JAMES LEE STANLEY: The Day Today

James Lee Stanley composed, arranged, performed, produced, and engineered all 17 tracks on his latest album, collaborating with co-writers on three of the songs. Recorded at Aerie Studio in Bear Valley Springs, California, Apple Music has it categorized as pop, but it varies from song to song, sounding sometimes current day, other times ’70s retro.

Stanley’s vocal tracks are recorded with a raw, minimalistic approach, which initially gives the sound a stark and bare quality. However, this stripped-down style appears intentional, as each song follows the pattern. By the time the final track plays, the simplicity feels familiar, allowing his voice to stand out with a distinctive clarity.

From the very first track, “Wake the Flock Up,” he lets me know that he’s a politically minded, philosophical kind of guy; and, from the liner notes, that he takes his own council and follows his heart. Featuring Laurence Juber on lead guitar, the recording of the instruments is crisp and clear, punchy bass comes in at :18 to build a groove. The verses follow a consistent, repeated melody line until shifting at the chorus into something closer to a chant. Joined by background vocals, they sing Wake the flock up, wake the flock up… over and over—a clear call to action. At 1:58, there’s a little back-and-forth exchange between the guitar and bass that leads to the bridge and full multi-part harmonies. At 2:47, a snappy bass plays alone at first; then, joined by guitar and the rest of the players, the instrumental closes the number.

In “America’s a Gun,” Stanley puts music to the words of Brian Bilston’s poem of the same name. Sparse guitar picking and clearly present bass lines create a lighthearted intro, yet I can’t help but think it’s a ruse to draw me in, to keep that title from scaring me away. Even the opening lyrics are simplistic and broad, almost like a nursery rhyme. England is a cup of tea, France a wheel of ripened brie, Greece a little olive tree, America’s a gun. Wham! The image hits and, well, I can’t disagree. Joined by rich, almost choir-like background vocals in the second verse, the tension builds up to and through the bridge and third verse, culminating in the final line: We could be most anything, but America’s a gun. At only 1:36 minutes long, the heavy weight of the song’s message is carried by its uncomplicated arrangement.

“Too Much to Dream” features a strong bass presence from the start, sliding up on notes and pulling me along. The melody twists and turns unpredictably, yet pleasingly so. This song is easy on the ears; it flows steadily, and I find myself wanting to know where it’s going. Just when I think I have it figured out, it surprises me with another change. Each verse ends with the same tag, making me catch my breath as it breaks over the falls: But it won’t happen again. No, it won’t happen again. Guitar chord hits in the next verse add dimension and a retro vibe, until at 1:19, dueling guitars call and repeat their solo. The final verse is the same as the first. It’s the middle of the night, someplace far from here. I’ve had too much to dream, but it was just this once I swear. Too much to dream, but it won’t happen again. No, it won’t happen again. I feel for the guy, and I want to believe him, but I have my doubts. And at the same time, I wonder why anyone should have to ever give up dreaming too much. At 2:38, the bass rises up in beautiful intricacy, closing out the song. This may be my favorite.

“Hey, Look at You Too” begins with a bubbling energy with rapidly strumming guitars and a chord hits countering the rhythm; a strong and melodic bass leads us to the first verse. You stare at the sun and you’ll prob’ly go blind. You race with the moon and you’ll soon fall behind. Playing with fire, you’ll surely get burned. But I take my chances, guess I’ll never learn. Stanley’s voice shines deep and resonant, accented with harmonics played on guitar, and diggy diggy lower register single note lines and strumming. Shaker egg picks up at the second verse, contributing to the perpetual drive as it builds. There is so much happening, yet none of it feels overdone, it’s like blissfully plucking fruit on a breezy spring day. At 1:37, a relaxed guitar solo begins by playing the verse melody, gradually shedding its restrictions to become more fluid and freeform near the end. The chorus brings in multi-part harmonies and lead guitar highlights, maintaining an energy that never lets up and continues right to the end.

Guitar picking starts off a little raw in “Do It in His Name” and is soon joined by tambourine and Rick Ruskin on electric lead guitar. It is at once an edgier tone for an edgier topic. Some say nothing’s bad or good til thinking makes it so. Some believe in heaven; some say they just don’t know. I keep my own counsel; I wish you’d do the same. Cursing me or blessing me, you do it in his name. Melissa Greener, Pamala Stanley, and Sandra Young step in on background vocals for the chorus, and there is a short flourish of electric guitar before the second verse. The picking continues behind the verse, with bursts of electric guitar at the end of each line, creating a boiling pot of sentiment. There’s a nice break at 2:17, when the instruments drop out and lead and background vocals sing alone, with touches of electric guitar here and there. The last verse instrumentation is spare, backed by bass followed by quick guitar fills and the chorus. We’ll do it in his name who knows what he might do. We’ll do it in his name, it’s up to me and you. We’ll do it in his name. It begins to wind down at 3:30; the guitars take it home, ending it in reverse of the beginning.

Co-written with Rick Ruskin, and sounding the most different on the album, “Summer’s on the Way” sneaks in on a single note that builds in intensity until Ruskin suddenly jumps in on acoustic guitar, happily plucking along. Voices join together with a big Yeah” Stanley’s voice is especially cocky and emotive in this higher register, impressively fluid and capable, I can’t help but smile. Perky and light, this song captures that quintessential feeling of the first days of summer—the sensation of suddenly being free. At 1:50, a double bridge bends the mood and rhythm in staccato and deeper tones: Who gave life to all those lies, I won’t forget. A winter-fall of foolish lies I won’t forget. Even after all this time, I won’t forget. See who’s laughing now. Summer’s on the way. Stanley is acrobatic in his vocal approach as he repeats Summer’s on the way, bringing the song to a joyful close.

Other songs on the album include “The Best We Can;” “The Carnival;” “Hard Lesson to Learn” with co-writer Gary Mazzola; “Cold Ukrainian Night,” with co-writer Jim Wilson; “Hearts in Amber;” “Time And the River;” “Mobius Trip;” “For the Last Time;” “How Many Days, How Many Hours;” “Tumblin’ Down These Stairs;” and “Brick at a Time.”

Additional guest musicians not mentioned include John Batdorf on background vocals, Chris Conway on kalimba and the penny whistle, Gary J Katz on 12-string guitar, Kenny Lyon on electric lead guitar, Corky Siegel on harmonica, Washington “Smowdown” Tahr on drums, and Chad Watson played bass on 12 of the songs.

The Day Today is available as a hard copy CD that can be ordered from Stanley’s website, jamesleestanley.com.