Keep Me On Your Mind/See You Free

“Keep Me On Your Mind/See You Free” Bonny Light Horseman
Indie folk rock. Third album from this indie ‘super group’ comprised of Eric D. Johnson (Fruit Bats), Anaïs Mitchell (singer-songwriter, musician and co-writer of Tony Award-winning Hadestown), and Josh Kaufman (songwriter, multi-instrumentalist and producer). Note—Anaïs is pronounced an-NAY-iss. A wonderful double album full of insights on love, life and the passage of time—sung over compelling indie folk arrangements with rich harmonizing on many of the vocals. An excellent, if long, set. RIYL: Fruit Bats, Anaïs Mitchell’s solo work, Fleet Foxes, Phosphorescent.
— Francis

Highly recommended: 3, 5, 16, 6, 1, 11, 7, 18. No FCCs detected.

1. (3:18) Keep Me On Your Mind — Hushed, halting ballad. Spare and shimmering. Minimal percussion. Mitchell leads, then Johnson joins in. ***
2. (3:31) Lover Take It Easy — Gentle sway. Buoyantly strummed guitar with a bit of piano. Johnson takes the lead, with Mitchell harmonizing. Saxophone added to the mix in the break.
3. (3:20) I Know You Know — Catchy first single. Classic Fruit Bats sound with Johnson’s elegantly spun vocals over strummed acoustic guitar. ****
4. (0:08) Grinch/Funeral — Brief chatter from a kid.
5. (5:51) Old Dutch — Cinematic, sprawling ballad. Reverbed piano with Mitchell and Johnson trading lines on a song that originated as a voice memo recorded by Kaufman in a historic church called ‘Old Dutch.’ ****
6. (3:17) When I Was Younger — Deliberately paced piano duet, with Mitchell opening and Johnson alternating on verses. Edgy guitar and plaintive harmonies in the lead break. ****
7. (3:24) Waiting And Waiting — Americana-flavored folk pop. Guitar, piano and energetic vocals primarily by Johnson. ***
8. (2:24) Hare And Hound — Good-timey, alt country banjo number. Suggestive of a crowded backwoods bar with people stomping and dancing.
9. (3:42) Rock The Cradle — Simple folk tune apparently recorded live. Sung over strummed guitar and picked mandolin. Clapping at the end.
10. (3:59) Singing To The Mandolin — Reflective tune with a simple backbeat. Deep harmonies on many of the vocals, with Mitchell on the lead.
11. (3:37) The Clover — Fingerpicked guitar with Johnson’s vocals soaring spectacularly. Tempo picks up and track fills out after 40 seconds. ***
12. (2:49) Into The O — Church-like harmonized vocals over a continuous synth tone. Fingerpicked guitar in the break. Very Fleet Foxes sounding.
13. (2:51) Don’t Know Why You Move Me — Another slow-paced number with an alt country vibe. Guitar, piano and simple drums.
14. (3:01) Speak To Me Muse — Theatrical, like something from a musical. Piano with Mitchell leading again. Woodwinds and more added later.
15. (0:36) Think Of The Royalties, Lads — Talking and laughter from a recording session.
16. (3:30) Tumblin Down — Bright, Americana-flavored folk pop in the style of Fruit Bats. Really strong melody with guitar, piano and drums. ****
17. (3:28) I Wanna Be Where You Are — Contemplative and heartfelt, with Mitchell on the lead. Sustained synth chords, together with piano and guitar.
18. (3:08) Over The Pass — Rollicking fun. Big strummed guitar and piano with Johnson’s Dylan-like vocals ringing out. ***
19. (2:44) Your Arms (All The Time) — Somewhat jazzy and smokey. Mitchell and Johnson trade off on the vocals over piano, saxophone and brushes on drums.
20. (4:50) See You Free — Hymn-like and thoughtful. Starts softly and then builds into something almost anthemic, with roaring guitar and harmonized vocal counterpoints.