Thunder Canyon represents Banhart's fifth full length release in just over 6 years and though he's no Ted Williams, his batting average isn't too shabby. As a matter of fact Thunder Canyon may well be his strongest album to date. Recorded in Topanga Canyon (just west of Los Angeles and the titular inspiration) you can hear echoes of the past artists who've found sanctuary there rolling down the canyon sometimes as clearly as ice cubes tinkling in a coctail glass from a mile away. Artists of the 60s and 70s such as Mick Fleetwood, Neil Young, Linda Ronstadt, Joni Mitchell and Spirit all resided there while recording some of their more essential work. It can fairly be stated that the hills and valleys of LA were to the 70s what the slanted and enchanted streets of San Francisco were to the 60s.

Banhart's early discs showcased an artist making intentional use of low fi recording production and reaching out to the psychedelic lyricists of the past like Tim Buckley, Donovan and Nick Drake. While this had it's charms it can also be said that his early albums tended to be a bit wordy and obtuse, like a mellower, folkier Beck - without the vocal gift of Tim's son Jeff.

This time out Banhart has control over a full band, rather than a guitar and strange vocal effects. He works out some truly funky numbers and seems to go beyond some of the vocal trickery that had him sounding like a stoned Gregg Allman. He gets down gospel style on a number called "Saved" which also smacks of a tripped out Edwin Hawkins Singers. "Bad Girl" and "Love" are all heartbreak numbers that should appeal to fans of the earlier discs and the Donovan style psychedelia is stronger than ever. Since I started with baseball analogies let me end by stating that this newest effort finds Devendra swinging confident wood in his wheelhouse. That means it's good and bears up well under headphone scrutiny.