Joe Henry is my favorite singer, songwriter, and record producer; more than that, I consider him a friend as well as a mentor. As such, some might suggest that my appraisal of the man’s new album might be heavily biased, and who am I to tell them they’re wrong? Then again, I prefer to think that I’ve engaged with Joe’s work on a deeper level than I have any other music; I may have a bias but I’m not bullshitting, and my hope, anyway, is that what I write about his work is illuminating to the reader and the listener.
All of that to say: The new Joe Henry record, Invisible Hour, is due on June 3 in the United States; I have written a fairly lengthy review of it at David Kennedy’s all-things-Joe-Henry blog. I know that a review of this scope may be asking a lot of those not initiated into the Joe Henry fold, and as such I may write something more concise later this month or next.
But truthfully: Invisible Hour is a landmark recording. It is among the very finest and most profoundly moving records I have ever engaged in writing, and as such I invite those interested in beauty and revelation to investigate further. Only good things can come of it.