REVIEW: Stone Stanley "Stone Stanley"

For most, having the opportunity to one day collaborate with an established musician whom you admire and appreciate is nothing but a dream never pursued.  After all, how likely is it that any interaction between two such people would even go beyond exchanging pleasantries at best?  Yet, for Garden Grove, CA native and singer/songwriter Jason “JT” Trombley, such a dream became reality, when through a series of events, he met and made a connection with Juan Nelson, former bassist for Ben Harper & The Innocent Criminals.  Eventually, the relationship between the two musicians resulted in collaboration that would lead to a band, named Stone Stanley, and their self-titled debut.

For the record, there actually is a person named Stone Stanley, though he is not in the band.  According to Trombley, the man whose moniker they directly obtained permission to use was “a record producer during the 40′s, 50′s and 60′s” who, as “rumor” has it, went into exile in the high desert of San Bernardino County in reaction to “the corporate takeover of the American music scene in the early 70′s.”  Why such a rumor wouldn’t either be refuted or substantiated since Trombley and Stanley have/had a personal connection is unclear.  Stanley, whose own music is described by Trombley as “folky, but soulful with a hint of reggae” is actually pretty close to that of his understudy and band who bear his name.

Stone Stanley’s sound is indeed not dramatically different from that of Ben Harper.  (Does Ben know Mr. Stanley also?)  Really, this should be no surprise considering the obvious influence, what with Trombley being a fan of Harper and now a band mate and co-producer with Nelson, a 17-year member of Ben Harper & The Innocent Criminals (BHIC).  As such, the songs on Stone Stanley are comprised of elements of folk, reggae, rock, blues and soul, all rooted in a natural acoustic vibe.  From a lyrical standpoint, Trombley gives equal weight to personal relationships, observation and social concerns.  With a singing style somewhere between that of Ray Lamontagne, Bob Carlisle and a bit like up and coming reggae artist Dominic Balli, Trombley’s bluesy vocals are more intimate, breathy and slightly raspy than they are wailing.  Rounding out the musical lineup on Stone Stanley are drummer and percussionist Rock Deadrick (Ben Harper/Tracy Chapman/Ziggy Marley), Dave Kalish on guitar and Jelani Jones on keyboards and organ.  The danger here, of course, is that Trombley and company run the risk of sounding like a shadow of BHIC, especially if the songs on Stone Stanley don’t hold up well.  Fortunately, for the most part they do.

With the rhythm section of Deadrick and Nelson locking things down, “Anywhere I Go” is organic funk with a message.  Jones’ inspired playing on organ adds warmth and soul, while some retro flute adds an appropriate touch.  The acquired taste here is Trombley’s voice, particularly on the chorus, where he sings “I am free deep in my soul / I am free anywhere I go.” Rather than belting it out, it’s almost as if he’s whispering loudly.  Lyrically, he speaks of homelessness, providing an engaging narrative.  As he sings about “people losing homes and moving into their cars” and such, Trombley’s character is emotionally conflicted as he weighs the stress of the harsh street life versus the contentedness in being free of the worldly concerns that consume those who are deemed better off.

“Crazy” is a stark bare-bones reggae track, made so by Nelson’s primal bass line, Deadrick’s drums and Trombley’s dub-inspired vocal reverberations.  With lines such as, “And I think it’s crazy / What she’s done to me lately / Well, I think it’s madness / Too much sadness / Insanity, criminal mentality / Well, I think it’s crazy she’d do it to me”, the chorus has a strong melodic hook.  Trombley’s vocals here are at their grittiest, adding credibility to the pain and emotional trauma expressed in the lyrics.  The Jack Johnson-flavored “Superstar” is pleasing folk pop, enhanced by Jones’ understated organ and electric piano.  With the down-tempo “Down 2 Hang”, Trombley laments a love interest who said “she only wants to be friends.” As he sings, “And now she’s calling me once again / Said she’s always down to hang / But she’s the only one / To ever mean a damn to me / But she had her chance way back then / I told that girl again, again and again,” the sentiments are heartfelt and convincing. “Down 2 Hang” effectively balances acoustic instrumentation, including haunting flute lines, with a strong melody.

“So Lonely Again” is tuneful, folk-infused reggae with Trombley sounding somewhat like a hushed Bob Carlisle.  After a beautiful acoustic guitar intro, reminiscent of the Plain White T’s, the band settles into a warm groove.  Just when it seems like he’s going to reach an emotional high point upon finding true love, the bottom drops out; “Nowadays it seems she’s only loyal and as true as her options / There’s so much fun under the sun you know she really wants to go and get some / But I’m so lonely, so lonely again.” “So Lonely Again” is a catchy, well-written tune that showcases Trombley’s writing skills and the chemistry of his supporting musicians.  “Rainbows and Waterfalls” is a surprising bittersweet instrumental folk piece featuring acoustic guitar, including some subtle slide work.

Some biting social commentary is in order on the Skynyrd-meets-Dylan “Oilman Sam”, with the song’s namesake a thinly veiled reference to the US government.  Rather than settling for a scathing indictment, Trombley instead chooses to offer a moral to the story and word of encouragement, warning “Don’t let money rob your soul.” Implicating the government in a war for “black gold” and “the Twin Towers falling down,” it is evident that Trombley is not afraid of a bit of controversy.  Musically, “Oilman Sam” possesses a rhythm that brings to mind Dylan’s “Subterranean Homesick Blues.”

The organ-drenched reggae of “Now I Know” charts familiar melodic territory and doesn’t quite stand out.  At least in part, it almost sounds like a musical reworking “Down 2 Hang.”  Topically, though Trombley finds himself lonely, he discovers “there’s more to life than just pleasing me” and “I wish that I could go back and replace all my hate with love.” Such a redemptive message is refreshing, even if the song isn’t spectacular.  At over six and a half minutes, the brooding Southern rock of “Space is the Place” has a Lynyrd Skynyrd feel with its slide guitar, and even some distorted riffs.

With “All My Friends”, Stone Stanley delivers another reggae-infused track.  Trombley’s breathy vocals seem overwrought and deliberate as he reflects on the tragedy of losing friends, dropping names in the process such as Kurt Cobain, Brian Jones and Janis Joplin.  Rather bland, and neither engaging nor off-putting, “All My Friends” sounds like the kind of track that well could have ended up on the cutting room floor.  Stone Stanley closes by adding a bit of fun and spice with a straightforward cover of legendary bluesman Robert Johnson’s “They’re Red Hot.”

Though Stone Stanley isn’t flawless, Jason “JT” Trombley, with support from bassist and co-producer Juan Nelson and a solid group of musicians, has released a well-crafted record.  At its best, this full-length debut offers sturdy melodies, inspired interplay, soulful singing and thoughtful lyrics- and their certainly are enough of those strong moments to make Stone Stanley enjoyable and meaningful listening.

Review by Mike Roots
Rating: 3 Stars (out of 5)