You have to accept David Olney’s narratives as he delivers them — the longtime Nashville philosopher-singer-songwriter sings in a gruff, artless voice. A much-covered tunesmith, Olney has released interesting work recently, including his 2010 full-length Dutchman’s Curve, which found the singer meditating on middle-aged lust and painter Johannes Vermeer. Dutchman’s Curve featured Olney’s mix of Slim Harpo licks and literate lyrics, while last year’s EP, Film Noir, found Olney playing around with dark-night-of-the-city tropes. If Film Noir established Olney’s affinities with, say, Tom Waits, his new EP The Stone ought to put Olney up there with Bob Frank or Dylan: When Olney essays the anti-sedition Jesus-blues-rock of the new record’s “Brains,” he’s talking about the modern world. This is how a literate, blues-loving Nashville songwriter with a philosophical bent interprets the last couple of millennia.