Generation Mixtape

Released: August 18, 2023

I won’t bury the lead on this one–Appaloosa Bones, the highly anticipated new album from Gregory Alan Isakov, is yet another stunning collection of songs from the Denver-based singer-songwriter. Isakov’s signature mix of low-key instrumentation and restrained vocals is on full display throughout this eleven song collection, providing the perfect backdrop for his ever-thoughtful lyrics.

This time around, the mood is subdued, something reflected in the minimal instrumentation, concise arrangements, and raw, unlabored production. The album is also a tight, trim affair, with a running time just shy of forty minutes. The hooks aren’t as readily apparent (there’s nothing here as instantly memorable as, say, “Amsterdam”), but repeated listens reward nonetheless.

After several listens, I’m left with the following thought: Appaloosa Bones feels like a return. To what, you ask? Well, I’m tempted to say ‘a return to form,’ but Isakov’s catalog is far too consistent to suggest he ever lost his way. No, if anything, Isakov’s latest album is a return to the stripped-down production and ‘big sky country’-aesthetic that defines his earliest work. That’s not to say this is That Sea, the Gambler part two, because it’s not. At all. But it’s the album I’m most reminded of as I work my way through the tracklisting.

Speaking of, see below for my ‘track-by-track’ thoughts:

1. The Fall – Appaloosa Bones kicks off with a mid-tempo number that features a healthy dose of banjo, atmosphere, and even a bit of spoken word. Given the ridiculously high-quality of Isakov’s previous album-openers, it’s difficult to imagine this song ever rating higher than tracks like “Dandelion Wine” or “Amsterdam.” That said, “The Fall” succeeds at setting the proverbial table while also managing to break some new sonic ground. 

Side Note: I initially worried that the heavy ‘effff’ that practically jumps out of the speaker every time Isakov sings “fall” would never stop being a distraction, but I’ve learned to live with it. 

2. Before the Sun – Another solid banjo-infused strummer, “Before the Sun” finds Isakov channeling his country-western roots in a way that his recent releases have all but ignored. While the upbeat track unravels slowly, introducing some interesting embellishments as it unfolds, it unfortunately hints at a climax that ultimately never arrives. 

Sidenote: As is the case with most of Isakov’s albums, listening via headphones reveals some pretty stellar pedal steel (I think?) and violin playing that’s all but hidden in the mix.

3. Appaloosa Bones – Given that live clips of the album’s title track have been floating around for years, I’m genuinely surprised by how much this song still moves me. An instant-classic that renders the rest of this collection a must-own album for any Isakov fan. 

Sidenote: I’d grown so accustomed to the electric-tinged live versions of this track that I was initially taken aback by the stripped-down treatment featured here. That said, ultimately, I’m happy Isakov opted to place his vocal (and that fantastic lyric) front and center in the song’s otherwise bare mix.

4. Silver Bell – A quiet, unassuming love song that seems like a ‘ten years later’ nod to “Amsterdam.” Given Isakov’s penchant for heartfelt odes in six-eight, “Silver Bell” feels instantly familiar.

Sidenote: A common theme, “Silver Bell” underwhelmed upon first listen, but has since captivated.

5. Watchman – Pairing an Instantly memorable vocal melody with one of the album’s more lush mixes, “Watchmen” is an absolute highlight. While far from what you might consider a barn-burner, the song’s mid-tempo pulse provides a rare upbeat moment for an otherwise pensive album.

Sidenote: I’m truly shocked this track wasn’t one of the pre-release singles.

6. Miles to Go – The album’s de facto centerpiece, “Miles to Go” packs an appropriately climactic punch. For his part, Isakov delivers an impassioned vocal over a bed of gentle guitar and piano. With lines like, “Highway signs cut the clay, and you find yourself miles away,” one can’t help but feel the emotional toll that often goes hand in hand with life on the road. 

Sidenote: Isakov goes for broke on the song’s bridge (“If you lie awake while your universe shakes…”), pushing his voice near the point of breaking—good stuff!

7. Terlingua – Co-written with Ron Scott, “Terlingua” is yet another somber, nostalgia-inducing ballad. Once again, the unassuming treatment initially underwhelms. That is, until the song’s cinematic bridge accompanies yet another Isakov gem: “Storms will swell, the days will fly, I’ll love you like the passing time.”

Sidenote: “Terlingua” feels like the spiritual sequel to “Miles to Go,” thanks, in no small part, to the vivid, imagery-laden lyrics evoking shades of a desert highway.

8. Mistakes – A lush, expansive number that gives the album’s second half some much needed energy, the backbeat-driven “Mistakes” is an absolute gem. To that point, the song’s cinematic mix almost sounds out of place on the album’s otherwise understated production.

Sidenote: From the meditative chorus (recalling “Berth”) to the falsetto-laden bridge (a nod to  “Chemicals”), “Mistakes” sounds like something that easily could’ve fit on Evening Machines. 

9. One Day – Isakov tends to toss a short, breezy jam on every record. I’m tempted to cite “One Day” as this album’s version of “California Open Back,” or “Fire Escape,” but this track is far more developed than either of those examples. In fact, the song’s yesteryear aesthetic feels like the distant cousin of “Salt and the Sea.” Either way, on an album that slowly unravels with each successive play, “One Day” remains the exception. The song is a great example of ‘less is more’ immediacy.

Sidenote: If you listen very closely, you can hear Isakov whisper “one, two, three, two, two, three” at the beginning of this gentle waltz–I live for moments like that!

10. Sweet Heat Lightning – Given its runtime (nearly five minutes and the longest track on the album), I’d hoped for a song that felt a bit more ‘epic.’ That said, what “Sweet Heat Lightning” lacks in dynamic bombast, it more than makes up for with infectious atmosphere. Like much of the album, the song is rarely louder than a whisper, but one that ultimately repays a focused listen.

Sidenote: Isakov has long since mastered the subtle art of storytelling via his lyrics, but “Sweet Heat Lightning” finds the singer taking his use of metaphor to the next level. The man’s ability to paint a vivid scene with but a few lines is nothing short of amazing.

11. Feed Your Horses – As is his tradition, Isakov opts to end Appaloosa Bones with a meditative lullaby. Lyrically, “Feed Your Horses” provides a tangible sense of closure. For his part, Isakov delivers yet another stunning lyric: “Looking for love, you forget to come home.” The song speaks to the idea of patience and grace, utilizing an admittedly (but effective) heavy-handed metaphor to explore the pervasive melancholy that tends to accompany wayward hearts.

Sidenote:The backing vocals from Aoife O’Donovan and Bonnie May Paine are a nice touch.

Isakov has spoken in the press about his protracted writing and recording regiment, but Appaloosa Bones hardly feels like an album five years in the making. In fact, where one might expect to hear the evidence of a hard-earned labor of love, there’s an impressive sense of unfettered spontaneity permeating many of these songs–a testament to the material’s road-tested status.

That said, Appaloosa Bones quickly settles into its lane and rarely deviates. There’s a fine line between consistent and redundant, a line that Isakov rides for much of the album. Again, the nuance is there, but it takes a listen (or twelve) for it to reveal itself. Once it does, however…

Overall, Appaloosa Bones is a stunning album that is sure to please fans of Gregory Alan Isakov’s previous work. Whether or not the album will have the staying power of, say, 2013’s The Weatherman, remains to be seen. Either way, it’s always nice to have some new music from a generational talent–here’s hoping we don’t have to wait another five years for Isakov’s next release.