Lee Simmons, Doniphan Nights

Lee Simmons’ Doniphan Nights is an indie gem that should make Texans proud. Simmons produced it himself — besides track six — in his home studio in Austin, where he received assistance from other Austinite musicians. He is not just the average singer/songwriter, but original in his craft. This CD is peaceful and great to sleep to, but don’t take that as an insult to its energy. Doniphan Nights should also be enjoyed when you are most alert and ready to take in each aspect of its musical splendor. Simmons looks unassuming with his bald head, like a straight version of Michael Stipe, and he made this EP in memory of a dear friend, Colin Holst, which makes it all the more sincere-sounding when you listen to it.

The first song, “City Lights,” can be described quite simply as pretty. It’s basic and smart, with a ukulele, xylophone, a synthesizer, and a single set of vocals. Simmons doesn’t rely on any excess to back up his sweet voice, because it is capable of making magic on its own. The harmonies don’t enter until the last minute of the song, and it ends with a drawn-out note on a cello (its first appearance). “Waiting for Something to Happen” has a more country feel, with a steel guitar and husky backup vocals from a man alongside a gentler woman. “I’m a wreck / It’s no surprise / Steal my heart / then paint your eyes,” he sings in exasperation. “Vive Le Bombe” combines a jazzy feel with a bluegrass one, utilizing a banjo and an upright bass. “The Surface” uses a shaker and humming as a light backup to Simmons, which builds into an occasional repeated word, and eventually leads to Simmons whistling. He sings this optimistic simile for the chorus: “Like salt to the sea / eventually / good things will rise up to the surface.”

Simmons takes advantage of his limited amount of songs (six, plus a seventh secret song) by making them long enough to fill thirty minutes altogether and each distinct enough to belong to an entirely different genre. He explores a wide range of territory here, which can make a person sound amateurish in their weaker spots, but he shines in all. You can tell he spent plenty of time mulling this one over before its release — seven months, to be exact. To his merit, Simmons has opened up for several famous acts, one of which I cringe to admit is Hanson. I think he deserves much better. I’d recommend him to fans of Damien Rice, Rufus Wainwright, or Jeff Buckley. He is one of those captivating male singers who can work wonders with his voice alone, but with the right music behind him, he can do no wrong.