So, even though all that is hard to argue with, I’m going to try…well, sort of.
Personally, I like Amos Lee. He’s a proficient musician and phenomenal vocalist whose somewhat moody kitsch has managed to avoid the throngs of wailing fourteen-year-olds that tend to attach themselves to sensitive talent like his. In addition, although Supply and Demand was an artistic slide in the wrong direction, I very much enjoy listening to his debut, as songs like “Seen It All Before” and “Arms of a Woman” have the heart and delivery of great soul classics. So, to pinpoint exactly what turns me off about Last Days at the Lodge is a tricky proposition, particularly since I think he’s getting back to what he does best.
Last Days at the Lodge begins with one of the strongest tracks Lee has produced in recent memory, “Listen.” His session band, which features members who have played with everyone from Clapton to Aretha, shines in the tasteful arrangements, and Lee’s songwriting and vocal performance are top class. Unfortunately, writing is not Lee’s strong suit, and the next few tracks begin losing steam. “Won’t Let Me Go” and “Baby I Want You” are by no means masterpieces, but are undeniably good songs, particularly to suit a wine and candlelight type mood, but “Truth” is the first pothole track of glib preachiness that prevents the album from gaining any positive momentum. It’s bluesy, but stiltedly so; it’s idealistic, but not without being sophomoric and capricious. Although it may not be fair to measure one song’s quality against a mediocre track on the same album, there is a sense in which the support of a full record lends either credence or disrepute to tracks that initially appear to stand out.
Which is the main problem with Last Days at the Lodge. Lee is at his best on cerebral soul tracks like “Listen,” “What’s Been Goin’ On” and “Ease Back,” but his venturesome attitude misses the mark when he steps away from those bounds. All artists should try to extend themselves from their bread and butter, but Lee’s exploration here leaves something to be desired.
Overall: B-
Why a B-? After three albums, Amos Lee still finds himself walking the line between art and sentiment, and, although Last Days at the Lodge leaves me with a few complaints, it has more good material than bad. Clearly Lee is trying to leave the familiar territory that came so natural on his debut smash, so one can only hope that he will find surer footing on his next effort. Until then, a few of these tracks will probably show up on some good playlists, while the rest will remain thankfully dormant.
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