Album Review: DB Edmunds — Everybody Knows by Now

DB Edmunds released his debut solo EP, Life’s Wild Ride in 2022. That set was the first new music I had heard from the North Carolina multi-instrumentalist since his days in criminally-overlooked power pop group Gladhands (a band I rave about every chance I get, even decades on).

As much as I enjoyed Life’s Wild Ride, it frustrated me a bit in the way that EPs inevitably do: Can’t there be more? So I waited patiently for a followup, and here it is. Everybody Knows By Now is a full-length, 11 songs totaling over 40 minutes of music. So the quantity box is thus checked; what about the quality?

The title of the opening track hints at the answer: “Give it all You Got” features phase-shifted guitar, a solid beat and – best of all – Edmunds’ distinctive vocals, one of the main ingredients that made Gladhands albums to irresistible and satisfying. An uncluttered arrangement highlights the elements of Edmunds’ songcraft, wrapping them in a chiming melodic package.

“Can You Feel It?” is up next, and the answer is yes. Swirling organ and propulsive beat power this anthemic rocker. Guitar counterpoint under the vocals adds some nice texture, and the variety of tones/textures makes the song even better.

Edmunds changes up the vibe for “Chasing Yesterday.” A contemplative tune built around a subtly jazz-flavored acoustic guitar, the song has an arrangement that unfolds gradually, the aural equivalent of a dolly camera puling back on a scene to reveal a full and lush landscape. Understated use of synthesizer deepens the emotional resonance of the song, and once again Edmunds’ pliant and assured vocal harmonies are showcased.

“(Don’t You go) Wishing in a Falling Star” is nicely reminiscent of Nazz, the Todd Rundgren group whose “Forget All About It” was so expertly covered by Gladhands decades ago. An especially memorable guitar break – with a Pete Townshend-ish rhythm-meets-lead character – anchors the track.

The high powered “Gin & Vermouth” features acerbic lyrics and an Attractions-ish combo organ to match. Insistent guitar chording, exuberant bursts of drums and some well-placed ba-ba-ba vocalisms (I’m a sucker for those) make a strong tune even better. The effects applied to the backing vocals is a nice touch as well.

Pacing and sequencing are important – and all too often neglected – parts of an effective album. And Edmunds clearly puts thought into those elements. “At the Break of Day” is a wonderful instrumental reminiscent (in character, not melody) of the intro to Big Star’s classic “Watch the Sunrise.”

The chiming “All the Possibilities” has a Paisley Underground feel, successfully fusing the best qualities of ‘60s psych, ‘80s alternarock and ‘90s power pop revival into something that sounds and feels timeless. Edmunds’ vocal arrangement am the manner in which the instrumentation changes up for the middle eights are just two of the song’s many virtues.

An album outlier in terms of style, “See the Lights Go Down” emphasizes keyboards for its first minute. From there the song expands into a solid, midtempo sawing rocker than moves the keyboard into a supporting role. A very appealing and evocative guitar break makes effective use of overdubbing.

The earnest “Blind Faith” is filled with the sort of catchy sonic elements one by now expects from DB Edmunds, but the song’s pointed lyrics are the true key to its success. The simmering “The Weight of the World” is positively cinematic and noir-ish in its character. Edmunds’ waltzing minor key melody is couched in a booming, cavernous and melancholy arrangement that suits it perfectly.

The intimate and spare “This Time Around” ends the album on a resigned and heartfelt note. Edmunds’ lyrics express regret and hope for the future, all at once. It’s a note-perfect way to close a breathtakingly realized album.

Edmunds produced the album, but special mention should be made of the superb mixing of Everybody Knows by Now, courtesy of legendary producer/engineer Mitch Easter. And while it’s Edmunds’ name on the cover, his band is in top form here, well deserving of name-checking: Larry Burlison (guitars), Gary Miller (Bass), Mike Walters (keys) and Tony Stiglitz (drums).

Personal postscript: Owing to a backlog of great albums on my desk, coupled with a rather inflexible first-in-first-out policy, Everybody Knows by Now has sat unreviewed in my office since late October. So even while it’s only just now getting proper coverage here, it deserves mention as one of my favorite releases of 2024. Highly, highly recommended.