Richard Shindell’s Movies of the Mind

Richard Shindell
“Blue Divide”
Shanachie Records
1994

Early on, New York-raised Richard Shindell established himself as a contemplative and gifted songwriter. He was never in better form than on his 1994 sophomore release “Blue Divide.” Over its ten tracks, he paints vivid portraits of what it means to be human, from our loves, deceits, pride, lust, nobility, cowardice, and occasionally redemption.

The album opens with “A Summer Wind, A Cotton Dress,” a reminiscence of unattainable love. Next, “Fishing” takes us inside the mind of an immigration officer as he interrogates his captive. Time has only made this song more poignant in the current age of daily headlines recounting ICE agents’ callousness and inhumanity to man.

“The Ballad of Mary Magdalen” imagines the biblical figure’s feelings for Jesus, first as a man and then as a deity. “Lazy” celebrates a lighthearted moment of savoring quiet domesticity.

In “The Things I Have Seen,” optimistic patriotism collides with disillusionment after the speaker witnesses battle firsthand. The speaker bears the wounds that the world seems never to tire of probing. The Civil War companion piece “Arrowhead” is told from the perspective of a Confederate drummer boy.

Shindell’s movies of the mind next take us inside prison walls, where a condemned man contemplates the hereafter as he bears the weight of his life’s choices in “Ascent.” The album fittingly closes with the title track, leaving a sense of restlessness and a glimmer of hope.

The band lineup for this project includes Richard Shindell on vocals and acoustic guitar, Steve Addabbo on Hammond organ and electric guitar, Kenneth Blevins on drums, Larry Campbell on lap steel, pedal steel and mandolin, Séamus Egan on mandolin and uilleann pipes, Peter Freeman on synthesizer, Mark Hamza on Hammond organ, Lucy Kaplansky on harmony, Juan Patiño on percussion, Dave Richards and Michael Visceglia on bass, and John Whelan on button accordion. 

Richard Shindell is among the most talented storytellers of our time and deserves a much larger audience. His other noteworthy albums include “Sparrows Point,” “Somewhere Near Paterson,” and “Reunion Hill.”

Kim Taylor's Overlooked Classic

Kim Taylor
“Build You Up” EP
Kim Taylor (self-released)
2011

Kim Taylor possesses one of the most stunningly beautiful voices, and the clarity of thought in her lyrics is exceptional! Born in Miami, Florida, in 1973, and making her home today in Cincinnati, Ohio, she delivers a smooth, laid-back contemporary folk sound that is near-addictive. In addition to having recorded several full-length solo albums and EPs over the past two decades, she is also a member of the duo Water and Sand alongside fellow singer-songwriter Todd Thibaud.

Kim Taylor’s 2011 EP “Build You Up” is a seven-track collection that repackaged her earlier EP “The Greatest Story” from 2008 and added two additional tracks: "I Am You" and the title track "Build You Up." If you’re new to Kim Taylor’s music, I enthusiastically recommend the “Build You Up” EP as a bite-sized introduction to her body of work. Taylor shines brightly on every track here, and even Over the Rhine’s stellar cover of “Days Like This” doesn’t match the simple beauty of Kim’s original, life-affirming version featured here.

As with many digital releases, credits are minimal: the piano on the title track, the acoustic guitar and drums on “Days Like This,” and the balance of the tracks are uncredited. What is clear is that Taylor’s beautiful voice and songwriting combine to deliver an immensely satisfying work that remains one of my all-time favorites. If you desire heartfelt lyrics, beautifully delivered, you can do no better than this overlooked treasure. 

Lynn Miles Warms Winter Nights

Lynn Miles
“Winter"
Lynn Miles (self-released)
2015

On her 2015 seasonal release, “Winter,” Quebec-born Lynn Miles delivered 12 originals and one cover of a Jesse Winchester favorite. It is an enjoyable, unconventional collection of reflective pieces, ranging from deep and thoughtful to humorous. The songs are similar to those of fellow Canadian artist/songwriters Shania Twain’s "God Bless the Child" and Jann Arden’s "Still Here" in that they, in turn, look outward at the real world as it is with a healthy dose of introspection and a touch of whimsy.

In the album’s opener, “Last Night,” she pays tribute to the matriarch of Canadian folk, Joni Mitchell, referencing “The River” as Fall transitions into Winter. "Just Let It Snow" is all about slowing down and accepting things as they are, and not being weighed down by the end of a challenging year. The presence of snow is significant in many of the songs, as with "Little Snowflake," which appreciates the beauty and elegance of snowflakes as they fall. By contrast, "High Heels in the Snow" reflects on the tragic life of a teenage prostitute.

"The Coldest Winter in the History of the World" recounts the exhausting days of harsh winter weather when "It's hard to walk, it's even harder to be nice." This, contrasting with Miles' cover of Jesse Winchester's "Wintery Feeling," celebrates the splendour of falling snow in Montreal, acknowledging "You'll take the sun for granted if you outrun every storm."

"Casino el Camino" and "Christmas Makes Me Miss You More" vividly depict a musician's life on tour and the solitude of the holidays. "Santa Claus Parade" pleads with a grinchy lover not to "rain on my Santa Claus Parade," while "Blue Moon Bar," featuring Rebecca Campbell's vocals, presents a sombre honky-tonk scene on Christmas Eve.

The album finishes on a high note with the lively country rocker "Twenty Pound Turkey," a song that truly deserves a spot alongside Robert Earl Keen, Jr.'s classic "Merry Christmas from the Family."

This highly recommended collection showcases the talents of Lynn Miles on vocals and guitar, Keith Glass on guitar and electric guitar, Dina Maccabee on viola, Andrew Tholl on violin, and Chris Votek on cello, with Peter Kiesewalter composing the string quartet arrangements.

A Melancholy Christmas with Dustin Kensrue

Dustin Kensrue
“This Good Night Is Still Everywhere”
Vagrant Records
2008

There’s nothing quite like the sparkle and shine of an all-is-bright Christmas album when everything is going well in one's life. However, there are times when the real-life struggles we face during the season of peace and joy can dampen our spirits altogether.  Full disclosure: I love the sights, sounds, and smells of the holiday season, but I do remember a yuletide not so long ago when my life had taken a hard reset, and I found myself alone and feeling hopeless. The overwhelming sweetness of most holiday music was too much for my broken spirit to handle at that time. During that thankfully brief period, Dustin Kensrue's "This Good Night Is Still Everywhere" became my soundtrack for the season.

After several years as the lead vocalist, songwriter, and rhythm guitarist in the rock band Thrice, Dustin Kensrue launched a solo career and released his debut, “Please Come Home,” in 2007. The following year, he released “This Good Night Is Still Everywhere,” a unique and moody Christmas album.

The album opens with the wholly believable “Christmas (Baby, Please Come Home”), a familiar lament for love lost and the angst of being alone during yuletide, delivered in an upbeat acoustic tone that belies the weight of memories of times past. We then move into “Christmas Blues,” an intimate recording that sounds like it was recorded in the early hours in a home studio. The slow harmonica accompaniment only enhances the song's solemn mood.

After a heartfelt rendition of “Blue Christmas,” the album offers one of its most captivating moments with a reimagining of the Pogues’ beloved “Fairytale of New York.” For me, this evokes an image of a character like Jerry Jeff Walker’s Mr. Bojangles—someone down on their luck, burdened by deep remorse. Following this, the title track seeks to find hope and meaning beyond oneself.

The following four songs are Kensrue’s interpretations of holiday standards, “Hark! The Herald Angels Sing," “O Come, O Come, Emmanuel,” “God Rest You Merry, Gentlemen,” and “O Holy Night.” Once again, these are performed in an intimate, stripped-down style that is relaxed and inviting.

The collection ends with Kensrue’s dark hymn “This Is War,” which, despite offering hope through Christ’s birth, leaves the listener uneasy due to its heavy, dark arrangement. While declaring God’s victory over sin and death, it hints that mankind’s spiritual battle has just begun. Although unconventional for a holiday album, it fits within the shadows and light that preceded it.

By no means do I intend to suggest that one needs to be in a difficult place to appreciate this album. Quite the contrary, I play and enjoy this album every year and continue to appreciate its unique, thought-provoking songs. The classic holiday songs are all well performed, and I personally love the artist's relaxed approach.  Kensrue's original contributions, the title track and "This Is War," along with his take on “Fairytale of New York,” are always worthy of at least one seasonal listen for me. 

Gloria Gaynor's Testimony Feels Like Coming Home

Gloria Gaynor
"Testimony"
Gaither Music Group
2019

Gloria Gaynor is immediately associated with her million-selling disco hit “I Will Survive.” Almost fifty years later, she has not only survived but also emerged strong and full of vitality on her 2019 gospel album, “Testimony,” which won the Grammy Award for Best Roots Gospel Album. The project is beautifully performed and provides a powerful, uplifting experience.

The album opens with "Amazing Grace," blending Gaynor's testimony with a distinctive choir arrangement of the hymn. "Back On Top” acts as a follow-up to “I Will Survive," highlighting resilience and determination. Gaynor, who has faced loss, grief, and chronic pain from a back injury sustained during a 1978 performance, sings joyfully about the faith that has carried her through life's challenges. Credited as co-writer on all but two tracks—the hymn “Take My Hand, Precious Lord” and a cover of Bob Dylan’s “Man of Peace"—the collection maintains an intimate, personal tone throughout. 

Gaynor enlisted an outstanding group of accompanying musicians for her gospel debut. For vocal support, she's joined by MercyMe’s Bart Millard on “He Won’t Let Go,” Jason Crabb on "Singin' Over Me," Yolanda Adams on “Talkin' 'Bout Jesus,” and fellow Grammy winner Mike Farris on “Man of Peace.” The band features Jimmy Bowland on saxophone, Mike Haynes on trumpet, Andrew Ramsey and Paul Allen on guitars, Chris Stevens and Jason Webb on keyboards, and other players who create a rich, full sound.

Gaynor's "Testimony" album feels like coming home. As gospel music's influence was always present in the work of Aretha Franklin, Sam Cooke, Marvin Gaye, and Ray Charles, there is a natural kinship with sweet, soulful, heartfelt rhythms that bear the soul and reach for love, whether from earthly companions or the Almighty. If this idea is unfamiliar to you, I encourage you to listen to "Singin' Over Me" and "Talkin' 'Bout Jesus" and turn the volume up. It's a good time to wade in the water. 

The Timeless Music of Maine’s David Mallett

David Mallett
“Parallel Lives”
Flying Fish Records
1997

Between 1977 and 2016, David Mallett recorded over a dozen albums. He wrote songs recorded by Emmylou Harris, "Red, Red Rose”; Alison Krauss, “Never Got Off the Ground”; Kathy Mattea, “Summer of My Dreams”; and Hal Ketchum, “Old Soldiers,” as well as the folk classic “Garden Song.” Although the Maine native found some success as a songwriter in Nashville, he never entirely broke into the mainstream as an artist. This is truly unfortunate, as Mallett is a remarkable talent and his music deserves a wider audience.

I first discovered Mallett in the bargain bin of a used record store in the mid-1990s. The CD was “For a Lifetime,” and I quickly acquired his entire catalog and have followed his career ever since. The friendly warmth in Mallett’s sweet baritone voice is like sitting on your back porch, sharing tales with an old friend. He effortlessly delivers superb, articulate storytelling that explores the human condition, including its triumphs and failures, loves and losses.

During his career, Mallett released three live albums. His 1997 album, “Parallel Lives," recorded live at a club in Dublin, New Hampshire, is an excellent starting point for those unfamiliar with his work, as it captures his warmth, wit, and charming stage presence. He sings many of his best-known songs, along with a mix of new ones, accompanied by his acoustic guitar, and is joined by Steven Sheehan on guitar and Mike Burd on bass.

His relatable songs focus on people who live and work the land through both hard times and good, sometimes reflecting on life’s fragility, as in “Closer to Truth,” which considers the sudden loss of a close friend. “My Old Man” is a heartfelt tribute to his father, and “Phil Brown” honors an artist friend he met in his youth. Mallett skillfully celebrates the simple joys of daily life, the embrace of family and friends, and his love of New England and the riches of nature as the seasons unfold over the years.

David Mallett's life journey ended on December 17, 2024, following a long and hard-fought battle with cancer. He was a much-loved and admired native son in his beloved Maine and will be greatly missed worldwide by all who were blessed to enjoy his artistry. If you've yet to discover his music, you are in for a rewarding adventure. 

The Hello Darlins Hit All the Right Notes

The Hello Darlins
“The Alders & The Ashes”
Continental Record Services
2024

Canadian Americana band The Hello Darlins consists of highly skilled session musicians who have spent years refining their craft by supporting other artists. In 2016, the three founding members—Candace Lacina as lead vocalist, Mike Little on keyboards and vocals, and Murray Pulver on guitar—formed the group, which often features a stellar cast of guest musicians they’ve met throughout their musical journey. The band delivers a contagious collection of well-crafted original songs with an easygoing, positive vibe.

The band’s second album, “The Alders & The Ashes,” fulfills the promise of their impressive 2021 debut, “Go by Feel.” This release features two CDs of engaging songs, highlighted by Lacina’s beautiful, expressive vocals and an outstanding group of guest musicians, including Russell Broom on guitar, Chad Cromwell on drums, and Bob Glaub on bass. Themes explored here span a wide range of life experiences and emotions, all while holding onto hope.

The collection starts with “Forgiving Cain and Loving Abel,” exploring themes of dealing with pain and conflicting feelings. This is followed by the album's best track, “What Is a Broken Heart For?”, an upbeat, sassy supplication that should be played on every country radio station. Next, J.D. Edwards lends his vocals to “Sea That Meets the Sky,” which contemplates life’s greater meaning.

The next two songs, “Lay Down Low” and “Highway 355,” are clearly very personal. While the former aims to slow down and process life as it comes, the latter is a loving reflection on a loved one lost to dementia. This is followed by Dave Fenley’s well-timed, beautiful, and humble guest vocals on “Better Days,” which is an uplifting assertion that better times are coming.

“Don't You Fall” envisions our existence from nature's vantage point, contemplating what trees have observed and "the conversations that you have overheard." It is an intriguing thought that underscores the depth of Lacina and Little’s songwriting.

Failed relationships are left behind on “Carefree Arizona,” and “Died with His Boots On” is an upbeat tribute to Lacina’s grandfather’s life, featuring her lively yodeling performance.

“Reasons to Cry” candidly expresses the grief and heavy emotions that come with losing a loved one, while “Best Worst Mistake” explores the feelings that arise after the end of a relationship. One of the album's standout moments features the breathtaking, yearning vocals of guest artist Ruby Friedman on the poignant track “Lonely Shore,” which conveys a deep sense of longing.

The uptempo “Mama Knows” celebrates drawing emotional strength through a maternal spirit. Guitarist Murray Pulver then takes center stage with his lead vocals on “Do It Up Right,” a song about living with passion and embracing life.

The album ends with “Devil in the Dark,” a blues-inspired track that examines our darker motives, and “Stranger in the Mirror,” featuring Martin Sexton's guest vocals, which expresses the discontent of losing our sense of self through pretension and compromise.

The best quality in music is authenticity, and The Hello Darlins deliver exactly that. They are honest poets and musicians of the highest caliber, whose sincerity and collective talent will continue to grow their audience. 

Gunning & Cormier's Tales of Grit, Courage, and Hope

Gunning & Cormier
“Leather and Dust"
Gunning & Cormier (self-released)
2023

Pushing the limits of two voices, two guitars, and the many instruments played by each musician, Canadian troubadours Dave Gunning and John Paul "J.P." Cormier joined forces once again as Gunning & Cormier, releasing their second album as a duo, “Leather and Dust,” in 2023. The ten-song collection offers a well-balanced mix of original songs and familiar covers. 

The opening tracks, "Sing Now" and "Leather and Dust," are about finding strength and joy through song in hard times and celebrating the joys and pains of life’s journey with perseverance. "Try To Get Over It" seeks healing and common ground in a failing relationship, while the duo's cover of The Killers' "Human" celebrates our humanity through our imperfections. This is followed by "There Was A Time," which revisits Tom Pacheco's nostalgic reflection on days gone by.

"You'll Never Leave Harlan Alive" is a fine cover of Darrell Scott’s song about coal miners in Kentucky, with beautiful harmonies and compelling vocals that convey understanding and sincerity. 

The artists have said "Here’s To Nova Scotia” was inspired by a desire to write an uplifting song for Nova Scotia after the April 2020 shootings and fires. It’s a loving ode to the land and people of their homeland. 

The only flaw in this collection is the heavy-handed Gunning and Cormier-penned “Desperation,” which confronts tragedy, loss, and the choice to die in defeat or fight back. Though well-intentioned, this only burdens an otherwise solid set of songs. 

The project concludes with "Twice As Blue," a cover of Stompin' Tom Connors' ballad of lost love and a beautifully executed bluegrass rendition of the Alan Parsons Project's "Eye In The Sky."

Overall, this album delivers a strong collection of tales of grit, courage, and hope, with its greatest strength being the close two-part harmonies of Gunning and Cormier and a healthy dose of mandolin and banjo. 

Alecia Moore and Dallas Green = You+Me

You+Me
"Rose Ave."
RCA Records
2014

In 2014, the folk-rock duo You+Me was formed, featuring the unexpected musical collaboration between American pop icon Alecia Moore (Pink) and Canadian indie folk artist Dallas Green (City and Colour). Shedding their better-known alter egos, they created vibrant, richly poetic songs perfectly suited to their voices.

The elegant simplicity of each track on their acoustic folk debut album, "Rose Ave.," is a stunning achievement and a delight for the listener. The project was recorded in just eight days, featuring Moore on vocals and percussion, Green on guitar and vocals, Matt Kelly on piano, pedal steel guitar, and organ, and Alex Newport on bass.

The opener, “Capsized,” is a clever metaphor for lovers drifting apart like two ships in the night; like vessels taking on water, they find themselves beyond saving. “From a Closet in Norway (Oslo Blues)” is about retreating from a lover who has grown distant, regretfully questioning the meaning of everything, while “Gently” contemplates the end of life’s journey and being at peace with oneself and life’s eventual end.

“Love Gone Wrong” explores familiar post-relationship wreckage, but this time from both sides of the equation. The love-affirming ‘You and Me” is a lovely duet showcasing the full power and beauty of Moore and Green’s vocal dexterity. They possess a natural vocal quality that feels like it creates a whole new voice as their voices meld in perfect harmony.

“Unbeliever” is about holding on despite our fears and self-doubt, made possible by love’s sustaining promise. “Second Guess” is about being newly unencumbered by love and struggling to trust again.

Moore’s deeply personal “Break the Cycle” explores her journey toward healing and reconciliation with her mother, while Green’s “Open Door” is a heartfelt tribute to his parents. The album concludes with an acoustic cover of Sade’s “No Ordinary Love.”

Returning Home with Fernando Ortega

Fernando Ortega
“Home”
Myrrh Records
2000

In the year 2000, Fernando Ortega released one of the best albums of that year. Note, I’m not qualifying this statement by saying it is one of the best Contemporary Christian Music albums of the year. Yes, Ortega is known as a prominent artist in the genre, but “Home” stands as a beautiful masterwork, thoroughly enjoyable, and shouldn’t be confined to any sub-genre, as it stands strong without any music industry branding. At the same time, this isn’t a watered-down attempt at crossing over into the mainstream arena. His faith and values are on full display, as this is simply part of who he is. However, “Home” isn’t what my grandmother termed “so heavenly minded that it’s no earthly good.” Ortega walks the same streets and breathes the same air as the rest of us, and as one of us, he sings about what he sees and feels.

When the pre-release of this album arrived in my mailbox in early 2000, I was not familiar with this artist, although he had already released seven albums by then. I was immediately impressed with Ortega’s ability to deliver each song with conviction. He clearly believes in what he sings, which adds authenticity to this collection of carefully selected songs. Most of the songs are written or co-written by Ortega, and the set includes one traditional African-American spiritual, “Give Me Jesus.”

The album opens joyously with “This Good Day,” a song of joy and appreciation that radiates goodwill and feels like summer. Two of the album's finest moments are “Lonely Road” and “Virginia Rose,” with the former beautifully evoking the feeling of missing one’s lover and home while on the road. At the same time, the latter is a straightforward love song carried by the rousing violin of Stuart Duncan.

While celebrating the joys and loves of this life and the recurring theme of home, these songs do not shy away from the less comfortable aspects of life. “Old Girl" concerns a homeless woman who, despite outward disarray, maintains her dignity, whereas “On the Line” thoughtfully reflects on the lives of lonely elderly individuals.

Returning to the spiritual “Pass Me Not” is a faithful rendition of the 19th-century American hymn, followed by “No One Else,” an upbeat song of praise and thanksgiving similar to the album’s opener “This Good Day.”

“Prayer For Home” and “Winter Song” each feel occasion-specific, with the former suitable for weddings and the latter as a beautiful Christmas meditation. And finally, the spiritual “Give Me Jesus" completes the set.

The album’s warm, introspective tone is achieved with the help of a large and diverse group of outstanding musicians, including: Fernando Ortega on vocals, piano, and acoustic guitar; Steve Addabbo, Rich Nibbe, Dean Parks, Tad Wagner, Jon Hughes, George Cocchini, Bob Somma, Randy Mitchell, Greg Leisz, and Matt Slocum on guitars; Don Heffington and David Raven on drums; Jimmy Johnson and Tim Chandler on bass; John Andrew Schreiner (the album producer) on piano, organ, synthesizer, and accordion; and legendary violin player Stuart Duncan.

The August Empire's Before the Hereafter

The August Empire
“Before the Hereafter”
(self-released)
2013

In the summer of 2013, Dante Marchi and Liz Constantine debuted their first album as The August Empire, titled “Before the Hereafter.” Their journey began years earlier during a TV commercial recording session, where they spent hours sharing a microphone. Their friendship blossomed into a relationship, paving the way for them to collaborate on songwriting.

Marchi grew up in Texas, immersed in country music, while Constantine enjoyed the Beatles and classical music in upstate New York, learning to play classical flute. Their excellent and diverse styles combine to create something beautiful and unique. The album gained attention when the song "There's a Rumor" was featured on the NBC TV series The Night Shift.

The duo wrote all the tracks on “Before the Hereafter,” except for a cover of Pink Floyd’s “Comfortably Numb.” Crafted with acoustic guitar and piano, their compositions are beautifully complemented by light strings and mandolin, courtesy of Rich Hyland. The overall sound is genuinely organic, capturing the essence of Americana without lapsing into clichéd modern country music themes. Instead, we are treated to melodic pieces that reflect their understanding of love's peaks and valleys, self-doubt, and our deep longing for connection and acceptance.

Highlights from the album include “There's a Rumor,” “Letting Go,” and “October.”

Portland’s Sister Mercy Delivers Mix of Blues, Rock, and R&B

Sister Mercy
"Diamonds"
(self-released)
2018

April Brown, a native of Los Angeles, migrated to the lively Portland blues music scene in the Pacific Northwest, where she became the frontwoman and lead vocalist of Sister Mercy. Her potent and passionate vocal style, refined in Los Angeles clubs Whisky a Go Go and the Roxy, made her the ideal lead for this soulful group of blues rockers. 

Sister Mercy released three albums between 2014 and 2022. Their second album, “Diamonds,” stands out as the band reached its creative peak. April Brown’s continued development as a singer is evident on “Baby, I'm No Fool” and the traditional “Travelin’ Shoes.” Likewise, she excels on band originals “River of Tears” and “Beale Street,” which explore the powerful pull of destructive love and are deeply soulful and emotional. Of special note is her compelling performance of Etta James' “Tell Mama.”

The band features Scott Garcia on guitar, Roger Espinor on drums, John Webb on bass, and Debby Espinor on keyboards, with the entire group providing backing vocals, contributing to this album's rich, full sound.

Revisiting T Bone Burnett's Milestone in Americana Music from the 1980s

T Bone Burnett
“T Bone Burnett”
MCA/Dot
1986

By 1986, T Bone Burnett had achieved more in the music industry than most. In the mid-seventies, he was part of Bob Dylan’s traveling show, The Rolling Thunder Review. He had released three albums with the Alpha Band, three solo LPs, and two EPs. He held production credits for projects with Delbert McClinton, the BoDeans, Maria Muldaur, and Elvis Costello, and was just getting started. He was destined to become one of the industry's most sought-after producers in the years to come and would helm projects for B.B. King, Roy Orbison, The Wallflowers, Counting Crows, Brandi Carlile, and Robert Plant and Alison Krauss, to name just a few. However, in the mid-eighties, he was still working diligently to establish himself as a musician and performer in his own right.

Burnett has recorded blues, rockabilly, rock, new wave, and Americana. While loyal fans have embraced this eclectic ride, one wonders if it has negatively impacted his ability to attract a larger audience. His self-titled album, “T Bone Burnett,” is a memorable Americana collection recorded in just four days during the summer of 1986. Although worlds apart from his previous full-length rock outing, “Proof Through the Night,” it is a masterpiece in its class.

The album’s simple production, courtesy of David Miner, is open and inviting. There’s ample aural space to make you feel like you're in the room, soaking in each glorious sound. The uncluttered arrangements allow the listener to truly hear each instrument: every stellar note from Jerry Douglas's dobro and lap steel guitar, Byron Berline’s fiddle, Steve Duncan’s drums, David Hidalgo’s guitar, accordion, vocals, and 8-string bass, Jerry Scheff’s bass, and Billy Swan’s backing vocals are experienced with clarity and precision.

The album beautifully captures the rich melodic imagery of life’s joys and sorrows. Burnett’s vibrant cover of the 1951 breakthrough hit for Johnnie & Jack, “Poison Love,” soars with fiddle and dobro.

Hidalgo’s accordion breathes life into Bob Neuwirth's haunting, Poe-inspired "Annabel Lee," which is especially moving. Douglas’s steel guitar paired with Berline’s fiddle in the album’s heartfelt closer, “The Bird That I Held in My Hand,” is a sweet and touching love song that leaves a lasting impression.

The two least effective songs here are Burnett’s lyrically lazy “Oh No Darling” and a cover of Tom Waits’ “Time.” Neither seems to align well with standouts like “No Love at All,” “River of Love,” and "Annabel Lee." 

"I Remember” and “Little Daughter” are featured in vocal and instrumental versions, adding to the laid-back vibe of this outstanding album. Forty years later, I still appreciate this album, and with Burnett recording again, there’s hope for another minimalist project like this.

Skybound Blue Takes Flight on Born to Love You

Skybound Blue
"Born To Love You"
(self-released)
2025

Skybound Blue is a Sisters, Oregon-based duo that met in the jazz choir at Spokane Falls Community College, where they fell in love. Matthew and Jennifer Behnke married and began to pursue their shared dreams of adventure. They spent three summers on Guam, where Matt landed a gig diving for silver bullion on a 17th-century Spanish Galleon. In 2000, they sold everything and sailed around the Bahamas for a year filled with snorkeling, playing music, and making lifelong friends.

I’m indebted to the band’s website for this background information, as sources on the duo are scarce on the internet. Their lives changed forever when Jennifer was diagnosed with Hodgkin’s Lymphoma. Cancer remains a significant life challenge for the couple who’ve persevered as loving, supportive companions. From this experience comes a sense of urgency to write and play music, regardless of the circumstances; they have a deep-seated need to create. This led the couple to spend thirteen years in Nashville, working with some of the city’s finest writers and players. They have since returned home to the Pacific Northwest to raise a family and continue honing their craft.

Since 2011, Skybound Blue has released three albums and one EP, featuring some of the most enchanting and enjoyable Folk/Americana music I’ve heard. Their third album, “Born to Love You,” was released in January 2025. As with all their releases, it's an upbeat collection that celebrates the pair's love and is forward-looking, embracing every moment as it comes. Jennifer is featured on lead vocals throughout, and Matthew plays guitar and provides harmony on all songs.

“All My Days” opens the album with a celebration of motherhood, setting the tone for this collection of songs, which are filled with gratitude for every day. “Keep it Simple, Sweetheart” encourages us to relax and go with the flow. “Born to Love You” is about finding peace in the embrace of love.

“Another Song” and “At Last” are both love songs, with the latter being a cover of the Etta James classic, demonstrating Jennifer’s interpretive powers as a vocalist. This is a powerful standout that perfectly complements this collection of originals. “Could You” soulfully beckons to a companion during difficult times.

“We Only Have Today” addresses our human frailty and the loss of a childhood friend, while “Tripping Over Paradise” imagines being part of nature and locking in on those moments of peace and tranquility. “More Joy” is a declaration to reach for joy in this crazy, fast-paced world, delivered in a call-and-response style that pushes back against bad news.

Concluding with “Feather” and “Can’t Hold On,” these two songs explore our powerlessness in the face of mortality, leaving us with a peaceful image of floating on the breath of love. Here, they return to the theme of being grateful for today and finding peace in whatever one’s beliefs may be.

If one role of art is to delve into our inner selves—to explore our hopes, loves, dreams, and fears—then reflect on those we cherish and the world around us, and share what we’ve discovered, this album excels. Skybound Blue focuses on what they understand: life is transient, and it’s our task to reach out, love, and appreciate the love we have, while celebrating each heartbeat.

Since discovering these talented singer-songwriters, I’ve been listening to their entire catalog and continue to find nuance and meaning that I believe everyone can relate to. My deep dive into this group’s music has been very rewarding, and I'm sure yours will be too.

Finding Beauty Among the Ashes with Beth Nielsen Chapman

Beth Nielsen Chapman
“Sand and Water”
Reprise Records
1997

Beth Nielsen Chapman knows a lot about songwriting, having written or co-written for some of the most beloved artists in music. From Alabama to Neil Diamond, Willie Nelson, Waylon Jennings, Bette Midler, and Michael W. Smith, she has established herself as a respected songstress and artist in her own right. Like all great songwriters, she writes about everything that makes life the wonderfully complex experience we all share. In 1994, life dealt her what must have seemed like a cruel hand with the loss of her husband to cancer, and yet, out of immense personal loss, she gave the world a remarkable gift with her 1997 album “Sand and Water.”

Make no mistake, what we have here isn’t an artist's embarrassingly sentimental indulgence. This collection of songs is entirely relatable, as Chapman’s well-executed statements reflect our own life journey. It is a beautiful, thoughtful statement that explores the many conflicting emotions we all experience during times of personal loss while seeking to find our way back to hope and joy.

“The Color of Roses" is a delicate piano piece with strings arranged and conducted by Michael Omartian that looks for meaning in loss. Michael McDonald adds lovely backing vocals to “Seven Shades of Blue,” evoking nostalgia for past days filled with love and tenderness. “Beyond the Blue” conveys a profound longing and a desire to reconnect with what has been lost. “All the Time in the World" reflects on how quickly time slips away in our busy lives, especially when we think about the moments spent with loved ones. “These precious days we experience, discarded like tissue, I wish I could offer you all the time in the world."

The eloquent beauty of the title track, “Sand and Water,” encapsulates the album's essence: love, loss, mortality, our place in this vast universe, and the hope of something more. Such matters have rarely been explored with the beauty and vulnerability presented here, resulting in an ultimately uplifting and enduring package.

Beth Hart Reaches That Elusive Good Place on "Better Than Home"

Beth Hart
“Better Than Home"
Provogue Records
2015

California blues powerhouse Beth Hart has released passionate blues, rock, and R&B albums since 1993. She shares honest and heartfelt stories of life's trials, drawing from her personal struggles with addiction and bipolar disorder. She presents songs with grit and intensity reminiscent of Janis Joplin. Hart has achieved sobriety in recent years and received well-deserved Blues Music Awards for over a decade. Often touring with Joe Bonamassa, she has garnered an impressive international following.

According to Hart, her 2015 release “Better Than Home” was recorded under "painful" circumstances in five days. Producer Michael Stevens battled cancer, while Hart faced stress and mental health issues. None of this prevented her from delivering an outstanding artistic statement. These self-penned tracks form a collection that celebrates reaching that elusive good place of peace in one’s life and holding on. “We’re Still Living in the City," and the title track reflect this, while “Trouble” and “The Mood I’m In” focus on letting go and enjoying oneself. “Mechanical Heart” explores the pursuit of love in the face of our flaws and failures.

The album finishes with the touching and heartfelt track “Mama, This One’s for You.” In this song, an adult reflects on her growing appreciation for her mother through life’s experiences, highlighting the renewed importance of their relationship. Notable tracks include "Might as Well Smile" and "As Long as I Have a Song."

Station Road Delivers Real Rock 'n' Roll on “Whiskey Eyes”

Station Road
“Whiskey Eyes”
Independent
2025

Do you remember when rock ‘n’ roll was fun? Back before keyboards took over in the 1980s and autotune had yet to emerge? A time when new music on the radio was the soundtrack to your life, and you felt everything with an intensity that is hard to imagine today? While great hidden treasures are released every year, there is a shortage of new good-time rock ‘n’ roll. Finding such a release today is rare and feels like falling in love for the first time. Australian band Station Road’s debut album “Whiskey Eyes” is that gem and deserves recognition.

Two of this album's standout tracks are "Smoke in the Dark," which evokes a past love that lingers sweetly, and "Still Burning On," a poignant song of longing for a lost love and the agonizing pain of knowing his beloved is with another. But WAIT! Our hero reclaims the lady fair, and together they flee into the night. Now, isn't that rock 'n' roll?

This project is squarely rock for adults, as three songs, “Your Mother & Me,” “Till Your Wings Can Fly,” and “Chase Your Fire,” are from a parent’s perspective. These adult sensibilities are lovingly expressed by a person still in touch with their own youthful pursuits and perils. "Chase Your Fire" is a father's thoughtful admonition to his son to follow their passions and dreams. This is a beautiful sentiment in the spirit of Bob Dylan's "Forever Young."

The guitar-driven “Outlaws on the Run” continues the theme of breaking the rules for whatever fleeting passion may bring. "Get Off My Back" is a parting of the ways declaration, complete with a brief rap. The title track, "Whiskey Eyes," recalls more young love and heartbreak.
 
The album closes with "Living The '90s Aussie Dream." This brings back memories of misspent youth and good times with friends. Although not my decade, it evokes the universal nostalgia most of us feel for our teenage years. Whether it's Big Star's "In the Street" or "Living the '90s Dream Aussie Dream," it takes one back to a time and place of dreams and endless possibilities.
 
As of this writing, I can find very little information about Station Road. This is the Australian band, not to be confused with other bands by the same name. Oscar Hose is the apparent creative force, who is a multi-instrumentalist and songwriter. It is unclear if Hose played all the instruments on "Whiskey Eyes," but this is my assumption, pending clarification. In the meantime, this is likely my pick for best Rock album of 2025.

Finding Gold in Mariposa County

Bootstrap Circus
“Painted Face”
(self-released)
2011

Adam Burns grew up in the rural Peak District National Park in England. He moved to the United States in 2004 and today makes his home, creates music, and teaches in the one-time gold rush town of Mariposa, California. Burns has created music in various incarnations over the years; first as a solo artist, as the Adam Burns Band, which became Bootstrap Circus, and most recently in the duo Little Tiger.

Burns' rock and new wave influences, combined with his energetic powerhouse of a band, have created an upbeat and highly contagious sound on Bootstrap Circus’ third release, “Painted Face.” Burns' lyrics come alive through each band member’s contributions to the arrangements, skillfully creating a unique sound that is engaging and often joyful.

The collective talents of Burns on guitar and vocals, Kristin Ramsey on violin, vocals, and keyboards, Greg Archer on bass, and Mark Albosta on drums are truly special. From the opening notes of the gypsy sway of “Dirty Water,” with its strains of surf guitar and soaring violin, there’s a sense of embarking on a journey. “Don't Rock the Heater” is a plea to a restless youth, prone to trouble, to not "rock the heater, Jimmy Jones." This is followed by the beautiful "Sunsets And Shooting Stars," a straightforward song of love and devotion.

"The Dark Waltz" is a slow, moody, and mysterious piece elevated by Ramseya's violin. "Drink" is a devil-may-care romp through a wild night of debauchery and treacherous encounters. Meanwhile, "Brenda, The Teenage Arsonist" reflects on the secret passions of an outsider."You're Not Alone" and "Don't Call Me Zero" confront fascism. This is balanced by the light-hearted revelry of "Down In the Alley," declaring "I've got everything I'll ever need." 

With haunting strains of the guitar work of Duane Eddy, "The Godless Girl" depicts a small-town girl's rude awakening in the big city, and the closing title track continues this theme with its refrain "Oh Mama, there's no shame in what I've done." While this is a comedown from where the album began, it doesn't badly mar the project; it simply demonstrates that even a gifted songwriter like Burns can sometimes paint himself into a corner. This is the point where I return to track one and restart this enjoyable, if bumpy ride.

Kate Wolf's Music Still Resonates

Kate Wolf
“Poet’s Heart”
Kaleidoscope Records
1985

During her brief career, Kate Wolf released five studio albums and one double live album. “Poet’s Heart” was her final release during her lifetime. I was privileged to see Kate perform in the fall of 1985 at the Great American Music Hall in San Francisco. Although her music was new to me, I was charmed by her solo performance in this historic venue. As she stood onstage with her guitar, all eyes and ears were entirely focused on the captivating presence of the gentle poet. I sensed that this was something special. She had a way of drawing one into the stories of the lives and places she sang about with sincerity that was mesmerizing and poignant.

In the days following the concert, I acquired her entire catalog and was thrilled to have discovered such a remarkable talent. Weeks later, the news of her battle with leukemia became public, and I was devastated. She passed from this life at the age of 44 on December 10, 1986, leaving behind a body of work that is to be treasured.

“Poet’s Hart” is an album of honesty and vulnerability, with a depth and precision that disarm with its understanding of the subtleties of our lives. “All He Ever Saw Was You” tells the story of a conflicted musician’s devotion to his craft and the woman he loved more than he could convey. “In China or a Woman's Heart (There are Places No One Knows)” she explores the deeper meaning of a keepsake and the innermost mysteries and secrets kept in the heart. In “Slender Thread’ she sings of the fragility of love: “Sometimes the strongest love hangs by such a slender thread.”

Kate Wolf was on the verge of breaking through to a larger audience, having appeared on Austin City Limits and A Prairie Home Companion just before the onset of her illness. The Kate Wolf Music Festival was founded in 1996 by Kate’s family and friends in collaboration with Cloud Moss and the event management company Cumulus Presents. It ran from 1996 to 2022. During its 25-year run, artists such as Taj Mahal, Emmylou Harris, John Hiatt, Dar Williams, Neko Case, and a breathtaking list of other notable musicians have performed at the event.

In 1998, Red House Records released “Treasures Left Behind... Remembering Kate Wolf,” a tribute album featuring some of her most beloved songs. Among the collection's highlights are Dave Alvin’s performance of “These Times We're Living In” and Kathy Mattea’s “Give Yourself to Love.” Nanci Griffith, Greg Brown, Ferron, Emmylou Harris, Nina Gerber, Terry Garthwaite, and others each honor the artist as they keep this special music alive.

Navigating Life's Invisible Forces with The Whispering Tree

The Whispering Tree
“Invisible Forces”
Eyelash Soup Music LLC
2018

With the promise of a new album release later this year, it seems like a good time to revisit The Whispering Tree’s 2018 second album, “Invisible Forces.” The name The Whispering Tree evokes an image of wind-kissed leaves gently in motion, as if nature’s voice were delivering a message. This moniker, along with all the mysterious wonders and delights it suggests, is fitting for the genre-bending duo of classically trained vocalist/pianist Eleanor Kleiner and guitarist/bassist Elie Brangbour.

Make no mistake, these highly intelligent musicians are deep thinkers; they express themselves without self-consciousness or apologies, as none is necessary when done with such artistry and precision. With only eight songs and a runtime of just over half an hour, this album demonstrates that brevity is the soul of wit. In this concise package, they succeed in exploring the human condition from various angles and articulating some of our deepest fears. However, fear not; the stunning vocals and collective efforts of the duo and their band are never dull or tedious.

Beginning with “These Houses,” the lyricist contemplates the deterioration of dwellings whose previous inhabitants are no longer present, “returning to the earth like growing in reverse,” serving as a metaphor for life itself. “Heavy” is a weight-of-the-world ballad contrasted by “California’s” hopeful longing for a new beginning and starting one’s life anew.

“Fat Cat” calls out wealth and privilege and wonders, “How do you sleep?” as it rhythmically confronts an egotistical, greed-driven figure in their survival-of-the-fittest world. The marvelous bass-driven “Split in Half” captures the isolation we can feel within our communities and even inside our own homes.

“Garden” is by far the darkest offering here, with its apocalyptic vision of a scorched and ruined earth. Remembering all the wonders lost, it’s a vivid, startling lamentation delivered with beautiful, haunting guitar and piano. By contrast, “Bells'” hopeful declaration, “I hear bells ringing for change,” concludes the album with a positive song that would fit comfortably on a playlist alongside Sam Cooke’s “A Change Is Gonna Come.” While this collection of songs navigates some turbulent waters, the enduring hope for a better tomorrow is ultimately within reach.