The collection features Viesselman's gravelly and emotive voice, which often evokes Cat Stevens and sometimes hints at other troubadours like John Hiatt. His songwriting and guitar playing are none too shabby, either -- again recalling Stevens (with prominent strumming carrying the tunes) and perhaps some of Dylan's folky gravitas. At various points, the songs are enhanced by female vocal harmonies, slide guitar, mandolin, harmonica and piano. From the album's punchy opening cut, "New Hampshire Snow," and the jig-like "Tom's Last Words" to some of its more somber and reflective moments, such as "Stone Mason's Waltz" and "Gone to Lewistown," it's clear that Viesselman knows how to craft moving acoustic music. Echoes of the Waterboys also reverberate, while the singing edges toward Randy Newman and/or Doctor John on the piano-driven "Stolen Fruit." The collection would work well as a soundtrack for a black comedy like Harold and Maude. But, hey, didn't Cat Stevens do the music for that? Or was it Van Morrison? Oh, well, you can never get enough good acoustic songwriting, even if it is a little derivative. (See www.kregviesselman.com.)