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.