In his bio it states that Patershuk loves words as much as he does music and also that his Grandfather said that “God loves a trier.” Which on the surface may not fill you with too much confidence for the album presented here. However, as the saying goes “this is not his first rodeo.” He has four previous albums to his credit, so as a “trier” he seems to be succeeding on a number of levels. Not least is having the noted producer Steve Dawson at the desk, with all his audio skills and multi-instrumentalist ability. Then add to that Fats Kaplan, Jeremy Holmes, Gary Craig as well as Patershuk’s vocal and musical contributions and the harmony vocals of Keri Latimer and you have the makings of a pretty decent album.

The one thing that Patershuk doesn’t do is short songs. He spreads his observations and tales with songs that run mostly from over four minutes to one clocking in over six minutes. This in effect sets up a listening experience that has the sense of not being rushed. The songs are mid to slow paced slices of Canadiana. Johanna presents a woman who likes to be lost and find herself there. The longest track Jupiter The Flying Horse is set in a travelling circus show. The shortest track Turn The Radio Up celebrates things heard and seen and welcome in middle age. More aware of how a relationship can be difficult and hard to escape is the subject of Sunny. Stay With Me, by way of contrast, wants things to continue despite the inevitable problems. It has a harmony vocal that enhances the mood and positivity of the song and some neat harmonica from Kaplan. 

Somewhat deeper in theme is The 2nd Law Of Thermodynamics, though the song has simple banjo and Weissenborn guitar setting that works well. Clever Hans is about an unwanted but very smart horse. Perhaps the most specific song here is Shane McGowan, a tribute to the celebrated singer and Pogues frontman and noting that he “has a brand new smile” but also that the new teeth can also pick up the radio”

The album title pretty much sums up the overall nature of this recording. But in reality, it is more than honest. It is open, understated, heartfelt and largely acoustic in its musical direction, with voice and often a single instrument leading the way. This is very evident in the final song Upright. It is once again in the careful production hands of Steve Dawson and released on his independent Black Hen label. A sure sign of integrity and something of interest. Not that everyone will immediately fall for this album. Though anyone who loves carefully thought out roots music will find something here to savour on what is likely Patershuk’s best album to date and his fans will welcome its truthful tales of relatable folks.