What is it about Peter Mulvey’s voice? Is there some gravelly, deep quality that makes him not only persuasive and honest but almost addictive? Is there something about the way he composes his arrangements or writes his lyrics? Is it the serious fun it seems he has playing every song? I don’t honestly know.
But every time Mulvey releases an album, I have to listen. Ever since Notes from Elsewhere, I have been a fan. Notes is one of those albums that rises to the top of my collection more often than I might want to admit, and several tracks from Letters from a Flying Machine are also working their way up—especially the honesty of some of the letters he reads, like “Vlad the Astrophysicist”!
So what is his latest album like? The Good Stuff takes a bunch of songs I have never heard before (and a few I have) and puts a Mulvey spin on them in that magical way only he can. Admittedly though, the first couple of times I listened to the album in the car, I wasn’t sure I liked it. It might just be the horrible speakers in the car however, since I listened to it about three times on my iPad on a plane a couple of weeks ago and it grew on me each time.
Why has it grown on me? This CD collects the work of a disparate group of songwriters and unifies it with Mulvey’s voice. Songwriters such as Willie Nelson (“Are You Sure?”), Chris Smither (“Time to Spend”), Tom Waits (“Green Grass”), Duke Ellington (“Mood Indigo”), Thelonious Monk (“Ruby My Dear”) and others are represented. Recorded over three days in Connecticut, the album features Mulvey with upright bassist Paul Kochanski, violinist Randy Sabien, guitarist David Goodrich, and drummer Jason Smith, with guest vocalist Kris Delmhorst on “Are You Sure?” Each track offers a simple, heartfelt rendition of a classic.
Tracks like “Everybody Knows” groove along, telling stories about infidelity and other injustices: “Everybody knows that you’ve been faithful/Give a night or two/Everybody knows you’ve been discreet/But there were so many people you just had to meet/Without your clothes.” Written by Leonard Cohen, this is a song about the wrongs in the world that everyone accepts and just lives with. Though not cheery, Mulvey lends it a certain gravitas with a simple arrangement and simple delivery.
One of my favorites on the album has to be “Are You Sure?” with the duet between Mulvey and Delmhorst. It reminds me of a different era of music-making. It has simple harmonies, well sung, without the over-engineered instrumentals—just a couple of guitars, a snare, and a violin. There’s almost a “drunk” sound to the violin the longer the song goes along, as the singers try to convince a barfly it’s time to leave the bar. Again, the honesty comes through not just in the lyrics but in the delivery.
But Mulvey’s rendition of “Mood Indigo” takes the cake. It’s such a classic big band standard that’s been done since the 1930s by artists such as Ella Fitzgerald, Nina Simone, Frank Sinatra, Louie Armstrong, Joe Jackson, Nat “King” Cole, and others. Well, now we can add Peter Mulvey to the list. I’ve never heard this jazzy tune done with simple guitar arrangements and violin, Mulvey just lays it down smooth. This is the blues, people. “Always get that mood indigo/Since my baby said goodbye/In the evenin’ when lights are low/I’m so lonesome I could cry.” Sing it, brother.
That’s just a taste of the 14 tracks on this CD. Now, if you’re expecting Mulvey originals, The Good Stuff is probably not the CD for you. But if you want to hear a master give interpretations of standard songs of the last century, I’d encourage you to give it a listen. As always, Mulvey’s on top of his game and this CD will work its way to the top of my collection soon, I’m sure.
For more about Peter Mulvey, be sure to check out his home page for other albums, news, and his touring schedule.Powered by Sidelines