Aaron Lee Tasjan
Karma For Cheap
(New West)
Rating: 3.5 out of 5 stars
Few contemporary acts have taken stylistic leaps as radical as singer-songwriter Aaron Lee Tasjan. Get ready for another one.
It seems like yesterday — well, actually 2015 — he was hailed as a bright new talent on the Americana scene with his self-released album, even after spending years in the trenches as a supporting guitar for hire. His 2016 New West debut found him carving out a Harry Nilsson/Randy Newman/Jimmy Webb songwriting niche with slight Beatle-esque nods. On album number three he moves artistically from East Nashville to the UK, at least for 40 minutes, by ramping up the Beatles, well, more Badfinger influences while diving into retro glam and even British folk with a vigor and playful intensity that’s entrancing.
It’s a bright, glistening, sunshiny set with production by both Tasjan and Jeff Trott (Sheryl Crow) that’s as much to praise for this disc’s success as the songwriting. Tasjan shifts from a heavy T. Rex attack on the sly wordplay and thumping drums of “The Rest Is Yet To Come” to the Tom Petty infused “Heart Slows Down.” The Petty connection is noteworthy because of how the late icon gravitated towards the UK pop reflected here. Tasjan tellingly partially dedicates this album to him in the notes.
The singer-songwriter heads back to the States for a Roy Orbison/Chris Isaak/Raul Malo styled ballad “Strange Shadows” with its tom tom drums, heavily reverbed guitar and Buddy Holly-inspired melody. The Nilsson references are also apparent on the sweet, acoustic “Dream Dreamer,” especially on the falsetto vocals. But the majority of the set finds that early ’70s Bowie sweet spot as on “The Truth Is So Hard To Believe,” which boasts a strong Oasis approach in its wiry guitars and crowd pleasing chorus.
All the elements combine for the Petty/Eagles influenced “End Of The Day” about a “sweet angel” who abandoned her dreams and “traded her harp for a mansion on Music Row,” and the Audley Freed co-composed “Crawling at Your Feet,” songs boasting an alluring yet nonchalant swaggering groove.
Ultimately, this set succeeds because of how natural and effortless it feels. Like Petty’s writing, these songs seem to emerge fully formed. Tasjan appears at home in this sonic environment, but unfortunately for us, it’s likely just another stop on a constantly evolving career arc. It’s one that has legs though, even if it leaves you wondering what he’s got up his sleeve for future releases.