After an extensive tour supporting his debut album Songs From the Valley in 2019, singer-songwriter John Vincent Iii was seeking respite. The unexpected arrival of the COVID-19 pandemic provided just that, leading him and his girlfriend to embark on an unconventional eight-month journey across the country in their Ford Transit van. This unique experience has deeply informed his sophomore album, Songs for the Canyon, a beautiful and reflective collection released nearly three years later.
Co-produced by John Vincent III alongside Tom Elmhirst, known for his work with Adele and David Bowie, and featuring additional production from Tony Berg and Ryan Hadlock, Songs for the Canyon marks a significant evolution for this independent artist. He has already cultivated a dedicated fanbase with his raw, emotionally resonant, folk-inspired sound, and this new album expands upon that foundation.
During his extended time on the road, John Vincent III intentionally distanced himself from the external pressures of the music industry. However, a guitar was an essential travel companion. “I found myself trying to write songs purely for the joy of songwriting again, without overthinking structure or complex chords,” he explains. “I wanted to reconnect with the simple act of picking up a guitar and singing. That’s how I started making music – writing about our experiences, our travels, and van life.”
This nomadic lifestyle, while idyllic at times, also presented its challenges. Sharing a confined space with a partner and a new puppy created a contrasting experience of beauty and hardship. “It was a fascinating mix of wonderful and difficult moments,” John Vincent III reflects. As their journey drew them back towards Los Angeles, inspiration struck from the iconic 1960s Laurel Canyon music scene and the piano-driven ballads of Carole King. This sparked a renewed focus on refining his songwriting. “I moved from consciously avoiding structure to immersing myself in it, perhaps even more intensely than before,” he notes.
This period of creative rediscovery opened John Vincent III to collaboration and learning from others. Working with accomplished producers became a valuable learning opportunity. “I was eager to collaborate and absorb knowledge. I had the chance to work with incredibly talented producers and learned so much throughout the process. I was constantly absorbing everything,” he says. This collaborative spirit also meant embracing the sometimes arduous process of song development, with some tracks requiring multiple iterations to find their true form.
The album’s opening track and lead single, “Highway Woman,” perfectly illustrates this evolution. John Vincent III initially recorded the song independently and then again with another producer, but it wasn’t until a session with Elmhirst at the legendary Electric Lady studio in New York City’s West Village that the song truly came alive. “I had reached a point where I had recorded a significant number of songs with different producers, but only a handful felt cohesive for the album,” he recalls. “I began self-producing to regain direction. By the time I collaborated with Tom, we were really focused on creating a unified sound. He was incredibly supportive and patient. We recorded the album’s piano ballads using the same slightly worn piano, and you can even hear the sound of the keys hitting the felt inside.”
The album version of “Highway Woman” is deeply personal, featuring John Vincent III on piano, acoustic guitar, and Rhodes keyboard. Its straightforward message of love serves as both a comforting and unexpected return to his music. “Releasing something slightly surprising or unconventional felt appealing,” he says. “After being away for a while, I was excited to demonstrate the new directions I’d been exploring. It’s a strong representation of the album’s overall feel.”
Songs for the Canyon takes listeners on a journey through John Vincent III’s introspective world, encompassing wistful reflections on imagined places, as heard in the Nick Drake-esque “Lincoln, NB.” He also explores vocal harmonies for the first time on record with his girlfriend on tracks like “I Lit a Fire” and the country-infused “Bluebird,” which even includes spontaneous applause. Tracks like “On and On,” initially conceived as a faster folk-rock piece, are stripped down to their core, featuring just John Vincent III’s acoustic guitar and rhythmic foot stomping. Another standout track, “Dandelion,” captures the essence of classic sunny California songwriting, despite its creation spanning Houston, Los Angeles, and New York.
John Vincent III explains that the album title, Songs for the Canyon, was inspired by the idea of Laurel Canyon as “a concentrated area that fostered so many incredible artists.” He elaborates, “Looking at Laurel Canyon, the artistic diversity is striking – from Carole King to Joni Mitchell, Frank Zappa, and The Doors. I think what resonated with me most were the vocal melodies, the lyrical depth, and the overall sense of tranquility. It’s rooted in rock’n’roll, but it’s also folk. It embodies everything I love in music.”
As John Vincent III prepares to share Songs for the Canyon with the world, he is still reflecting on the personal impact of his time away from the traditional music scene. He views the album as an honest and unfiltered account of that period. “There were moments of feeling invincible, and moments of despair when the album felt like it wasn’t coming together. I think those emotional fluctuations are palpable in the recordings.”
“To those who have supported my music, even during my absence, I want them to know that this album was a therapeutic process – a personal journey of self-discovery,” John Vincent III concludes. “Perhaps I still don’t have all the answers, but I strived to create something as authentic as possible, and hopefully, something worth the wait.”
