Laserbeams and Dreams (2011, City Salvage Records/UFO)

Laserbeams and Dreams was recorded over a twenty-four hour period with a lone bottleneck guitar overdub on "Pennsylvania Blues."  The album was mixed in the studio as Friedman, bassist Stephan Crump (Vijay Iyer), and guitarist David "Goody" Goodrich (Chris Smither) rolled along.  "May I Rest When Death Approaches" is based upon poems written by Friedman's father-in-law during his final hours.

The subjects Friedman chooses for his songs, from the late folk musician John Herald (“Roll on, John Herald”) to the lack of peace in a digital age (“Quiet Blues”), display a traditionalist’s longing for things bygone, but anyone who can leap nimbly from referencing songwriter Danny O’Keefe of “Good Time Charlie’s Got the Blues” fame to painter Georgia O’Keeffe within a single line on “Down by the Willow” will never be lacking for a fresh perspective.
— James Allen,

Weary Things (2009, City Salvage Records/UFO)

"What Friedman sees through his windshield isn't Greil Marcus's Old Weird America, but the weird new America where the pastoral is no longer pure."  —from the album's liner notes, written by author David Gates

Friedman has a mastery of wordy self-loathing that many white dudes with guitars would kill for.
— Nashville Scene

Taken Man (2006, City Salvage Records/UFO)

Friedman's debut album of original songs, Taken Man was recorded less than a year after the artist learned his first chords on the guitar.  The album features appearances by Old Crow Medicine Show's Ketch Secor, Paul Curreri, Devon Sproule, Natalia Zukerman, and Melissa Ferrick.  The title track appeared at #30 on a "207 Best Songs To Download in 2007" list compiled by The New York Post, while the song "Probably Shouldn't Call" was cited by The Avett Brothers' Scott Avett among one of his favorites in a 2012 Vanity Fair interview.

He may sound like Lou Reed channeling a Bob Dylan head cold, and plays old school country so worn down even the ruts have ruts, but this is no nostalgia or novelty act. In the end, Friedman’s songs work because they’re both clever and poignant enough that you won’t care if he is playing Strauss waltzes on a Jew’s harp and sings like Roseanne Barr.
— Creative Loafing