Review Summary: Another pretty good effort from a supergroup
Folk/Americana supergroup Bonny Light Horseman attracted a fair degree of attention and a solid reception in 2020 for their self-titled debut. With a considerably experienced band lineup comprised of singer-songwriter Anais Mitchell, Fruit Bats frontman Eric D. Johnson, and multi-instrumentalist Josh Kaufman, the trio turned their talents towards an album rich with historical material. Much of the tracklist of the group’s first album was reworked versions of centuries-old tunes, infused with generally traditionalist new songs. It was a credible approach, and one that helped to summon up the timeless feel which folk music often leans upon. With all that said, though, Bonny Light Horseman’s first effort didn’t really blow me away. Besides a trio of near-classic highlights (“Bonny Light Horseman”, “The Roving”, and “Mountain Rain”), the rest of the album felt pleasant but forgettable. In short, it was the typical somewhat disappointing effort of a so-called supergroup.
Despite my middling assessment of the band’s beginnings, I felt a touch of enthusiasm upon learning that the group was coming back with a sophomore effort, as
Bonny Light Horseman had demonstrated at least some potential for a future stunner. Unfortunately, though, while
Rolling Golden Holy is a slightly different animal than its predecessor, in the end it approaches the same results, albeit with slightly diminished returns. In regards to similarities, both albums are composed of ten songs, averaging very close to 3.5 minutes per track. Additionally, both albums follow (at least broadly) the same style, focused on gentle folk music with Americana overtones, with reworked traditional material included.
The main difference in style between releases is that the band’s second go-round is less focused on traditional songs (only two tracks, “Sweetbread” and “Fair Annie” originate from those sources) and leans more towards an accessible contemporary direction. The lyrics here feel a tad more generic, mostly devoted to romantic concerns, no mentions of Napoleon Bonaparte or John Henry to be found. That said, the two albums very much appeal to the same crowd, with their sleepy but undeniably pretty content, and notably wonderful vocals.
Rolling Golden Holy has some highlights, most obviously a pair of achingly beautiful tearjerkers in “California” and “Someone To Weep For Me”, and the wonderful closer “Cold Rain And Snow”, which indeed reaches the “timeless” vibe the band aspires to. Unfortunately, though, as a whole this effort doesn’t quite match up to the group’s first album, even if that wasn’t an especially high bar to clear.
Rolling Golden Holy is never anything less than pleasant, but most of the tracklist proves to be nothing more than that, and its highlight tunes don’t compare favorably to their massively-successful correspondent tracks on the debut. This album is certainly worth checking for those who found something to enjoy on
Bonny Light Horseman, and even for those who simply desire a mellow folky listen, but don’t expect anything earth-shattering. Chalk it up as another pretty good effort from a supergroup.
