary insurgence in lieu of Jim Morrison’s howl and croon, while a host of other familiar names – Peter Tork, John Batdorf, Paul Barrere, Timothy B. Schmit, among them – add their credence to the project as well. Although “Light My Fire” in particular has been opened up to all sorts of possibilities over the years, the takes on “Break on Through,” Soul Kitchen” and “People Are Strange” might put the purists off, but even they won’t be able to deny the affection and attention Stanley and Eberhardt clearly invested in this endeavor. – Lee Zimmerman

Lee Zimmerman is a contributor to a variety of publications, including Blurt, M Music & Musicians, New Times, Goldmine and Amplifier

http://www.nodepression.com/profiles/blogs/lees-listening-stack-james-lee

-

Friday, April 1st, 2011 11:22 AM PDT

This review in from the San Diego Troubadour

Backstage at the Resurrection
by Frank Kocher
    “Eclectic” is a word that gets used a lot in music reviews these days. For an artist like James Lee Stanley, there just isn’t a way to avoid the label. He is a veteran performer whose songs range from California-sound country rock to soul/funk, with stops on the way for jazzy pop and gospel-shaded blues. A frequent San Diego visitor who has been releasing discs since the early seventies, Stanley hits all of the bases on his latest, Backstage at the Resurrection.
    The beautifully recorded disc, features 12 Stanley originals, and there isn’t a filler cut anywhere. The memorable, catchy songs have melody hooks that listeners will be humming afterward, delivered in style changeups that showcase Stanley’s singing and writing talents. A rock-solid singer, his lyrics (on his website, with a nice blurb about each tune) are social observations and calls to make things better, without being preachy or angry.
    Tight, three-part harmonies are a key part of the sound on “Backhand Man,” recalling Crosby, Stills, and Nash; the vocals are razor-sharp. It takes an old pro like Stanley to nail them this well, and the whole song is three-part. The beat on “I Can’t Cry Anymore” has more of a funk feel, but the harmonies on the chorus are still there, as he sings that he is “all out of tears.” Stanley weaves a dark spell on “Coming Out of Hiding,” a standout track that draws from the laid-back R&B of such groups as War. In the eighties, this one was a hit for Stanley’s sister Pamela, and it sounds ready for radio again. In the same groove, “Let’s Get Out of Here” is another winner, pop-jazz with Latin shading, and Stanley’s vocal is rich and soulful.
    “Going Back to Memphis” is a bluesy, good time shuffle about returning to roots, and “Feather River Nocturne” follows, an interesting guitar instrumental that offers a glimpse of Stanley making his Martin sing.
    The quiet mood of “Don’t Wait Too Long” brings back memories of “Helplessly Hoping” and other good, soft folk-rock harmony pieces from CSN’s salad days. True to form, Stanley shifts gears again, and “What Would You Do” is pure pop, another instantly memorable riff with a simple but positive message about working together, “Would there be change or would things be the same/ Have we already done all we can?”
    The title tune is a driving rocker, one of those political/surreal passion plays with characters (St George, Ruth, Luke, Judas Priest) representing metaphors for the Bush/Cheney cabal. The inspiration is clearly “Highway 61 Revisited” and this is an update for 2011, with “St George” and his Patriot Act, his buddy Judas, and his kool aid Easter eggs ready to lead the lemmings off the cliff. Yep, it’s another highlight.
    James Lee Stanley proves on Backstage at the Resurrection that sometimes there is no substitute for experience when it comes to good music. A proven roots artist for decades, he makes diverse, impressive music that succeeds on its own terms.

http://www.sandiegotroubadour.com/simpo2/custom/sandiegotroubadour/content/news/detail.aspx?issue=0411&newsid=1421

-

Thursday, March 24th, 2011 12:47 PM PDT

Another fan review of Backstage at the Resurrection

Hi James Lee! Last week i had some quiet time to relax and listen to your new album. After the last song, the reprise, i wanted to run to the PC to write and tell you that i enjoyed the whole album, every song, so much!!! I am so glad i ordered it. I didn't get a chance until now to write and tell you. I'm sure you must be getting similar emails and comments. The album is a gem. Your singing, playing, the production, the songs--how it's all put together...first rate all the way!!!! And of course, i enjoyed John Batdorf on a couple of backgound vocals. Thanks for including him on your album!

Last weekend, i was on a 2-hour roadtrip. On the way back, relaxed and at peace from enjoying such a nice Fall day in the country, i put on your album and was able to listen to it 2 times before getting home. It was the perfect ending to a perfect day...and by the time i pushed 'play' for the second time, i was able to sing along with most of the songs ('backstage at the resurrection' will take a little practice--haha).

I love this album! Congratulations, James Lee! marilyn

-

Thursday, March 24th, 2011 12:22 PM PDT

A fan review of Backstage at the Resurrection well worth sharing

First James, As i mentioned on the telephone after getting my hands on this and playing it 5 times before coming up for air----This is the BEST YOU'VE EVER DONE!!!! Yeah yeah, I know---you always promise that each new recording is the "Best you've ever done." However, this time you speak true--it sounds like you have finally taken the time to make a recording on YOUR schedule---where you took your time until you KNEW it was right and ready--and then you released it on your schedule---it shows my friend--it shows!! More thoughts on the totality when I'm done going cut by cut--but first;

Backhand Man: There was a story you used to tell about the record executive who asked you, "James, why don't you write a hit?" It seemed hilarious at the time that a record executive could be so clueless--if you know where that idiot is--you should send him this! Yes James---you've written a hit. This song, the recording, the words (simply change the title to Chris Brown) the arrangement--all perfect!! My god man---you've done it and this is only Cut 1!!! Aw Christ--my work is cut out for me---let's continue.

I Can't Cry Anymore: James--you are singing about crying but somehow you sound happier than I've heard you in years. This is what has been lacking in your last couple of CD's----my God---you sound happy even in a sad song which is something I had always admired in your writing and production that i just realized has been missing lately. That isn't to call your last couple disappointing--they are not--my god I love them--but these actually sound as if you are in a new space. I too, have found a new reality in the last 2 years. With this country being Bushless--my whole way of thinking has changed--maybe that's it--maybe it's just the times---but whatever it is--it sounds good on ya!! As for this tune---does perfect fit? No---not 2 perfects in a row--but then again!!?? Mayhaps, Perbe!!

Coming Out of Hiding: Love the opening guitar tracks and the voice sounds somehow "determined"--not sure if you'll get my meaning there but you do sound somehow determined. Hmmm, that's what this album seems to be--JLS coming out of hiding--maybe determined now to finally take what you have earned---putting out an album with a "no excuses guarantee" for any and all. You sound so very fired up, determined to prove that THIS is what my career has been leading to all this time. The song speaks volumes on it's own as a relationship song but even more so as a James Lee Stanley statement to the world! God, I love this album. There is a totally new sound for a JLS album here--it all seems to stem from the guitar work. This sounds, again, like an old song re-done for today! Some new tricks have been learned-you old dog-hmm thought that this could't be done. Love the vocal interplay, as well, the arrangement is superb!

Let's Get Out Of Here: This sounds so familiar in a very pleasurable way, like you have taken one of my favorite old songs and have somehow re-done it to make it new without losing any of the things that made me love it to begin with--which of course is not based in any reality but it seems so real. Let's just get out of here!!! Love everything about this---Musically fine, lyrically divine, vocally perfect and the arrangement that it all needs to hold itself together---you cannot beat that combination!!

Going Back To Memphis: Acapella--Love it---Love it Love It!! Soulful. Love the vocal charges that seem to have come forth on their own but seem to add a lot. The only thing missing here is the good Reverend Al Green doing back up vocals.
Feather River Nocturne: James--this is just beautiful. I know how close you were to Tom and you seems to have captured something here that only you could---The Feather River lives near my backyard here in Chico--it runs right though town and you seem to have captured it well. I know that you have captured the love between two men that you and Tom shared. I am proud of you for this one--it has masterpiece written all over it! My best friend, Jon Silvius, was killed in his airplane (ultralight) a few years back and yes--I do understand the great love between two men friends--i miss him everyday, just as you do Tom---and this makes me feel closer to him---Thank you for that!!

Don't Wait To Long: The acoustic guitar work on this one thrills me and the lyrics take me back to childhood and the journey before me as I grew as it was meant i'm sure. Don't wait too long---funny how this message never means as much to us when we are young as it does as we grow older. Where does the time go? Would we really want it to do over again---In the words of Dirk Hamilton----"YEP!!"

Do As You're Told: James is getting political once again I do believe. He and i have always thought alike in so many ways and this line is one that has pissed me off my whole life----it was exactly why i got into radio--because i was a musician who had no talent for music. The musicianship was in my soul but never translated to my body. This is probably why i have loved musicians and what they do for my entire life--the jealousy factor of being able to translate that into an instrument must be a god given gift that I was in the wrong line to receive even though I did receive the musicians soul etc. Do as you're told----I don't think so!!! The song and arrangement are wonderful and have the desired effect. I am now thoroughly pissed at every single person who ever said that to me!

All About Love: Lyrically this songs says it all---and the arrangement and vocal interplay are superb. The banjo is an added effect that was unexpected but that makes the song--Love it--nothing more need be said!

What Would You Do: I don't know why--but i can see you writing this--speaking your mind and asking yourself questions when they can no longer be asked of those we would most like the answer from. The never asked, never answered question done with sweet arrangement both vocally and musically!

Backstage at The Resurrection: Frankie Lee and Judas Priest--they were the best of Friends!! This has tones of so much of what was Dylan back in the day--and is as good or better than any of it--with sounds of the Bush Family ruining all that was and is---this is probably the most overtly political writing of your career and NEEDS to be heard and understood!! James I am proud of you for this one--it is great as a recording but even better as an indictment--I love it!! The best JLS rocker of all time and it MEANS something--well done my friend--well done.

Let's Get Out of Here (Redux) Another very different version of one of my favorites from the album. A bit more relaxed if you will, asking the listener to mellow out a bit after the last song and to now go forward happily into a new day with the one you love and simply get away from the everyday and get away for a while!!

OK James---to follow up on some closing thoughts as I again restart the album----I can never seem to listen to it just once--I am "in love" with this latest recording of yours. It makes me feel silly to say this in this way but I am "proud of you" for doing this album in the way that you have. The lovely Eveline should be commended for asking and allowing you to take your time and :make this one right." You have made an album to be proud of---it is almost like a culmination of a a career. For Gods sake don't ever stop--but please approach everything you do as you did this recording--it is all that it can be and more. AND--it is so good to be and to hear you happy again----Make ya a deal---if Jeb ever runs for president--we leave the country together---and if Palin wins we just shoot each other!!

By the way, I was so pleased to see Dirk Hamilton on your record. He has been one of my favorite since his early albums and his live album from a couple of years ago recorded live in Italy is one of my favorite from the last few years. i believe it was called the "relative health of your horse outside!" and was titled after a bastardization of a song lyric about the relative health of your soul inside--anyway--great album. Gotta get back on his mailing list if he still has it to find out about any newer recordings. I seem to remember the days when the music industry said that the next big things in music would be Dirk Hamilton, James Lee Stanley and John Hiatt---think that came from Rolling Stone magazine in the early 70's. Anyway--ya gotta love the fact that you two are working together from time to time now!

All my love to your lady Eveline, my friend, and keep some for yourself---just in case you didn't know it---you are treasured!!

Love ya,
George

-

Thursday, March 24th, 2011 12:13 PM PDT

Folk & Acoustic Music Exchange reviews Backstage at the Resurrection

A review written for the Folk & Acoustic Music Exchange
by Mark S. Tucker

This is the latest from a gent who's issued a lot of very fine LPs and CDs since 1973, and, like so many cats 'n kitties from the days of olde, he gets nothing but better. In many ways, James Lee Stanley is akin to Iain Matthews, getting smoother and more enjoyable each release out, time being his pal and abettor—and lord knows he's been a great tunesmith right from the start. Not only that, but steal a gander at who backs him up: John Batdorf, Severin Browne, Corky Siegel, Jim Photoglo, Ken Lyon, Dirk Hamilton, James Hurley…yow!! That much said, I'm not sure I need to write any more, but will.

Stanley's usually slotted into the folk category, and that's a good start, but, really, he's a fine pop and mello-rock composer as well. Each LP and CD he's issued has had at least several excellent charters, though they rarely got exposed well, the #1 complaint of the entire industry. Let's Get Out of Here is an upbeat number with a burning guitar lead, something JP Jones or Kenny Loggins (in his less New Agey not-so-weepy days) might have concocted. John Batdorf, who duetted with Stanley for the surprising All Wood and Stones (a tribute to early Rolling Stones songs gone acoustic), appears as a key member of the backing band(s) and if you caught the debut Batdorf & Rodney LP from 1972, a long-lost treasure, then you know what that means.

Feather River Nocturne is something of a surprise, an instrumental, a form Stanley's not often given to composing but most definitely welcome. In the vocal cuts, though, James Lee's voice is as fine as ever, the backing harmony vocals fining his refrains out to a delicious degree. His subject matter is always folkish but to-the-moment while looking back, Do as You're Told a clear demonstration of just that in a cool, settled-down, Little River Band-ish kinda cut. I'd say it's my favorite, and it probably is, but there are so many excellent tracks here that I'm hesitant to single any out. I don't want to think badly of myself.

This is about as good as it gets, folks, and the disc just re-proves my contention that independent labels are far outstripping the majors in terms of everything: quality, quantity, artfulness, whatever you're looking for. If you're tending to the radio for your music fare, you're pretty much wasting time and need to be delving into material like Backstage at the Resurrection, switching to the CD deck for your sonic enrichment. You'll thank me for this advice.

http://www.acousticmusic.com/fame/p06770.htm

-

Sunday, March 6th, 2011 9:30 PM PST

Backstage At The Resurrection

The reviews keep pouring in for my latest CD, Backstage At The Resurrection and they are consistently joyous. Check out what reknown Saxophonist Rob Kyle has to say:

Your songwriting, singing, playing, producing and CD making just keep
getting better & better James! I guess doing it all 362 days a year for at
least the 20+ years I've known you, has helped with all of that :-) And it
was all at a pretty high level 20 + years ago. Nice CD cover and artwork
too. And I LOVE the title!

Rock on brother, and THANK YOU so much for the gift!

XO,
R

Robert Kyle
626.797.9855
Dark Delishious Music
http://www.robertkyle.com <http://www.robertkyle.com/>
http://www.facebook.com/robertkylemusic
http://www.cdbaby.com/group/robertkylemusic
http://www.myspace.com/robertkylemusic

Tuesday, October 12th, 2010 2:19 PM PDT

Odetta Recommendation

At a concert in Rockford, Illinois for Charlotte's Web, Odetta said to James Lee, "Young man, you are the real thing." James was thrilled.

Tuesday, October 12th, 2010 2:18 PM PDT

Tom Dundee Recommendation

"you know Stanley...he treats every gig like it was Carnegie Hall."

Wednesday, September 23rd, 2009 5:11 PM PDT

Concerts In Your Home Recommendation ...

"...James Lee Stanley is someone that we want to book again and again - and not just because he turned out to be such a nice, down to Earth guy! ..."

Read more at:

Tuesday, March 3rd, 2009 4:57 AM PST

Sundilla Acoustic Concert Series

Whenever I book someone I have never seen live, a tiny part of me fears that he won't live up to our high standards. When I booked James Lee Stanley, that was reversed: I feared that we could not live up to his standards.

I hope we did, because James Lee Stanley is someone that we want to book again and again. (And not just because he turned out to be such a nice, down to Earth guy!)

If I had to come up with something bad to say about James, it would be that he didn't bring enough CDs with him; they were all sold before intermission ended! But come to think of it, that says more good than bad about what a great singer/songwriter/performer he is.

Bailey Jones / Sundilla Concert Series

Monday, March 2nd, 2009 1:28 PM PST

Set List ...

Gloria Holloway writes:
Sometimes when I attend a concert, I'll hear the artist say, "I dont have a set list." I recently experienced a James Lee Stanley concert where just the opposite was true. Not only did James have a set list. He also had a set plan. The audience loved the outcome! James' performance was more aptly described as a "theatrical musical performance" rather than a "concert." There were stories that went along with the songs. There were definite scenes. One scene flowed easily into the next. There were gestures, facial expressions and physical movement.

Although the performance was well crafted, polished and professional, there was also a feelling of spontaneity and intimacy. James totally connected with the audience.

The likes of a James Lee Stanley performance is spoiling me. Next time I hear an artist say, "I don't have a set list," I may say, "Why not?"

"if you feel you've been deceived, and don't know who you can believe follow where the money hides on the street where mercy died in a house all painted white, lights were turned out for the night in peaceful dreams the "haves" just sighed on the street where mercy died."

Finesounds: Pop

When Greatness Comes Knockin' Around

JAMES LEE STANLEY: Freelance Human Being (Beachwood Recordings BF2425-2)

Esteemed readers, what I?m about to say here is not hype, or exaggeration, or a manifestation of my admitted propensity to go a little overboard when talking about recordings I like. It?s simply the truth.

This is one of the most incredible recordings I?ve ever heard, musically and sonically -- one of the handful that combine sublime musicianship and superb sound. This, my friends, is one of those ultra-rare recordings that stand at the pinnacle of the recording art, the kind of masterwork you only come across once every few years and every few thousand albums.

As is the case with many of the best things that happen to us in life, I was introduced to James Lee Stanley by serendipity, circumstance, and luck. One of my co-workers is a fervent admirer of Stanley - who has recorded several albums and has been around for years--and knew of my status (such as it is) as a record reviewer. She told me how much she loved Stanley--whom I had never heard of--and suggested I might like to hear him. Naturally, I agreed--I am always open to new music and new artists, and it?s a thrill for me to be turned on to great music I?ve never heard before, as I?m sure it is for all of you too (and probably one of the main reasons you?re holding this magazine in your hands right now). Shortly thereafter, a copy of Stanley?s newly minted Freelance Human Being CD arrived in my mail, and shortly thereafter I put it in the player..

And very shortly thereafter--as in immediately--I found myself agape in slack-jawed astonishment at what I was hearing: a man and his guitar singing songs of extraordinary beauty, depth, and power, creating more musical substance and emotional profundity form just his pure, agile, expressive tenor voice and adept acoustic guitar picking than most artists are able to achieve using a full band, hundreds of takes and overdubs and a space shuttle's worth of studio devices, effects, and tricks. This man is a great artist-his songs are finely-crafted and richly-textured, with immediately memorable melodies and thoughtful and thought-provoking lyrics, and his guitar playing is simply gorgeous, alternating between subtle fingerpicking, lush chording, stark simplicity, rhythmically-charged complexity, and many and varied shades in between. The recording was made "live" -- just Stanley singing and playing, no overdubs, punch-ins, or jive--the real thing.

James Lee Stanley connects--his lyrics are direct and unambiguous, elegant and poetic, often starkly elucidating stark truths, as in "Somewhere In Between": "All you really had to do was talk to me/All you really had to was let me know/That you thought we had a chance of making it/I would have never let you go/But we turned our heads/And left it all unsaid/And we let it slip away..."

Every song is a gem--really, I struggle to select any standouts, as each is so wonderful my favorites change with every listening, and each song could be a career-maker for any other artist. At this moment, my favorites are the wry "I Don?t Want to Talk About It" ("Last time should have been the last time/I don?t want to talk about it"), "Somewhere In Between,""Freeway Wine," and the breathtaking "When Love Comes Knockin? Around"--one of the most moving and powerful songs I?ve heard, and a song that would be an instant classic if we were living in a more enlightened musical era. There?s even a playful cover of Jefferson Airplane?s venerable "Fat Angel" ("Fly Trans-Love Airways; gets you there on time").

The sound is also brilliant--amazingly clear and present, with that almost- tactile "you-are-there" quality you almost never, truly, hear in even the best recordings. You hear it here--this recording puts nothing between you and Stanley's direct-to-tape performance. The frequency response is emotional, with dynamic, articulate low end, a midrange that is as close to perfection as I've heard, and a sweet, detailed upper midrange. The recording is so well- balanced you don't "hear" it--the purity, tonal balance and lack of compression is so good you simply listen to the music without focusing on any flaws. My description isn't doing it justice, I'm afraid--really, we're talking greatness here.

I had to call the label to find out how Freelance Human Being was recorded. Wouldn't you know it--Producer Peter Lit set up two matched AKG 1000E microphones in X-Y configuration, along with a Russian condenser mike called an Octava used as a room mike. Stanley's vocals were recorded using an AKG 414 tweaked by noted microphone rebuilder Steven Paul. In addition, Stanley ran his electric-acoustic guitar (an acoustic guitar with a built-in pickup) directly into the board to blend with the microphone sound on some tracks, and used some added echo and time-delay effects on a couple of cuts. According to Beachwood Recordings' Stephen Chandler, the album was recorded "live," as Stanley believes this is the only way to get that "special synergy" that is inevitably lost when vocals and guitar are tracked at different times. He's not the only one who says this--what is captured here are stunning performances, not merely good "cuts".

Believe it: Freelance Human Being is a masterpiece in every respect. Truly this is one of the all-time greats and one of the finest recordings I've ever been privileged to hear.

Special note to Star Trek: Deep Space Nine fans: James Lee Stanley often plays one of Odo's Bejorian security guards on the show. He has also played a variety of other roles, including the Singing Klingon in the show's 1997 season premier.