Amos Lee

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December 30, 2010


Amos Lee is a singer-songwriter and guitarist from Philadelphia, Pennsylvania. His musical style encompasses folk, soul, and jazz. He has released two albums on Blue Note Records, Amos Lee and Supply and Demand. He has been on tour with musicians such as Bob Dylan, Norah Jones, Paul Simon, and Merle Haggard. Lee performs with drummer Fred Berman and bassist Jaron Olevsky. Some of his musical influences include Stevie Wonder, John Prine, Bill Withers, and James Taylor.

Lee Alexander, the bassist in Norah Jones’ band, produced Amos Lee’s self-titled debut album, which was released in March of 2005. Norah Jones made an appearance on several of the tracks, playing piano and contributing vocals.

The album found significant commercial success, hitting a peak of #2 on the Billboard Top Heatseekers chart.[2] Later that month he was named one of Rolling Stone’s “Top 10 Artists to Watch.”

To promote the album, Lee performed on popular television shows such as The Late Show with David Letterman, The Tonight Show, Total Request Live, and Austin City Limits, the latter on August 10, 2005, which was also aired on PBS on November 11 of that year. In March and April of 2005, Lee opened for Merle Haggard and Bob Dylan. Lee’s song “Colors” was featured on House[4] and on the finale of the second season of Grey’s Anatomy. It was also used in the 2005 movie Just Like Heaven, which featured Reese Witherspoon and Mark Ruffalo. The song “Colors” was also used in an episode in the first season of abc’s “Brothers & Sisters”. Lee’s songs “Shout Out Loud” and “Keep It Loose, Keep It Tight” were both used during the first season of the ABC show Six Degrees. “Keep It Loose, Keep It Tight” was also heard during the first season of NBC’s Studio 60. NBC also utilised Lee’s “Seen It All Before” on an episode of their widely-acclaimed ER primetime drama series.

Lee’s second album, titled Supply and Demand, was released October 3, 2006 in the United States. The album was produced by Natalie Merchant’s bassist Barrie Maguire, and peaked at #76 on the Billboard 200. Jazz singer Lizz Wright contributed background vocals on the song “Freedom”. The first single from the album is “Shout Out Loud.”[6] To promote the album, Lee played on The Tonight Show on September 28, 2006. The track “Skipping Stone” also played on the ER episode “Dying Is Easy” (originally aired February 8th 2007).

Regina loves Amos Lee and often plays his debut album first thing in the morning around the house. Watch Amos play in this video Live at NY Society for Ethical Culture (WFUV) 2006.
Amos Lee Amos Lee - Amos LeeThough Amos Lee’s music is frequently described as a fusion of folk and soul, such an equation fails to reflect the singular artistry of this impressive debut. Like labelmate Norah Jones (who guests on two cuts), the Philadelphia singer-songwriter recognizes the power of simplicity, distilling an emotional essence that cuts across categories. The opening of his “Seen It All Before” echoes Bob Dylan’s “Knockin’ on Heaven’s Door”; the stunning “Arms of a Woman” channels Otis Redding’s “I’ve Got Dreams to Remember”; “Give It Up” cuts a classic Bill Withers groove; “Black River” has the sound of an age-old spiritual; and the closing “All My Friends” follows Van Morrison into the mystic. Throughout the song cycle, the bare-bones arrangements behind Lee’s vocal flutter reinforce an organic unity that transcends genre. For all of the debts he owes to the music of the 1960s and ’70s, the results sound timeless rather than retro. In his cautionary “Soul Suckers,” Lee sings that “nothing is more powerful than beauty in a wicked world”–and proceeds to prove it.
Supply and Demand Amos Lee - Supply and DemandBorn to be mild? Amos Lee’s sophomore effort for Blue Note follows firmly in the gentle guitar strums of his well-received 2005 debut and opening slots for Norah Jones and Bob Dylan. Little has changed the second time around, which will come as a relief to those enthralled by his first release. He remains a sensitive sort, mixing his insightful, reflective lyrics with lovely, unforced melodies played by backing musicians that stay on low boil. These tunes go down as smoothly as hot chocolate on a cold day, yet Lee brings an unassuming sincerity to the proceedings with his cozy, amiable voice. Comparisons to Bill Withers and James Taylor are accurate if inevitable, but when the gospel organ quivers into “Skipping Stone,” it’s clear Lee isn’t stuck in a folk-pop rut.

Lee’s approach is similar to the way Keb’ Mo’ treats the blues–he injects his cushy personality into an established genre, writes good if somewhat casual songs, and doesn’t push the envelope too far. The final third of the album is perhaps too mellow, and a few midtempo tracks could have perked things up. But adult-contemporary fans looking for dependable Sunday morning music will welcome Supply and Demand as a quality follow-up brimming with subtle soul, style, and sophistication.

Click the name of the track to check out these samples:
Shout out Loud
Sympathize
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