Let’s be clear about one thing from the start: I am not in the same universe as “impartial” when it comes to this album—a double-LP collection from singer-songwriter Jean-Paul Vest and his band Last Charge Of The Light Horse.

Not only have I been shouting the praises of Jean-Paul’s superb work since before the 2005 starting point for this collection—I admired his pre-Last Charge group Blue Sandcastle too—we’ve become friends.

And not only is Jean-Paul a friend, but he also asked me to write the liner notes for this collection—an honor I was delighted to accept.

So if you arrived on this page in search of a dispassionate dissection of this album from a studiously objective reviewer, yeah, hate to break it to you, but this definitely isn’t that.

The real challenge for this writer is that I’ve already commented—more than once—on virtually every song this album contains, first in the course of reviewing each of the albums and EPs its songs are collected from, and second in the aforementioned liner notes. (And I’m not going to repeat my liner notes essay here—you’ll need to buy the album for that...)

Instead, let’s begin with a 20,000-foot perspective.

Twenty years is a long time to do anything, and a milestone worthy of being commemorated. This collection explores and sums up two decades of exceptional work, delivering 19 tracks across four sides of crisply-pressed vinyl, tucked inside a beautiful and thoughtfully assembled gatefold cover, featuring gorgeous cover art by Laurie DeVault and whimsical interior art by John and Wendy.

The contrast between the two visual approaches feels like a reflection of the character and personality of the music within. Jean-Paul’s songs can be dark and brooding—Richard Thompson and James McMurtry have been frequent reference points—but there’s always an edge of subtext that often involves an element of humor, whether it takes the form of cutting sarcasm or exuberant wordplay.

The twenty years covered here nearly mirror JP’s tenure as a father of three, and while this album is not the story of his and Jennifer’s family, their presence looms large at times, particularly in the later going when their children Nick and Gwen show up as guest players on several tracks. As their family has grown and evolved, so has Last Charge, from the early-days trio featuring JP and the father-son duo of Artie Riegger (drums) and AJ Riegger (bass), to the more familiar 2010-and-onward quartet of JP, Shawn Murray (drums), Pemberton Roach (bass) and Bob Stander (lead guitar).

Beyond that, I’ll just delve into five of my personal favorite tracks, while acknowledging that the process of whittling it down from 19 to five was brutal:

“This Is Where” kicks off this collection, as it almost had to—an anthem whose resonant opening bars invite you in while Jean-Paul’s evocative words describe an experience of being entranced by music. Of all the hooks littered across the Last Charge catalog, this is the one I find myself humming again and again.

It’s a pretty much a dead heat between “This Is Where” and “What If” for my favorite Last Charge song. “What If” finds Jean-Paul stepping into his deep affection for favorite Beatle George Harrison with a warm, searching number lit up by some of his most lyrical, Harrison-esque guitar work.

“Face To Face” was one of the first Last Charge songs to actually put a catch in my inhale, a heavy-duty number about the push and pull, joys and agonies of family relationships. It’s honest and raw and, as it builds, moves from tripwire tension to rocking-out crescendos.

The warmth returns on “Choose Now,” a skittering, resonant number about seizing the moment and living in the present. I promised myself I wouldn’t just quote song lyrics for 800 words in this space, but come ON: “Our bodies overlaid with the filigree of age / I’m done balancing the ache of longing / And the fear of wondering if you’ll stay / So choose now / Choose now / I’m done with waiting / Choose now.”

“Where The Winter Ends” offers a taste of the other transformation Last Charge has gone through over the years, picking up subtle electronic elements and occasional avant-garde flourishes. Riding a gently pulsing loop for its first two minutes, it begins to blossom with guitar, bass, shakers, and brushed drums emerging alongside bursts of woodwinds and magnificent guest vocals from Camryn Quinlan, leading to a finish both glorious and sublime.

Plus you get 14 more.

Last Charge Of The Light Horse stands tall among the favorite discoveries I’ve made since taking on this music writer gig many moons ago. For this listener, the band has provided two decades’ worth of tremendous songs, while underscoring yet again the value of independent music and the importance of supporting the artists who make it.

Year Of The Horse is simply tremendous. Now go get it.

Rating: A

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