ALBUM REVIEW: Reese Fulmer & The Carriage House Band — In The Sunlight
“Starting an album off with a nine-minute-and-twenty-eight second Americana odyssey isn’t for the faint of heart. In fact, it would probably be considered a major risk in some circles.”
Long known for his roles at Caffè Lena, award-winning singer-songwriter Reese Fulmer has since started writing his own story as a musician and storyteller. It would appear that he has learned a thing or two from spending so much time within those hallowed walls. With his Carriage House Band in tow for their debut studio album, Fulmer and company take some risks and provide some comforts as they have you bask In The Sunlight, released on October 24th.
Starting an album off with a nine-minute-and-twenty-eight second Americana odyssey isn’t for the faint of heart. In fact, it would probably be considered a major risk in some circles. Fulmer took the risk and it paid off, seemingly effortlessly, with “Last Call Hound.” The song develops from acoustic guitar, slowly layering in new instrumentation with mandolin and saxophone. That is allowed to marinate until the rest of the band gently enters — evolving into a really nice groove that sits behind an almost call and response between the saxophone and mandolin and sets things up nicely, making its way through the songs form before Fulmer enters with his signature gruff, yet gentle vocals. From there, it feels like you get “caught up in a daydream,” that Fulmer references in his lyrics. There is a sense of tension that is released with what acts as a bridge — Fulmer is accompanied by a perfectly placed vocal harmony. Things return to the main section and after a short vocal reprise, there are some well-placed solos by the electric guitarist and saxophone players, before returning to the main song form. Easily a highlight of the album.
The next highlight for me is track three, “3AM.” The song feels like it could go in so many different directions from the first notes, but it settles into a laid-back Americana tune that almost gets into Alt-Country anthem territory with a chorus that I can imagine fans singing along to in a live setting. In contrast to track one’s slow burn, this song gives almost immediate gratification. It’s a testament to Fullmer’s songwriting abilities and the band’s ability to make either style of composition extremely interesting.
While the album does have a lot more of modern sensibilities for the genres being represented, Fulmer pulls out the more traditional sounds with track five, “Born To Die.” It is a traditional sounding bluegrass tune that is catchy, and will have your toe tapping along — perhaps even singing along. It then gets into a bit of hot jazz territory with a virtuosic saxophone solo. It’s a nice mix of sounds that works well together. At this point, it becomes a question of what can’t the band do?
The next highlight is track eight, “Stealing a Picture.” A subdued, and lovely song that shows a more tender side of Fulmer’s voice. It’s a cleverly crafted song that floats along from start to finish. Fulmer doesn’t focus on structure as much as dynamics and layers to take you through, with an AB form that repeats without getting boring. It’s a nice transition into the final highlight — track nine, “Running in Place.” The opening of the track sees things pick up a bit in tone, while still remaining somewhat subdued until the drums kick in at about a minute in. It's a vibey tune that could be played in a smokey honky tonk or even the most modest of establishments.
With In The Sunlight, Reese Fulmer & The Carriage House Band prove that they are as good in the studio as they are live. The songs sound as polished and refined, as they do raw, fully capturing the band's essence. This album solidifies their presence in the roots music scene, as well as Fulmer’s prowess as a singer, songwriter, and storyteller.
In The Sunlight is available to stream on all major platforms.