An indie crooner with an eye to the mid-century vocal era of a thirty-something
Frank Sinatra and
Dean Martin,
Cameron Avery makes a surprising solo debut with
Ripe Dreams, Pipe Dreams. It's a distinct break from the psych-rock of his former band
Pond and association with
Tame Impala as touring bassist, as well as from his noisier garage revival band, the Growl. The Australian instead embraces strings, piano, and, on occasion, impulsive electric guitar inspired by early rock and scenes of the '60s. The album opens with the acoustic guitar serenade "A Time and Place," backed lightly by double bass, brushed drum kit, and saxophone. Strings soon join the set's tenderer arrangements, all led by
Avery's ripe baritone. While the track list opens with tunes that could pass as covers of
the Rat Pack, he blends heavier drums, electric guitar, and strings into "Wasted on Fidelity," which has a more modern sensibility, if an equally tuneful one. Trashy guitar tones à la
the Beatles' "Taxman" toughen up "The Cry of Captain Hollywood," an interlude with dramatic strings, and he hits peak rock & roll on "Watch Me Take It Away," a slinky, percussive romp with fat fuzz while
Avery growls the song's title with emphasis. Though
Ripe Dreams, Pipe Dreams would never be mistaken for a 60-year-old recording, it has an undeniably theatrical quality that owes a debt to that era's movie themes and composer-for-hire balladry.
Avery himself has referenced
Sinatra,
Johnny Hartman,
Elvis Presley, and
Etta James among its inspirations. He throws the kitchen sink at the closer, "C'est Toi," which incorporates slide guitar, soaring strings, dramatic starts and stops, and lyrics in the superlative. Like the whole album, it's a hard sell that pays off with a lasting impression. ~ Marcy Donelson