Singer-songwriter Robert Deeble lives in Seattle, but as a musician, he simultaneously inhabits well-trodden ground; although the man’s sizable discography has garnered deserved acclaim and welcomed the input of numerous notable guests, thus far he’s flown somewhat under the radar. With his new record Beloved, this just might change, as the 11 tracks heighten Deeble’s already substantial emotional heft through sharp writing and execution; altogether, it feels like his strongest record yet, and undeniably his most personal. It’s out March 30 on vinyl, compact disc, and digital through Mind Bomb Publishing.
Regarding musicians (and the bands they frequently constitute), the ranks of the underappreciated are considerable in number, and perpetually so. However, this unfortunate (if obviously subjective) circumstance seems especially common within the realms of the singer-songwriter. Or perhaps better said, for many practitioners of the style who’ve been saddled with the baggage of not getting enough recognition, it becomes one aspect of the overall allure; to those listeners who do appreciate the work, it can become part of the appeal.
Ah, the basis of cult status. Fred Neil, Karen Dalton, Tim Hardin, Tim Buckley, Judee Sill, John Prine, Nick Drake, Townes Van Zandt, Guy Clark, Victoria Williams, Mark Eitzel, Howe Gelb, Vic Chesnutt; the list can continue for a while, but (along with a tendency for leaving us too soon) it’s a stone cinch that this sampling would’ve preferred/ would still welcome a larger listenership to the small, intense fanbases they achieved and maintain.
It’s probably a stretch to tag Robert Deeble as a cult singer-songwriter, but it feels right to say he’s gathered a committed following, which in our crowded contemporary musical landscape is no small accomplishment. His is modest success that’s unfolded gradually. Deeble debuted in 1994 with Days Like These, a record with a few strong moments including a closing guest spot from Victoria Williams, but he made considerable strides with Earthside Down, which came out ’98, and progressed through three more full-lengths, ’03’s Thirteen Stories, ’05’s This Bar Has No One Left, and ’11’s Heart Like Feathers.