10 Songs, 36 Minutes

EDITORS’ NOTES

Steve Forbert's been making records since 1978 and has stayed true to his interests, offering up literate roots-rock with a sensitivity that should have ranked him right at the top of his peers. However, for a variety of reasons (fate, being what it is, at the top of the list), he's settled into a career that's solid if unspectacular in terms of expanding his audience base. His voice has become more weathered over the years, until it sounds like Bill Morrissey with a cold or like ex–Kingston Trio member John Stewart on his last albums. It's a thoroughly engrossing instrument. "Baby, I Know" wouldn't sound as wise or as weary without Forbert's rasp. Ben Harper adds guitar to the aching "In Love with You" and "That'll Be Alright." Ben Sollee holds down the bass and adds a cello in spots for flavor, especially for "Don't Look Down, Pollyanna," a sweet lament that tells the story of America in foreclosure and other bad-luck tales with a sense of honesty. 

EDITORS’ NOTES

Steve Forbert's been making records since 1978 and has stayed true to his interests, offering up literate roots-rock with a sensitivity that should have ranked him right at the top of his peers. However, for a variety of reasons (fate, being what it is, at the top of the list), he's settled into a career that's solid if unspectacular in terms of expanding his audience base. His voice has become more weathered over the years, until it sounds like Bill Morrissey with a cold or like ex–Kingston Trio member John Stewart on his last albums. It's a thoroughly engrossing instrument. "Baby, I Know" wouldn't sound as wise or as weary without Forbert's rasp. Ben Harper adds guitar to the aching "In Love with You" and "That'll Be Alright." Ben Sollee holds down the bass and adds a cello in spots for flavor, especially for "Don't Look Down, Pollyanna," a sweet lament that tells the story of America in foreclosure and other bad-luck tales with a sense of honesty. 

TITLE TIME

More By Steve Forbert

You May Also Like