Endless Skyways by Bobby Lee

**** “seriously good” Will Hodgkinson, The Times
“Heady instrumental vignettes of imagined scenes and moods….an erudite and electrifying ripper” **** Mojo Magazine
“bridging the Cosmic American causeway with a Teutonic tenacity … the record feels like the most complete version of what Lee’s been whittling away at over the past few years.” Raven Sings The Blues
“a soothing lullaby for our weary times” 8/10, Loud and Quiet
“a rich, complex tapestry and deep listening experience … a huge step forward from Bobby Lee … an exciting and fascinating piece of work” Folk Radio UK
“a spiritual guide for the contemporary ultra-heady Americana jam cult, delivers a defining culmination of his signature cosmic farmstead choogle” New Commute

Endless Skyways is Bobby Lee’s third full album and second release on Tompkins Square. Returning to the full band sound of his debut, the name “Endless Skyways” is borrowed from a line in Woody Guthrie’s This Land Is Your Land, one of the cornerstones of American music. That song’s mix of the terrestrial (“ribbons of highway”) and celestial consciousness encapsulates Lee’s brand of widescreen cosmic americana; a duality also evident in the album’s split between deep-fried rural rock and ambient country. Dusty boots but third eye open.

Opener and lead single “Reds For A Blue Planet” inhabits a geographically different realm to any of Lee’s previous work, equal parts Michael Chapman’s Anglo-Primitivism and Tinariwen’s desert-choogle. Slowdive/Mojave 3’s Ian McCutcheon turns in a muscular drum performance, with just a hint of sleng-teng creeping into Mark Armstrong’s bassline. The title hints at an ecological frustration which radiates through the taut, spiraling, modal grooves.

Origin Myths’ “Impregnated by Drops of Rainbow” is revisited here in full band garb, shifting gear from the 117 seconds of skeletal krautrock into almost 7 minutes of soaring Kosmiche Country, complete with a glistening pedal steel solo from Joe Harvey-Whyte. Neu Riders of The Purple Sage, if you will.

“Thunder Travels To Loftier Mountain Heights” is a gradually evolving waking dream of gently chugging tremolo and delicate interplay between Piano (a rare foray away from the drums from Guy Whittaker) and Fender Rhodes, redolent of Brightblack Morning Light, or Spirit of Eden-era Talk Talk. Picture the scene; a gang of slow movin’ outlaws briefly glimpsing eternity after a rare downpour in the desert. McCutcheon’s drums echo through the canyons and out into space…

The woozy swamp rock of “Acid Grassland” is a return to more familiar territory for Bobby; an ancient drum machine moseys along with a loping groove and riff straight outta Cosmo’s Factory. Joe Harvey-Whyte appears again with the most fuzzed-out pedal steel this side of Sneaky Pete on “Christine’s Tune”.

Bobby Lee trades in a wide screen brand of cosmic country-folk, full of space and pawn shop guitars. There are touches of JJ Cale's analogue Americana, the swampy groove of Tony Joe White and Richard Thompson's sinewy, modal guitar work. Amps hum in the warm afternoon sun, kids and dogs snooze on the grass and broken drum machines keep time with the universe…