Nobody much questions what pop music or classical music is, but everybody has a different definition of “the f-word. I tend to define it as music that’s rooted in a community of some kind, but it’s not always so easy to define. As all of humanity could be said to be composed of communities of varying sizes, it’s hard to say anything’s not folk music. So I guess I decide what to cover here based on what I like that at least has a tenuous link to the music that readers seem to like. In light of this, I’m going to review three records this issue, all of which are by artists who perform what would be called pop music. It’s music performed for commercial gain (as well as self-expression) rather than music rising organically from a sense of community, though all have elements of traditional music within. Hence they are also folk music. They are also all on Vanguard Records, known primarily as a folk label, though they tend to delve more heavily into pop music than anything else these days. Got all that straight?

The best known of the bunch is Linda Ronstadt, who combines with Louisiana singer Ann Savoy on Adieu False Heart (!). The best way to describe it would be to say that Ronstadt fans would probably call it a folk record, whereas fans of Savoy would probably consider it a pop record. No matter, both have beautiful voices that shine both together and separately on a variety of tunes which, though all are of known authorship, come mostly from songwriters who emerged from folk tradition, including two by Richard Thompson, and one each by Julie Miller (Buddy’s on this one too) and Bill Monroe. Ronstadt’s identifiable voice features prominently, but so do the Cajun touches common to Savoy’s background – lots of great fiddle playing, triangle, and Dirk Powell on a variety of instruments. The set finishes off with a lovely version of the 1960s pop hit by the Left Bank, which works beautifully even though it replaces the baroque-rock of the original with acoustic pop. The orchestrations are also gorgeous throughout. Though Ronstadt is clearly the star bigger name, she’s relishing the freedom that being an ex-star gives her- getting involved with interesting projects such as this one. The lead vocals are split pretty evenly, and it’s the beauty of both voice- and Ronstadt’s always been a fabulous singer, even during her days of mega-success- is what leaves the biggest impression here.

It’s that wispy term “singer-songwriter” that best describes Mindy Smith, but there’s a nice variety of musical coloring, and contributions from the likes of Beth Nielson Chapman and Buddy Miller (who sings a lovely duet with Smith on What if the world Stops Turning) on her Long Island Shores (!). Like many before her, her main topic is the ins and outs – mostly outs – of relationships. False lovers, the topic of many a traditional song, feature prominently here, but here they don’t cavort with the devil or morph into otherworldly creatures. They simply do a girl wrong. There’s also an affectionate love song to the state of Tennessee, framed by a lovely two-guitar sound featuring Smith’s acoustic, and I’m Not the Only One Asking, a waltz that inquires deeply into spiritual matters with the help of some stinging lead guitar by Miller. Smith writes nice melodies and her voice is charming and pleasant to listen to. Pedal and lap steel lend some country colors and there’s a bit of bluegrass mandolin as well on the playful You Know I Love You Baby. The songs have nice hooks that linger long after the record plays.

Last is the return of Joan Osborne, who’s Pretty Little Stranger (!) is referred to as her “country record.” Though the instrumentation does lean a bit in that direction, there’s some lovely pedal steel and nice tremolo’ed electric guitar, it doesn’t sound so far removed from the Osborne we’ve come to know. Her husky voice beguiles as ever on these songs of heartbreak and loss- country topics if there ever were- with more than a hint of the blues. Several covers are featured, including a nice version of the Grateful Dead’s Brokedown Palace; needless to say she sings it better than they do. But her original songs, which make up about half, are every bit as immediate, including the first single, Who Divided, a catchy, blues groove with a great chorus and lyrics about lingering feelings for an ex-lover. It doesn’t have any less of a commercial sheen than her previous recordings, but she’s always been pretty well rooted in American music traditions.

The biggest theme here, besides great voices, is a sense that all of these women are performing the music that moves them, rather than for targeted audience. Perhaps a new definition for folk music? In any case, next issue will feature the best new Irish music, including a wonderful new one by Teáda.

Rating scale:

[!!!]—Classic, sure to be looked back on as such for generations to come.

[!!]—Great, one of the year’s finest. If you have even a vague interest in the artist, consider this my whole-hearted recommendation that you go out and purchase it immediately.

[!]—Very good, with considerable appeal for a fan of the artist(s). If you purchase it, you likely won’t be disappointed.

[–]—Good/solid, what you would expect.

[X]—Avoid. Either ill-conceived, or artistically inept in some way.