They’ll find themselves awash in a dazzling range of styles and grooves-from the jangly, slightly hallucinogenic opener, “In Castle Dome,” to the eerie, minor-key “Accommodations,” which plays out like a Brechtian fever dream. My real hope is that Walker’s “Lillywhite”-and Matthews’ verdict that it is in fact “all Ryley Walker and it’s badass”-will inspire Matthews fans to reach beyond that to “Deafman Glance,” the extraordinary album of original material Walker released in May.
Most of the tracks from Matthews’ unreleased album have long been accessible online, and it’s revelatory to hear, for instance, Walker’s more nuanced take on “Grace Is Gone,” the rhythmic sophistication and jazz-infused sax line he brings to “Big Eyed Fish,” and his hauntingly beautiful vocals on “Grey Street.” When he sings, “She thinks, ‘Hey! / Why do I live to this? / I’m latest on life / How did it end like this?” the hairs on your nape may quiver in ravishment. And the thing is, the album really is sensational. If that prompts even a fraction of Matthews’ fan base to check out the album, Walker could wind up with the biggest hit of a still-young career. It’s all its own… If you didn’t know what inspired it, it wouldn’t matter.”
And he managed to score Matthews’ endorsement in the bargain: on his Facebook page, Matthews posted that Walker’s “Lillywhite” is “more than a cover record. Chicago singer-songwriter Ryley Walker pulled off an ingenious marketing coup last month when he released “The Lillywhite Sessions,” on which he covers, from beginning to end, the famous “lost” album of the same name by the Dave Matthews Band.
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