Chris Stamey is one of those "six degrees" figures in modern power pop. He and Peter Holsapple recorded three dBs albums (one much later than the first two) and also two albums as a duo. For context, Holsapple is also not famous as the invisible R.E.M. member in the late 80s and early 90s (he then served in the same role for Hootie and the Blowfish). Stamey has performed with Jody Stephens' latest Big Star project, Alex Chilton, and produced such artists as Le Tigre, Whiskeytown, Alejandro Escovedo and Pylon.

Whew!

Chris Stamey Anything Is Possible (Label 51)

Stamey has said this album is a tribute to the harmonies of the 50s and 60s. Which means . . . it's not really all that different from his other albums. Yes, songs like "Meet Me in Midtown" are a bit more Brill Building than his usual haunts, but he's always favored a jangly mix of Motown, Beach Boys and doo-wop. His execution has wavered at times (I wasn't a huge fan of his last effort), but he's always been very earnest and enthusiastic in his sonic affections.

This doesn't quite have the kick of Travels in the South (which stands with Fireworks as the apex of his solo work), but there are lots of lovely moments. The songs benefit from his solid craft, and his production is lush without getting schmaltzy. Not many 70 year olds have the energy for this. Nick Lowe, maybe, and that's never a bad comp.

For my ears, this is a solid return to form. Stamey is a bit more ruminative these days, and I miss his exuberant shouts. But when it comes to making lovely music that is endearingly imperfect, no one does it better. A smile wafting on a late summer breeze.

Jon Worley