Album review: The Felice Brothers – Valley of Abandoned Songs (2024 LP)

As a music lover, I am often haunted by a persistent existential dread. I worry about the countless extraordinary songs in the history of music that end up being discarded out of artistic indifference or due to genre standards and “radio-friendly” requirements. It is perhaps a self-imposed fear, but The Felice brothers latest version, Valley of Abandoned Songsjustifies these fears in the best possible way.

Dropped today, Valley of Abandoned Songs is the latest offering from New York folk-Americana-rock-country legends The Felice Brothers. This surprising sequel to the 2023 Asylum on the Hill contains a collection of 13 songs from demos and recordings that did not make it into the 2019 edition. Undressing or Asylum on the Hill. Lead singer and songwriter Ian Felice Originally I wanted to publish this compilation quietly online, but long-time friend Conor Oberst (Shining eyes) had other plans. He founded the label Million Stars specifically for the release Valley of abandoned songs.

It may sound like an exaggeration to say that a collection of B-sides justifies the creation of a whole new music label, but that’s exactly what the Felice Brothers have achieved. They cement their status as one of the most underrated bands in the world with this album full of overlooked gems. Any self-respecting songwriter would envy them the luxury of leaving out songs of this caliber. If you didn’t know that these tracks were originally left off previous albums, you’d be none the wiser. The album is a treasure trove of poetic folk-Americana and is truly something special.

The album opens with “Crime Scene Queen,” a deceptively catchy, sun-drenched soiree about a girl and Los Angeles. Lead singer Ian Felice sings with his characteristic Bob Dylan Style to folk-pop sounds that feel like a seedy film noir detective soundtrack, reminiscent of Australia’s Tim Freedman from The Whitlams. Next up is “Flowers By The Roadside,” a beautiful folk tune that ambles and shuffles its way into your brain. A classic of their songs, this song sounds like sepia tones and film flicker, squeezing every drop of yesteryear nostalgia out of the folk poetry. With lines about sitting among the flowers and butterflies while the world keeps turning, it’s a sweet reflection on the speed of life and the importance of stopping and looking around.

What follows is one of the best songs on the album, “New York By Moonlight.” It can best be described as Billy Joel Song written by Tom is waiting and sung by Bob Dylan. It’s a wonderful piece of admiration and admonition for the beauty and despair of New York City. The intertwining vignettes of old bouncers at the Ritz and flower-bearing prostitutes are contrasted by the Sinatra-tinged style of a lilting piano bar song. Lines like “We’ve got all the vices here in paradise and we’re so glad you came” contrast with scenes of nighttime walks disturbing pigeons in the rain, making the song both an ode and a reflection. The visual storytelling and poetic devices on display here are masterful.

“Younger As The Days Go By” is a more traditional folk-pop song, but one that’s incredibly catchy. With a bobbing drum shuffle, staccato melody, and acoustic guitar riff, this upbeat and, dare I say, poppy tune is a nice change of pace. Lines like “playing jacks in a boxcar for the lonestar state” evoke images of escaping through an America that no longer exists, with a bundle slung over your shoulder. The instrumentation here is also really fun, with the introduction of an organ and super catchy guitar parts. “So Long John” offers a nice contrast and strips things down. With a whistle and guitar to start, this is another example of the excellent and effortless style of storytelling that the band seem to produce at will.

“Black Is My True Love’s Hair” combines traditional Americana folk style with a poetic melody about searching for lost love. This song is a good example of the poetic inspiration the band often uses and works almost as well as a poem as it does as a song. With lyrics like “Black is my true love’s hair, amber of eyes, but she’s gone like a bird of passage, under darkening skies,” it will be a joy to read the album’s lyrics on the back of a vinyl sleeve.

Next up is “Racoon, Rooster and Crow,” a wonderfully entertaining parable about a raccoon, a rooster and a crow that doesn’t take itself too seriously. This piece has a fun country style that is less about “alcohol, dirt roads and trucks” and more about line dancing in the hayloft in a barn. The theme tells the story of these anthropomorphic characters and could easily have been on the soundtrack to Disney’s Robin Hood.

“Strangers Arms” is another complete change of tone that shows the versatility of the band. In the style of a piano ballad from Elton-Johnthis is a beautifully sincere, key-driven tune. Although the keys are the focus, Ian Felice also shows off the versatility of his voice. While he isn’t pretentious or aiming for anything grand, there is always a heart and honesty in his performance that can only come when there is a real connection between the pen and the music.

Next up is “Birdies,” another barn dance-inspired tune. Just when you think there’s a tune you can skip, this one starts with a chorus that really wants to burn itself into your mind like a plasma TV that’s been on for too long. While it has absolutely no right to be as catchy as it is, the youthful style of the lines about little birds and apples on the ground will dig into you and find you humming it into the steering wheel.

“Tomorrow Is Just a Dream Away” is a beautifully crafted acoustic ballad, carried by a wonderfully melancholic vocal and a sweet melody. “Let Me Ride Away With The Horseman” is another song reminiscent of The Whitlams, with some beautiful piano sounds and another example of painting pictures with words. The additional haunting chorus is particularly notable.

It’s difficult to avoid comparisons to Dylan on “Its Midnight and the Doves are in Tears”. The creativity remains intact, it’s a thoughtful piece with biting lyrics and a fitting bar choir la-da-da-da melody that offers a delightful break from the somber lyrics. Rounding out the album is “To Be A Papa”, a beautiful, shuffling ballad that is representative of the album and what the whole body of work offers with its wonderful lyrics, heartfelt vocal performance and lovely folky acoustic style.