“Welcome to my record, welcome to the show …” So begins the first song on Mississippian Dent May’s 2009 debut album, The Good Feeling Music of Dent May and His Magnificent Ukulele. The tune’s called “Welcome,” naturally. The guy’s a showman and that’s obvious right out the gate. There’s a touch of the over-wrought all over this record, from the madly dorky themes (e.g. “College Town Boy”) to the tuba and ukulele instrumentation, and I love it. The vocal crooning here is simply exquisite, particularly on “At the Academic Conference.” Personally I prefer a few of these tunes in their demo form on the previously released EP A Brush With Velvet but you won’t go wrong with either.

As great as these two early releases are, art stands still for no man. Definitely not Dent May. Casting aside his uke and show crooner persona May developed a formidable array of musical personalities over the course of his next five albums. Each new Dent May album is like spending a day with a brand new friend. Everything is so new and novel and exciting. The transition began with 2012’s Do Things. The vibe is strongly Beach Boys with a touch of synth experimentation and seventies disco, particularly the bass work. “Fun” is your needle-drop essential cut here, a sure-fire repeat player. 2013’s Warm Blanket intensifies some of the Brian Wilson-isms on cuts like “Turn Up the Speakers” and “It Takes a Long Time” and takes them in new directions. It’s like Brian didn’t lose his mind after all. 2017’s Across the Multiverse steps on the Harry Nilsson pedal on songs like “Face Down in the Gutter of Your Love.” Then 2020’s Late Checkout is like a great big hug from so many 1970s sonic styles. There’s more than hint of yacht rock, some Rupert Holmes-worthy clever AM pop, and a lush feel to whatever instrument is up front in the mix whether its acoustic guitar, keyboard, or the vocal. Lead single “I Could Use a Miracle” really captures all this and more.

All of which brings us to the present, Dent May’s most recent album, 2024’s What’s for Breakfast? This one really is a level up from everything else, and everything else was pretty amazing. But here I think there’s more range across the songwriting and an effective deployment of May’s penchant for sonic washes from yesteryear. “One Call, That’s All” is should-be hit single material for sure. I’m already hitting replay. But “Coasting on Fumes” is actually my present fave from the record. Jordana’s vocal help really adds a something special while the taut lead guitar melody line makes for a striking backdrop. “Heaven on Wheels” is another rival for radio play, with a chorus hook built for car speakers everywhere. And I can totally hear Harry Nilsson doing a cover of “Singing for my Supper.” Album closer “Let’s Take It From the Top” nails an early 1980s soft rock feel.

You can dip in anywhere on Dent May’s deliciously creative oeuvre and you won’t be disappointed. He’s like an aural auteur, crystalizing a distinct sonic vision with each album he releases. Hit the bandcamp and website links to get access to the whole package and judge for yourself.