New Dreams and Sunshine marked Vincent’s third release for the Rebel label and hit store shelves in 1991. The album fused neotraditional country and bluegrass, leaning heavily on the mandolin and banjo to guide its warm sound.
Vincent’s vivacious take on “Good Morning County Rain,” a #30 peaking single for Jeannie C. Riley in 1972, kicks off the project. Led by an infectious banjo, it improves upon Riley’s original although I was surprised by the chug-along beat Riley brought to the song. Of the two, I much prefer Vincent’s version as it comes off more accessible to the listener.
“I Feel Closer to Heaven Everyday” is a beautiful bluegrass spiritual with a gorgeous acoustic guitar and mandolin led melody. The arrangement is stellar, drawing in the listener from the first note and holding them captive until the end. It might be my favorite instrumentation on the whole project.
The same is true for “Another Tear,” which comes complete with a captivating lead banjo and Vincent’s usual soaring vocal. She’s always shined on her up-tempo material and “Another Tear” is no exception.The album’s other upbeat track is Carl Perkins’ “Rise and Shine,” led by Vincent’s impressive mandolin work. She shines on the rapid-fire lyric and infuses the number with a beautiful sweetness.
Bluegrass also leads the way on her cover of Dolly Parton’s “My Blue Tears,” a #17 peaking hit for Parton in 1971. Vincent turns it into a dobro and mandolin soaked ballad that showcases the power of her impressive range and acute playing abilities. New Dreams and Sunshine also detours into traditional country, a switch Vincent makes with effortless ease. A fine bluegrass stylist, she’s also an incredible traditional country singer and she shows that off here perfectly. “We Belong Together” is an excellent neo-traditional ballad framed with beautiful fiddle and steel guitar. It works because of its retro sound evocative of the golden age of country music.
Another standout is the title track, a duet with its writer Charlie Louvin. It’s the most contemporary sounding number and seems perfectly placed for the early 90s. It’s very reminiscent of the sound of Mark Chestnutt’s “Too Cold At Home,” another song I love. “I’ll Be With You” is also excellent and underscores the country arrangement with a heavy dose of ear catching dobro. She turns in another stunning vocal as well; proven the grasp she has on her immense talent.
By soaking “Have I Loved You Too Late” in steel guitar, Vincent gives the song a stone country feel that works in its favor although the dense ballad isn’t exciting enough to jump at the listener. The same goes for “Thinking About You,” which adds piano to create a different texture. It’s also very good, but doesn’t have enough special qualities to stand out.
In the end New Dreams and Sunshine is an excellent album and perfect showcase for the bluegrass and country infused style that has become Vincent’s trademark. Even on this very early recording, she’s in firm grasp of her voice and demonstrates how well she knows not only herself but also her impressive talents. This album is definitely worth seeking out and can easily be downloaded or used copies can be purchased very cheaply.