Rock Hearts is a quartet of veteran Southern New England musicians well-versed in bluegrass and traditional country. 615 Hideaway Records’s release of their third album Unfinished Bridges continues illustrating their penchant for retrofitting songs from outside the genre as bluegrass tunes with memorable results. Unfinished Bridges benefits from material written by the bluegrass genre’s best songwriters today. Mandolin player Billy Thibodeau and guitarist Alex MacLeod make crucial songwriting contributions. A multi-layered balance emerges from each of Unfinished Bridges’ thirteen recordings. They are insular and thoughtful, yet a strong sense of community radiates from these songs.
URL: https://rockheartsbluegrass.com/
Opening with the title cut is a mark of confidence in their material. Every note and line justifies their self-assurance. Penned by Mark Brinkman and Eric Gnezda, loss pervades the verses without casting a despairing shadow over the performance. The up-tempo pace of the performance never inhibits its nuance or undercuts its instrumental prowess. It boasts one of Unfinished Bridges’ finest lyrics, and Rock Hearts’ vocals complement the conversational poetry fueling the songwriting.
Monty McClanahan’s “Walk Away” has an assortment of classic virtues. Austin Scelzo’s fiddle never vies for prominence with the lead vocal; Rock Hearts again achieves an even-handed approach that makes the song a fuller experience. The song’s elasticity is obvious; you can transform this into a classic country track with minimal adjustments. “I Know It’s Wrong to Love You” unfolds in a near-elegant fashion. Rock Hearts adopts bluegrass as a musical vehicle that deepens the emotional punch. Each of the four musicians works closely to develop the song on schedule, with no wasted motion, and invests their individual and collective performances with deep feeling.
Rock Hearts steeps “Before I Met You” deep in traditional bluegrass. The heavy vocal reliance on multi-part harmonies, breakneck pace, and instrumental precision are hallmarks of the style and fully evident throughout the album’s fifth cut. It’s in and out the door before you notice, but nonetheless satisfying. Sam Tidwell’s “Town Hall Clock” is a dazzling instrumental. Instrumental interplay is a priority; banjo player Joe Deetz, Thibodeau’s mandolin, Alex MacLeod’s guitar, and Scelzo’s fiddle crackle with inspiration as they each have a swing at bringing the title to life.
The Billy Thibodeau co-written “Lonesome Man in a Lonesome Town” is as solid as they come. Rock Hearts transitions from verses, choruses, and instrumental breaks fluently; nothing sounds forced. The subject is right given the surrounding material; however, no one will claim the lyrics break new ground. “Let Me Be the Best Bible” is another jewel. We’ve heard songs like this, faith-driven singers beseeching God to give them strength to embody their Word. However, Alex MacLeod makes his case in interesting language you can’t turn from.
Rock Hearts’ Unfinished Bridges isn’t about unearthing new sounds; it’s an affirmation of the past, its enduring value, and casts at least a glance to the future. It’s a thoroughly satisfying release that should expand this Northeastern band’s profile. They challenge the misconception that Yankees can’t handle this music and leave you wanting more.
Garth Thomas