Jonathan Wilson has been quietly earning a reputation as a musical jack-of-all-trades. He is adept behind the recording console, possesses a luthier's knowledge of all things strummed, and maintains the innate ability to conceptualize an instrument essential to providing the right color to a track in need of a defining detail. Wilson has worked with promising new recording artists like Dawes, contemporary artists such as Erykah Badu and Elvis Costello, and Rock and Roll Hall of Famers, Jackson Browne, and Robbie Robertson. A Forest City, North Carolina native, Wilson's debut solo album Gentle Spirit is remarkably evocative of that golden late '60s, early '70s period when rural and urban sensibilities colluded in producing some of rock's most imperishable recordings.
While Kelley Stoltz's nigh-religious reverence for all things Beatles, Beach Boys and Kinks has been at the fore on recent albums Below the Branches and Circular Sounds, his new album, To Dreamers, blends a bit more post-punk abandon into its layered everyman pop. Tasteful horn adornments blow against tom-tom beats and 12-string guitars meet reverbed mellotrons, under Stoltz's warm vocals. Kelley, now a veritable godfather to the burgeoning San Francisco under/over-ground (folks like Thee Oh Sees, Sonny & the Sunsets, The Fresh & Onlys), has blazed a path since the late '90s as a home-recording guru and multi-instrumentalist.