Rock Hearts “Unfinished Bridges” (LP)

Rock Hearts’ Unfinished Bridges is easily one of the best bluegrass releases I’ve recently heard. The New England-based outfit has a predilection for taking non-bluegrass songs that invariably lend themselves to that style and making them over as bluegrass tracks. The thirteen cuts included on Unfinished Bridges show that they possess an excellent instinct for knowing what will and won’t work for them. Rock Hearts tosses in an added four songs penned or co-composed by band members Billy Thibodeau, mandolin, and Alex MacLeod, guitar. The added dollop of the personal helps push an already outstanding album over the edge into greatness.

URL: https://rockheartsbluegrass.com/

“Unfinished Bridges” doesn’t mince words. Mark Brinkman and Eric Gnezda’s pained songwriting overflows with regret. However, there’s an ultimately life-affirming quality as well. The fact that the speaker, and us, survived the litany of losses and thwarted happiness long enough to set it down in song is a victory. The accompanying instrumental fireworks are a victory, as well – for the players and listeners alike. “Unfinished Bridges” scales impressive heights on the back of its musical interplay, and the resulting aural magic will leave all but the most cynical listeners spellbound.

Pairing the title cut with the second song, “Walk Away”, makes for a memorable one-two punch. Understated hooks galore practically spill out of this song, and Rock Hearts takes advantage of the moment with a hard-hitting performance. It makes use of the song’s plentiful strengths. However, this isn’t an artist leading with their best material and reserving the remainder of the album for their low lights.

Songs such as “I Know It’s Wrong to Love You” are worth the price of purchase alone. Rock Hearts makes no secret of the considerable debt they owe their country music influences, and “I Know It’s Wrong to Love You” broadcasts them in an unmitigated fashion. It’s a forlorn cry of the heart in the best tradition of that type of country song and avoids any empty histrionics along the way. The hell-bent-for-leather tempo of “Before I Met You” never means Rock Hearts must sacrifice nuance to please listeners.

It’s bursting with the same exuberant musicianship propelling earlier performances. Retro elements are a big part of its appeal, but it casts its net wider than that. The arrangement’s physicality engages listeners with seemingly little effort, and an underrated amount of humor runs through the lyrical content. It checks all the boxes but with surprising aplomb. “Tall Stands of Timber” is one of the album’s songwriting masterclasses. Rock Hearts does an exemplary job of bringing its cinematic virtues to life for listeners without ever focusing the majority of its attention on the lyrical content. It’s a well-rounded effort, and the instrumental talents shine bright.

Alex MacLeod’s “Let Me Be the Best Bible” is an improbable winner. His songwriting hits upon a genuinely unique variation on a time-tested genre theme. The musical accompaniment is straightforward, unadorned with gloss, and steady from beginning to end. The finale, “I Hardly Ever Think of You”, is classic country/bluegrass songwriting, tongue in cheek while shedding a tear, and will pull listeners in with its appealing progression and sound. Unfinished Bridges doesn’t have a weak spot; some songs, yes, are better than others, but they are all good. It’s one of the most satisfying recent bluegrass releases and should rank high on any fan of the genre’s must-hear list.

Mark Druery