Appaloosa Bones: A Personal Album Review

“Every word is salt soaked and nautical.”

By Liv Foust

Gregory Alan Isakov’s 2023 album Appaloosa Bones follows six preceding projects packed with with incredible harmonies and lyrics. I may be biased given I have a handful of his lyrics tattooed on me, but I truly believe Isakov to be one of the best songwriters of his generation. Appaloosa Bones was a highly anticipated album, one that had a lot to live up to. This review will be dappled with my own personal favouritism toward Isakov and his discography, however I do believe that there is potential room for improvement. There are parts that are unapologetically Isakov, and there are parts that are less so. As I sat staring at the clock waiting for this album to drop I found myself wondering if this new project would retain lyrical integrity. I am pleased confirm that it has.

The Fall

Favourite lyric: ‘Nobody gets past / the trembling wire’

The first taste of Gregory Alan Isakov we received in five years manifested itself in the form of ‘The Fall.’ A beautifully produced articulation of the human experience. The act of constant trail and error, falling, getting back up and doing it all over again. We are greeted with the swell of old, expensive ivory keys hitting thick copper strings. It sounds timeless and classic - built to last. That piano sound swells into the first set of lyrics: “the fall, the fall, the fall.” The first time I listened to this song I felt my head tilt in confusion. The production level of this song surpassed the stripped, acoustic sound Isakov has mastered. The track is synth-less and clean, however the layering of the instruments and vocals right out of the gate was confronting. Additionally, Isakov strays from his beautiful singing voice to almost talking in the following lyrics, “I keep stumbling back.” This timbre continues throughout the verses as he references the very keys played on the track, “ivory bones, opera glass.” Below this spoken word is a swell of sound that places you under the biggest sky. The strings make you feel as if you’re surrounded by desert. You’re in Nevada, the night is warm. It feels as if with each second that passes, another layer of Isakov's stunning vocals are added. As we reach the chorus the sound is all encompassing. It surrounds us like the wind as we try and balance atop the “trembling wire.” This metaphor of a tightrope walker is the first of many mentions of old timey professions throughout this album. “You heard blood was think, brothers and sisters / but ya don’t know where anybody’s at.” Your fellow circus performers are no where to be found. There is no one to catch you, yet everybody is watching. 

‘The Fall’ is an effective first single for the release of Appaloosa Bones. It caters to the slightly more poppy side of recent folk such as that of Hozier, Noah Kahn and Bon Iver. I respect it in that aspect, however it does stray away from the Gregory Alan Isakov many long time fans were hoping for. At the time when this was the only release of the album so far I remember being concerned, worrying if this song would reflect the overall energy of the album. Upon the entire album release, I still found ‘The Fall’ to be an incredible first single. Its production level became unique to the song, but not out of place when coupled with other tracks. Its placement as track 1 is questionable to me. While I appreciate its place as a first released single, I believe there would be better tracks to open this album with such as ‘Watchman’ or ‘Before the Sun.’  ‘The Fall’ is different to what Isakov had lead with in the past, therefore confronting. However, I believe it became a staple track when accompanied by following songs. It lyrically reflects on its uniqueness, telling the story of a persons work, anticipated to fall, ‘and everybody keeps saying, “get up.”’

Before the Sun

Favourite lyric: ‘Sleeping in our winter clothes / radio’s a crackling fire’

We are greeted by the familiar pluck of the banjo that Isakov has taught us to love so much. ‘Before the Sun’ was released as the second single off of Appaloosa Bones, and is a stark shift from the sound of layered production we see on ‘The Fall.’ The setting in which we are transported to when listening to Isakov's music is easily identified thought the sound of ‘Before the Sun.’ The pluck of the banjo is so Americana that we cannot help but feel as if we are the songs narrator: the fright hopper, watching the desert cactus fly by as we sit atop a coal cart. It sounds spacey and insurmountable, Isakov’s ability to pump air throughout his music creates an atmosphere so unique. As we sit and gaze from our coal cart, sun setting, we hear Isakov detail the scene: ‘fifty five mile sign / thunder crack and lightning.’  As we speed through the country we repeat ‘go it on my own, go it on my own, go it on my own.’  There is twinge of desperation, as if we are on the run. We need to get somewhere ‘before the sun comes up.’  As we sing to ourselves we continue to be accompanied by the patterned puck of various strings, hanging onto the spacey sound until we are faced with a wave of bass. It sounds like sand billowing up from a rock, hitting the ocean floor. Similarly to ‘The Fall,’ there is a level of production that is higher than previous albums. The accompaniment of the acoustic banjo, in addition to other strings, roots the song in an environment Isakov is known to explore. It is familiar enough, yet encourages us to appreciate a new face of Isakov’s sound. There is some strategic layering of the vocals throughout this song, it can be seen seen in lyrics such as: ‘radio’s a crackling fire.’  The use of vocal layering brings a sense of fullness to the sound, it is used a representation of the “heat” felt from the radios ember like static. Isakov’s ability to set sceneries through his strategic choice of instruments, simple lyrics and production techniques is evident throughout this track. The violins dappled cries throughout the verses pulls on our heartstrings. It makes us ache for something, maybe whoever this freight hopper is running towards. The call of a loon placed perfectly before the second chorus’s ‘go it on my own,’  solidifying this feeling of pining for the next big thing. We chug through the night in search of what ‘shines like the Fourth of  July.’ 

‘Before the Sun’  is easily one of my favourite tracks off of Appaloosa Bones. If I were to rework the track list I would absolutely place it as track 1. It is classically Isakov with a sprinkle of the more produced sound that he is practicing throughout this album. ‘Before the Sun’ acts as a perfect example of Isakov’s ability to set you down in a scene, gracefully and effortlessly. These cowboy chords and melancholy strings make you feel just that.

Appaloosa Bones

Favourite lyric: ‘They haven’t made no pill / to get us ‘cross the wintertime’

The term “Appaloosa Bones" is used throughout the horse/rodeo wold, serving as a reminder of resilience. Appaloosa horses can live up to 30 years, their eyes darken to the shade of their speckles showing their wisdom and history. They are strong and reliable, and were the horse of choice for Native Americans for centuries. If one has “Appaloosa Bones” they are tough, and are more than capable of shaking the hurt. As I was listening to this song before knowing this fact, I was absolutely clueless to the meaning of it. There were lyrics that suggested certain themes, mainly some of longing: ‘was I that gone? / man; I hope not.’  I combed through the lyrics, rereading them over and over without luck. After researching the title, the message of the song became extremely clear. ‘Appaloosa Bones’  is a love letter from a person who knows their partner deserves better than them, and is expressing their appreciation for their loyalty. Being the title track, I expected ‘Appaloosa Bones’ to represent the face of Isakov as well as the face of the album. We are greeted by the familiar gentle strum of an acoustic guitar. This sound sounds like home - the way Isakov listeners expect his music to feel, and in the way the narrator feels towards their partner. That glowing synth sound it persists throughout the track, acting as a metaphor for the radiance of hope. At the end of the first chorus we hear ‘glad you found me when you did,’ followed by a new sound: the subtle hint of synths appearing to be played in reverse. They sound like glimmers of fleeting light, acting as clues to the backwards reality of the narrator. Maybe they really don’t deserve this love, maybe the resilience is an undeserved favour. Towards the end of the track there is that classic swell of strings Isakov uses so well. It progresses into a melancholy sound over the lyrics ‘was I that gone?’ We feel the hopelessness start to creep up, the narrator is self aware to the question of if they deserve this unconditional love. Their flaws should rattle their partner, however they have “Appaloosa Bones." I found the first verse of this song to be quite confusing before my education on the titles history. One thing I noticed in this albums writing style was the obscurity and ambiguity of Isakov’s lyrics. After rereading this verse a hundred times I had an interpretation: we are placed in a room, one in the depression of winter. The lack light from the short days is evident as we struggle to ‘tell the time by the walls / watch the shadows fall.’  We put down our pen, devoid of inspiration at the absence of our partner: ‘the pages slow in the room I called your name.’ It hurts so bad, we say it twice.

The role of a title track comes with significant responsibility. It has to encompass the vibe of the album, reflect whatever reinvention the artists has committed and retain the integrity of the artists past work. I found ‘Appaloosa Bones’ to do a great job of reflecting all of these aspects. It sounded very Isakov, with the trademark picking and swell of strings. The ambiguity of the lyrics is seen throughout the entirety of the album, and is teased beautifully in this track. This writing style is familiar in how poetic it is, and new in its level of obscurity. The airiness of the instrumental, such as that seen in both ‘The Fall’ and ‘Before the Sun’ is a trademark element of this entire album. As included in ‘The Fall,’ references to old timey professions are scattered thought this album. So far our circus performer, freight hopper and ranch-hand from the three singles released have set the scene for the remaining tracks on this album.

Silver Bell

Favourite lyric: ‘Your roaring smile campfire lit up the trees’

Gambling seems to be a favourite hobby of Isakov’s as it is referenced countless times throughout his discography. For example: his second albums title track ‘That Sea, the Gambler.’  We see many mentions of gambling throughout 'Silver Bell,' all of which connect to the subject of the song, Annabelle. She joins Isakov’s arsenal of songs sung to women with classic names such as Evelyn and Virginia May. The first verse of ‘Silver Bell’ connects lyrically with ‘That Sea, the Gambler,’ both first verses using card games as metaphors for love and life. The track opens with acoustic strumming tuned to a high key. It is bouncy and energetic in a way that many Isakov songs are not. It reminded me of tracks like ‘Living Proof,’  with a faster tempo and whimsical feel. ‘Silver Bell’  is a track that felt so traditionally Isakov that it quickly became a favourite of mine off the album. The theme of gambling ties in with the theme of hope, ‘silver rain makes green every once and a while.’  Love is a gamble, Isakov knows that and tells this relatable story through the most beautiful lyrics. Annabelle is the prize, her ‘roaring smile campfire lit up the trees.’ I believe ‘Silver Bell’ to be one of the best written songs off of Appaloosa Bones. We are struck over and over again with incredible lyrics such as: ‘we’re here on the ground / but I swear its heaven.’  As we waltz through this song we can feel the billow of love from behind the lyrics. Isakov hums in the background, giddy in its whimsy, enthralled by the risk. This “heaven” is something he is willing to risk everything for, ‘finally found us some good luck, lets see if it lasts.’  He feels resurrected, dappling metaphors of rebirth throughout the track: ’I’ll be gambling till my bones are ‘neath the apple field,’ and again, ‘aw, my gal, she’s a silver bell, she pulls straight from the loam.’  The newness of this love contrasts the dullness of his life before. Annabelle is his big break, his losing streak is over. The instruments on this track are not unique compared to the other songs on this album, however the waltz composition is interesting and perfect for the lighthearted themes. 

‘Silver Bell’ has become the first song I play when I go to listen to Appaloosa Bones. Isakov’s writing style is what made me fall in love with his music, and ‘Silver Bell’ represents this perfectly. ‘Living Proof’  is my all time favourite song of his, and I think the similarity of these songs is what draws me to ‘Silver Bell.’  The themes of whimsey and excitement for love are quite charming and we find ourselves feeling giddily alongside the narrator. Its sweetness fills us with wonder and excitement. It is the thoughts within the mind of the gambler, pumped excitement for what they are about to win while trying to maintain a composed poker face - ‘lets see if it lasts.’

Watchman

Favourite lyric: ‘We’re just hard stone but so easily broken / like crumbling ruins off the coast of Spain’

The emotions evoked when listening to ‘Watchman’ are so specific thanks to the instruments, melodies and lyrics chosen by Isakov. The big, wondrous sky opens before us as a tremolo opens the song. It feels like wind braiding through the trees and around the lighthouse the narrator watches from. There is a high pitched shining tone that reminds us of sea sirens. It is so perfectly nautical that we cannot help but picture a scene so specific. The title is the clearest example of the theme of old timey professions scattered throughout Appaloosa Bones. The use of a watchman as a metaphor for the narrators role within a relationship is so Isakov. Hearing this track for the first time I could not help but think of how well this song sits within his discography. Among songs such as ‘Berth,’ That Sea, the Gambler,’ and ‘Dark, Dark, Dark,’ ocean themes are a staple in Isakov’s songwriting. The narrator waits on eggshells wondering ‘who’s gonna pick us up? / who’s holding the reins?’ Each line broken up by melodic ‘Oh oh oh’s’  that create a sense of idling as the narrator works his long tedious shift in the light house. Metaphorical ships cruise by in the form of cars, ‘watch every headlight cruising past our door.’  Isakov writes that this love has ‘never rested,’ his role as the watchman working night shifts is laborious but worth it. His dedication is ‘untested.’  Isakov’s ability to story tell with limited lyrics is an attribute I will never get over. As the song progresses we see the lovers working together to preserve this love that the narrator is fighting for. The use of metaphor takes the lovers out behind the lighthouse, ‘our love got lost out there / arm and arm, we light our torches / and search the fields behind the houses.’  The light from the lighthouse is ‘just flashes,’  they need to navigate deeper to maintain this love that is ‘hungry and cold.’

‘Watchman’ is a whimsical and lovely song. It surrounds the listener in a scene that is soaked in nighttime, salt and firelight. It is home to one of my favourite lyrics off of the entire album: ‘we’re just hard stone but so easily broken / like crumbling ruins off the coast of Spain.’  I found myself wanting to be the love interest in this story, how nice would it be for your partner to be willing to take the night shifts while you sleep? There is ache and wonder dappled thought the track, creating that fairytale energy Isakov does so well. ‘Watchman’  ranks high on my personal favourites list for Appaloosa Bones. It is so beautifully atmospheric, well written and stands out against the other tracks. The ‘oh oh oh’s’  are something unique to ‘Watchman’ in comparison to the rest of this album. It sounds as haunting as the dark sea that Isakov paints before us through his telltale use of billowing bass and strings. I am absolutely in love with the world of this song, and the pure longing for love that pumps through its lyrics.

Miles to Go

Favourite lyric: ‘I’ve been burning all my daylight / running even midnight caught fire’

Without fail I am reminded of the Robert Frost poem Stopping by Woods on a Snowy Evening. This line ‘Miles to Go’ one of the most recognisable. I was excited by this title as this very line is referenced in my favourite book: Looking for Alaska by John Green. I was kicking my feet for this crossover of some of my favourite media. ‘Miles to Go’ is easily one of the most stripped back tacks on Appaloosa Bones. Its lyrics read like a poem: ‘hotel bar, singing in / broken heart, busted strings.’  With the light strum of an acoustic guitar, the song initially reminded me of Isakov’s first album, ‘That Sea, the Gambler,’  where the songs are composed of just vocals and guitar. After a minute of playtime we can see the presence of a more produced sound, one evident on all Appaloosa Bones tracks. We feel this swell of production behind the star lyrics: ‘I’ve been burning all my daylight / running even midnight caught fire.’  When I say that I would get this lyrics tattooed on my forehead, I am not joking. The continuing theme of fire is evident on most tracks throughout this album. It matches perfectly with the glow of symphony like sound that engulfs these songs. There is the twang of banjo dusted between verses with the occasional accompaniment of little piano riffs. As we are pulled into the last verse Isakov raises his voice to a tone that he does not often explore. It sounds desperate and tired, representing the story of the song. This story is one of resilience and hard work to get to where you want to go. This is another theme that is revisited throughout this album, we can see it on title track ‘Appaloosa Bones’ as well. In this amplified timbre he pleads: ‘I go weightless and fall / claws out for you now, just hold on to yourself.’ As the ‘highway signs, cut the clay,’  he repeats to himself: ‘almost home, we got miles to go / miles to go, but we’re almost home.'

‘Miles to Go’  represents many of the overall themes of Appaloosa Bones. We see fire, travel, resilience and desperation sprinkled throughout the lyrics. While I believe it to be very beautiful, ‘Miles to Go’  is not a track I find myself reaching to play. To me it was on the forgettable side of the track list, maybe due to its placement in the middle of the album. I appreciate a handful of lyrics however the writing style of “noun / noun / noun” is not as appealing to me as the other writing styles on this album. I quite enjoyed the change of vocal tone on the back end of this track. It really sold the story of desperation, and illustrated the deterioration of the narrators will. Reading the lyrics printed out before me, the story is solid.

Terlingua

Favourite lyric: ‘You and all your silver linings’

The songs that live in the middle of Appaloosa Bones seem to be toned down in terms of production. Similarly to ‘Miles to Go,’ ‘Terlingua’  portrays this illusion of being stripped back until about the middle of the song until we are flushed with that same wave of strings and bass. There are sounds of violins that sing between verses, filling the emptiness with emotion. We hear the cry of Isakov's vocals fleeting from behind, creating that spacey atmosphere we’ve become accustom to on this album. We observe some of the most literal lyrics on this entire album: ‘remember when the engine quit? / my head against the steering wheel / you sparked up, began to grin / you and all your silver linings.’  These provide a stark contrast to the ambiguity of the lyrics on other tracks. It’s literalness may be representative of the simplicity of the moment Isakov is illustrating. While this may be true, I felt as is this verse stuck out in an uncomfortable way. When paired with other beautiful lyrics such as: ‘I will love you like the passing time’  the verse seems out of place. The composition of ‘Terlingua’ is one of the most impressive on Appaloosa Bones. The break before the last verse makes me feel as if I am transcending whenever I hear it. What falls flat are the lyrics. There is a severe lack of metaphors or even a clear story for us to pick apart. It feels devoid of meaning, which is disappointing for a fan like me. I fell in love with Isakov’s songwriting ability and found myself hanging like the moon onto every lyric he writes. There was no lyrics in particular that I felt myself swooning over on this track. Is it objectively the weakest track on Appaloosa Bones? I’m not sure. However I believe it to be the weakest lyrically. 

When ‘Terlingua’ comes on shuffle, I won’t skip it, (I find myself rarely skipping a Gregory Alan Isakov song). However, it is never a track I find myself going to play on its own. It has its moments, I appreciate how Isakov plays with the tone of his vocals on this track. I enjoyed how he spoke the worse "there’s" in the lyrics ‘there’s hissing in the under brush.’  It was an effective tool to express the emotion of the narrator, head on a swivel, mind focused on the unknown. Overall I would rank 'Terlingua' last on Appaloosa Bones. It is gorgeous, miles ahead of a lot of other folk songs. However, in comparison to the rest of Isakov’s discography it is weak. I would have loved to see more ambiguity in the lyrics, if this was present I believe it would have fit better among the track list. 

Mistakes

Favourite lyric: ‘The ocean was angry / foaming at the mouth’

As I sit down to write about ‘Mistakes,’  I am beyond excited to gush about how much I am in love with this song. My cheeks fill with sweetness as if I’ve eaten a sour candy and my heart swells with the waves of strings that open this track. We fall beneath the ocean that Isakov has made a theme throughout this album. We remember it from 'Watchman,' the darkness of the sea surrounds us, every word is salt soaked and nautical. ‘I caught a golden wave, it left me lost at sea.’  These lyrics are drenched in lighthouse light, floating atop the ocean of strings that Isakov has composed. There is limited jumping between notes, the melody steps up and down the way waves churn around themselves. The beat is steady and quick below a sound that reads like the cry of a siren, it sounds like a sliver of sunrise on the horizon. Isakov hums over the choir of strings as if a drunken sailor swaying atop his sea legs, waltzing with the waves. Unlike 'Terlingua,' I believe that the simplicity of the lyrics on 'Mistakes' works extremely well. It opens the floor for the incredible composition of the instruments to shine. The repetition of ‘turning in the undertow’  is one of the best examples of songwriting on this album. As we hear it repeat four times we feel the strings pulling us back and fourth, back and forth over the waves. It is a pattern that shows us the feeling of surrendering to the mercy of the tide. Isakov begins the next line before finishing the previous, ‘turning in the under- turning in the under- turning in the undertow.’  It is a small whip that feels like the spit of whitecaps as the waves crash together. My favourite moment off of Appaloosa Bones lives on this track. After the line ‘the ocean was angry’ we hear the pull of a violin three times, stepping down one note with each arco. I feel myself turning my face to the wind, swaying with the strong rock of the boat as the night drips around me. The bass billows from Isakov’s voice in the following line, ‘foaming at the mouth.’  I am so utterly in love with this 10 second moment in 'Mistakes.' There personification of the ocean is so beautiful, using it to represent the engulfing perspective that the world has on us as individuals is an exceptional songwriting technique. The way other perceive can feel bottomless and scary, like the dark ocean itself. I pictured the waters edge, where we often see its mysterious foam. We see that the ocean is angry with this foam, but we often ignore its presence and go for a swim anyway. We surrender ourself to the opinions of others, relying on them to keep us afloat in life. At the twinge of uncertainty we feel ourself being pulled below, ‘turning in the undertow.’  We churn with the water in an ocean that is so much bigger than us. The end is unforeseeable and the mistakes we made are the fault. The repetition continues, ‘aw ya paid and paid and paid for.’ As the track plays the volume of the strings and bass grow, pulling us deeper and deeper beneath the waves. For a moment, the layering ceases - while the sirens still sing we are encouraged to listen to the words Isakov has written. We lay on the ocean floor while a pattern of sunlight cuts through the water, it is warped by the oceans deepness. As it dapples our vision we hear ‘sun breaks, but you’re finding only shadow.’  We are invited to sit in the emptiness of this moment before being quickly swept up by the billow of strings. Again, ‘so you paid and paid and paid.’  There is so much meaning, so much emotion and so much beauty within the composition and songwriting of ‘Mistakes’.

It will come as no surprise when say that ‘Mistakes’ in my favourite track off of Appaloosa Bones. It is everything I love about Isakov - metaphoric, ambient, lyrical, string filled, heart saturating and effective at laying us face down in whatever scene he wishes. I did find myself yearning for some big cymbal crashes towards the last chorus. It felt as if the waves were itching to slam together and a cymbal may have perfectly represented that. Apart from that one note, I am flawlessly in love with ‘Mistakes.’ In comparison to my other favourite songs from Isakov’s discography, ‘Mistakes’ ranks in my ever-changing top five. I cannot wait to throw myself over the barricade when I see this song live. 

One Day

Favourite lyric: ‘One day the winter will give up its shaking / and lay itself by an open flame’

Among the scatter of waltzes on Appaloosa Bones is the blissful poem of a song, ‘One Day.’  We have been swirled up in earth, water and fire across this album, and ‘One Day’ does just the same. The writing style of this track is one that I appreciate very much - Isakov stacks metaphor on metaphor to illustrate a sense of reverie. We get to hear the continuation of the oceanic themes begin the song: ’one day, the waves will forget the ocean / and wander their way up to the shore.’ This first verse seems as if it was written to represent the entirety of the themes Appaloosa Bones. This line has referenced 'Mistakes,' next we see a direct reference to 'Watchman': ‘one day the moon will quit being the watchman / forget just who she’s shining for.’ Each verse ends in a peaceful surrender, ‘oh these bones with carry me home.’  This rhyme scheme continues for the rest of the song, calling on contradictory metaphors that personify the elemental. This includes my favourite lyric: ‘one day the winter will give up its shaking / and lay itself by an open flame.’  The reputation of elements comes with a level of intensity. The rapidity of flame, the force of water and the size of earth often exceed our frame of vision. They feel so much bigger than us, almost insurmountable. They become the perfect metaphor for obstacles we face as a part of the human experience. We have seen examples of this so far in Appaloosa Bones, (e.g. ‘Mistakes’). The act of surrendering to what is out of your control is a liberating feeling, perfectly represented by simplicity. In personifying the wind to ‘give up its last breath / go drifting off to some promised land,’ Isakov portrays what it feels like to come to the understanding that truly, everything will be okay. Bubbling below the lyrics is a simple, blissfuly strum of guitar. The tempo taps at the speed of dripping honey, it sounds warm and golden. Our eyes close as our head sways side to side. It sounds as if we are floating through reverie, dropping our sword at the feet of which we cannot control. It is worry free and simple. The composition of this track fits beautifully with the lyrics Isakov has written. We are invited to join the elements, lay ourselves by the open flame, drift off to some promised land and forget just who we are working so hard to shine for.

‘One Day’ takes me on a nice walk through golden grass. The sun is warm and kind, the air is crisp and clear. We ‘drink and dance like there’s no one there,’  looking up to the stars as they stop their flickering. I believe ‘One Day’ to be a severely underrated track. Its position towards the end of the album may be the culprit. That or the simplicity of its lyrics and composition. While I understand the simplicity to be a metaphor itself, I can understand why it may impacts its memorability. It is sweet and solid. 

Sweet Heat Lighting 

Favourite lyric: ‘You drive, let’s see where this ends’

'Sweet Heat Lightning' is the hidden gem of Appaloosa Bones. It reminds me so much of ‘'O’ City Lights’  from my favourite album of Isakov’s, The Weatherman. The instrumental is beautifully solid with its memorable melody and extensive layering. The riff that bobs along the track, up and down like waves, sings in the moments that Isakov is not. It has a haunting essence to it, airy and spiritual. The interpretability of this song is so vast, the first lyric being a great example: 'monsters beneath your bed / what’s real, what’s in your head.’  The ambiguity of Isakov's songwriting style is evident on ‘Sweet Heat Lighting,’  totalling up a grand total 71 words. The lack of lyrical substance makes ‘Sweet Heat Lightning’ applicable to an endless amount of experiences. In my interpretation, the narrator is trying to bottle a situation that could snap away as quick as lightning. ‘Moon’s out / my mother’s house is empty / come and find me now.’  There is something the narrator is in love with, a person or maybe a place. In the dark of night where no one is around, he reaches out for this thing, calling it to sing. It is as precious as the ‘blue crack of light’  that is lightning. He aches for its presence and is willing to do anything to ensure solidity, ‘you drive, let’s see where this ends.’  As he ‘let(s) the wheels wear out’  the instrumental billows from behind the lyrics. The bass is full and grand and the melody reminds me of church bells. There is a tremolo creating a mystical atmosphere, it sounds like dappled light on the forest floor. Like a handful of the other songs on Appaloosa Bones, such as ‘Mistakes,’ we hear a blurring of the lyrics and instruments caused by the repetition of phrases. It causes us to detach from what is being said for a moment, and hear the lyrical pattern as one with the sound of the instruments. Isakov sings ‘calling you to sing / calling you to song / calling you to sing.’  The subject matter of this song is fleeting. The snap of lightning flashes before us, hitting us with a wave of ethereal heat. There is a sense of adventure and surrender that braids through this track. It fits snuggly into Appaloosa Bones, riddled with mentions of common elemental themes we hear on other tracks.

I have read mixed reviews on 'Sweet Heat Lightning.' The last three tracks of Appaloosa Bones have been said to be forgettable. While I believe the stronger tracks live at the beginning of the album, ‘Sweet Heat Lightning’ holds a solid place in Isakov's discography. It reminds me of a handful of other songs such as ‘Honey, It’s Alright’ and ‘Powder.’  The composition of this track is extremely impressive, I believe it to have some of the best instrumentals on Appaloosa Bones. With its limited metaphors it may not be lyrically complex, however it is generally likeable in terms of its whimsical sound. 

Feed Your Horses

Favourite lyric: ‘Looking for love, you forget to come home’

As Appaloosa Bones closes we are left with one last song. ‘Feed Your Horses’ is a tale of unrequited love that perfectly rounds off the end of this album. It reminds me of a few of my own experiences, some of them common to others. I was brought back to the moment where my best friend, who I had a huge crush on, confided that he was in love with another girl. He said it with the biggest smile, swirled in excitement while telling me. I stood there listening to pins drop. I could hear my own voice as Isakov sings ‘you jump to the ballroom, in that white wedding gown.’  I loved that boy more than anything. I wanted him to wrap me in his arms and love me like he loved that girl. I loved him in that way, but I also loved him because he was my friend. In an effort to remain selfless I never told him. I smiled and acted as his wingman, using my femininity to get an insight into wether she liked him back. It was that favour that would give him the green light, ‘I’ll feed your horses when you go into town.’  The instrumental of ‘Feed Your Horses’ is nothing special. It is classically Isakov in the way that it is similar to many of his songs. However, that does not mean the soft piano isn’t beautiful. It opens with a hum that sounds like the silver of sunrise, the glow of its sound aches over the track. The bass is full and emotional, but it is the story of the song is what enchants me. Isakov sings to this love of his ‘you say love’s a speeding train you gotta catch / you’ve been searching the subways for a perfect match.’ As this subject explores a new means of transporting their love, the subway, the narrator is left out in the country minding what he has always known, the horses. As his love interest ‘combs through the corners’  he again promises to ‘feed your horses when you’re out looking around.’  He claims his ‘old heart of (his)’  is ‘ageless, ageless.’  When the trains eventually breakdown and rust, he will be there, stood as tall as he was the day he was left. Horses in full health from his maintenance, ready to take them home. Again we see a reference to old timey professions. While we still have cowboys today, their history is so rich and traditional that we can’t help but associate them with the past. 

The closing track to Appaloosa Bones reassures us that in the moments between albums, Isakov is always manicuring and nurturing his music until we cross paths again. The maintenance is conducted carefully, drenched in a yearning love that manifests itself in acts of service. As I said before, I believe that ‘Feed your Horses’ is a beautiful conclusion to Appaloosa Bones. It is sweet, vulnerable and honest - things that I attribute to so many of Isakov’s songs. Finalising the album with a waltz is also something I greatly appreciate. There is something so enchanting about the way Isakov composes a waltz. I often see Isakov using waltzes in his love songs rendering them perfect to dance to with a partner. The extensive amount of instrumental between verses leaves us space to bask in the sound of the album. With room to think and breathe, we can truly appreciate its artistry. ‘Feed Your Horses’  gives us a soft place to land, pillowy and emotional. It was so easy to hear my own voice in say the lyrics, it almost hurt.

Ranking 

1. Mistakes

2. Before the Sun

3. Silver Bell

4. Watchman

5. The Fall

6. Appaloosa Bones

7. Miles to Go

8. One Day

9. Feed Your Horses

10. Sweet Heat Lightning

11. Terlingua 

I walked into the album review absolutely spewing with excitement. There was so much love trapped in my chest for the artistry that went into the lyricism, production and composition on Appaloosa Bones. I felt like I needed to spit it out somewhere, and felt the need to write it all down. I knew from the get go that my favourite track was 'Mistakes,' however I could not effectively compose a ranking before writing this piece. Dissecting and studying the lyrics of each song has ignited a whole new appreciation for their individual stories. I think and feel so much deeper when I listen to this album, and am able to understand its meaning in an entirely new way. There is not a song on this album that I don’t love. There is not a Gregory Alan Isakov song that I don’t love. The opinion on the production level of Appaloosa Bones is something that seemed to vary drastically from person to person. When researching the opinions of others, some did not enjoy the songs with a higher production level, such as ‘The Fall,’ (which was consistently the worst rated song on the fan subreddit). In my opinion, the use of a higher production on Appaloosa Bones was a wonderful way to showcase the full potential of Isakov’s creative vision. There is a level of fullness in its sound that is absent from previous albums, that really enhances the emotions of the songs. 

I have exhausted myself the past two weeks writing this album review, and expect no one to have made it this far. I will end with my overall rating: 9/10.