A. Lee Edwards – Interpreting Heart Sounds, Vol. I (2025)
After three decades of music-making, A. Lee Edwards steps into the solo spotlight with Interpreting Heart Sounds, Vol. I, a collection that proves good things come to those who wait. Rooted in soundscapes of country with hints of folk and bluegrass, Edwards’ debut solo album showcases his talent for storytelling, bolstered by a band of seasoned musicians and his own reflective songwriting. The result is a confidently easy listen – one that feels as natural as a front-porch conversation under the late afternoon sun.
Leading the album is the first single, ‘Ride On’, a folk-meets-bluegrass number that sets the tone for what follows: timeless tales delivered with warmth and wisdom. Edwards’ voice, steady and unpretentious, feels like an old friend guiding listeners through chapters of his life. His songwriting echoes the likes of John Prine, blending humour and humility with a knack for capturing life’s simple truths.
Recorded at Asheville’s Echo Mountain Recording Studios and mixed in Aberdeen, Scotland by John Wood (Nick Drake, Fairport Convention), the album benefits from both local talent and legendary touch. Pedal steel from Matthew Smith (Amy Ray Band) and Ryan Stigmon (Zach Top) drifts gracefully throughout the tracks, while Julian Pinelli’s fiddle (Peter Rowan, Bella White) adds a rustic richness. Guest appearances from Richard Thompson and Clive Gregson elevate the album further, though the spotlight firmly remains on Edwards’ thoughtful songwriting.
The album’s highlights reveal Edwards’ range as both a storyteller and a performer. ‘Carolina Blue’, the third single, is a folky rambler inspired by Edwards’ move to the Nantahala National Forest, where past memories and present reflections intertwine. Pinelli’s fiddle and Stigmon’s dobro create a soundscape as expansive as the landscape that inspired it. Meanwhile, ‘John on the Run’ delivers a poignant narrative of empathy and second chances, with Edwards reminding us: “Before you go pointing your finger, what if it was your daughter or son?” Richard Thompson’s guitar work on the track adds an extra layer of emotional depth.
The album remains grounded in country roots but isn’t afraid to explore. ‘Get Out/Get In’ introduces a ‘60s rock vibe with a driving beat that propels the album forward without straying too far from its foundation. Edwards’ laid-back vocals glide over the instrumentation, capturing the freedom of rolling down the windows and hitting the open road. On ‘Goats on Ropes’, a playful groove pairs with witty lyrics, channelling Willie Nelson’s lighthearted spirit. ‘Mexico’ takes a detour to the coast, showcasing Edwards’ ability to transport listeners with vivid place-based storytelling, reminiscent of Guy Clark.
Ultimately, Interpreting Heart Sounds, Vol. I, is an album of comfort and familiarity – songs that feel as though they’ve always existed, waiting to be heard. Edwards’ experience shines through in every note, yet the album never feels overworked or forced. Instead, it’s a natural extension of a life spent listening, observing, and translating those moments into song.
As Edwards himself states, his goal is simple: “I’m not trying to set the world on fire, but I’d like for my songs to be heard.” With Interpreting Heart Sounds, Vol. I, he’s done more than that, he’s crafted an album that deserves not just to be heard but remembered. In a fair world, this debut marks the beginning of a well-deserved chapter of recognition for a storyteller whose time has come.
Find out more about A. Lee Edwards on his official website, Facebook, Instagram and Spotify.
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