Chris Stamey has spent a lifetime shaping the sound of what would become indie rock, but with his new album Anything Is Possible, he turns the clock back to the music that first lit his imagination. It's an album that carries the warmth of a personal time capsule, blending harmonically rich pop with the innocence of AM radio and the adventurous spirit of the '60s.

Stamey, known for co-founding the avant-pop band the dB’s, playing with Alex Chilton in the '70s, and more recently joining Jody Stephens’s Big Star Quintet and the Salt Collective, produced the album at his own Modern Recording in Chapel Hill, North Carolina. It’s a set that draws on his encyclopedic knowledge of pop songcraft but never loses sight of the wide-eyed magic that first inspired him.

The guest list is just as impressive as the songs themselves, with appearances from the Lemon Twigs, Marshall Crenshaw, Pat Sansone of Wilco, Probyn Gregory from Brian Wilson’s band, Robert Sledge of Ben Folds Five, and longtime friends Mitch Easter and Don Dixon. These voices and players bring dimension to Stamey’s orchestrations, which were first workshopped in Los Angeles with members of the Wild Honey Orchestra before being refined in North Carolina with a revolving cast of musicians.

Highlights abound. “I’d Be Lost Without You” builds from a sparse piano sketch into a lush production that calls on the twangy touch of Mitch Easter, the orchestral percussion of Rob Ladd, and towering harmonies from the Lemon Twigs. The title track was born from Stamey’s fascination with Harry Nilsson and Brian Wilson, but it roars to life with the electric energy of the Twigs and Easter channeling his teenage drumming fire. “When My Ship Comes In” slows the pace for a WWII-era style lullaby that echoes the longing of separation and hope for reunion. And the lone cover, “Don’t Talk (Put Your Head on My Shoulder),” reimagines Brian Wilson’s Pet Sounds ballad as a widescreen Wrecking Crew-inspired arrangement, complete with strings, brass, and choral harmonies that restore pieces cut from the original mix.

Critics have responded warmly. The Vinyl District called the album “among his best work,” praising how Stamey “basks in classicism without faltering into the overly labored.” The Big Takeover, meanwhile, wrote that it is “impeccably produced, confidently performed, and with melodies for miles.”

Across it all, Stamey’s touch is both reverent and inventive, pulling threads from his deep history with pop innovators while weaving them into something wholly his own. Anything Is Possible is not just a reflection on the past but a fresh testament to Stamey’s restless creativity and enduring love for song.