Steve Forbert arrived on the music scene in 1978 fully formed and alive with youthful energy and attitude. Fast forward nearly fifty years and he continues to make music that is consistently relevant and enjoyable. Touted as one of the new Dylans, his career may have been destined to follow a specific trajectory. Instead, he chose to do things on his own terms resulting in a steady flow of top-tier releases highlighted by his ever-present tunefulness and some sharply honed storytelling.  Most importantly, he has never compromised on the type of career he had in mind for himself all those years ago, remaining true to his muse and unburdened by any musical trends of the day; his original folk-punk spirit intact.

With his signature smoky southern drawl, Forbert has always come across as a bit of an old soul and, truthfully, his voice today doesn’t sound all that different than it did as a twenty-something folk-rock troubadour. It’s as if he’s aged gracefully into his voice. A masterful storyteller with a skill for creating vivid song portraits, his songs range from the deeply personal to the shrewdly observational, expertly delivered with the grit and grace of a seasoned troubadour, never overplaying his hand.  And certainly, he hasn’t been shy about writing topical songs that address social and environmental issues (think The Oil Song, Good Planets are Hard To Find and more recently, Please Don’t Eat The Daisies).

Which leads us to 2025’s intriguingly titled Ebenezer’s Back In Town. As Forbert notes, the stand-alone release was “…written in response to the current administration’s first several weeks in office” and the never-ending rhetoric directed at numerous countries that, in hindsight, are beginning to sound somewhat benign considering some of the more recent developments. In typical Forbert fashion, his insightful musings never come across as preachy but take on a more reflective tone with a voice sounding both wary and weary as he sings: “Chaos kicks and mayhem screams / He’ll disrupt most everything” before commenting, “Drive on slow / Over a disjunctive land / It’s as though / Everything’s on shifting sand”.

 Unlike its subject matter, it’s a reflective and mature take on world events that also manages to be extremely catchy and inviting. It bobs along on a relaxed folk-rock groove led by an insistent acoustic guitar riff whose easygoing sound belies the weightiness of the words being sung. It’s all of Forbert’s musical gifts tied up in a nice bow and a timely reminder of just how good a performer he really is. A true original, someday other americana artists will inevitably be touted as the ‘new Forbert’.

Deeply human songs with indie sensibilities and shades of bluegrass.

This is Lorelei is the moniker used by singer-songwriter Nate Amos. He’s also in the experimental, indie pop band Water from Your Eyes, where he plays guitar and produces music alongside Rachel Brown. He’s a prolific chap with hundreds of songs on Bandcamp, and The Singer in My Band is far removed from his work with Water from Your Eyes. Clear influences include Elliott Smith, English folk music and bluegrass, thanks to his banjo-playing father, Bob, who’s a respected figure in the New England bluegrass scene.

Amos is always working. In the past, he has spoken about developing a growing dependence on substances. However, he’s now 35 years old, clean and sober, and although his creativity may have slowed down slightly, he says that, before touring took over his life, he was recording one or two songs per day. At one point, he felt “Every moment could potentially give birth to a song.” Now he’s more careful and intentional about his writing. He used to approach songwriting as a “go to work and make something” process; now he finds other ways to complete songs.

Amos has a DIY approach to recording with a home studio in his Brooklyn apartment. He feels that this allows him to work quickly. In fact, this album was completed before signing to Matador Records. He has said that he may use a studio and a producer in the future, but he’s currently happy with his current setup. Given the wealth of material at his disposal, it must have taken a fair amount of time to pare it down to the 11 songs on The Singer in My Band.

Album opener I Will Eat My Heart in the Morning features bright guitar and sets the warm, melodic tone for the folk- and Americana-oriented sound that runs throughout the record. It’s a tender but upbeat start. The excellent riff-laden Billy Came Back is what The Smiths would have sounded like if they played Americana. It’s a wonderful, jaunty tune about a karaoke singer, Billy, whose emotional investment in the song makes his singing so affecting. It’s followed by the more country-influenced Watching Heaven Fall. The title track, The Singer in My Band, has a strong bluegrass feel, with Amos’s father contributing banjo. It is another upbeat song about a musician’s escapades on the road, including a woman with “a suitcase full of crystal and her pistol in her hand.”

The short but beautifully executed instrumental Nitro sounds like an old English folk tune that could have been recorded by Martin Carthy in the early 1960s, during the English folk revival. It segues straight into Sarah Is It Gonna Rain Forever, which shares the same underlying guitar riff. Amos has stated that the melody for these two songs has been around for four or five years. They certainly share some of their sonic DNA with the second English folk revival and rapid finger-picking guitarists such as John Renbourn and Bert Jansch. Sarah is it Gonna Rain Forever is partly an ode to his sister Sarah, who also sings on the track, reflecting on their shared path and future.

The Kid with the Crown recalls Elliott Smith’s gift for pairing melodic sweetness with emotional unease, while also hinting at the power-pop instincts of Big Star and the songwriting of Wilco. And I Haven’t Seen My Love in Quite a While draws on the musical tradition associated with Amos’s father and his upbringing in Vermont. Album closer, Don’t You Cry in Lonesomeness, is downbeat but touching, featuring just Amos and a guitar. The Singer in My Band ultimately succeeds because, for all its influences, it reflects the vision of an exceptional artist who is entirely comfortable in his own skin and blends the old with the new.

Warner Music UK/Rhino release a 35th-Anniversary version of the classic sophomore album from the Levellers.

Originally released in 1991 with that iconic opening “There’s only one way of life / And that’s your own”, the Levellers have put together a 35th Anniversary edition of the album. The remixed version is a single vinyl edition; however, a special CD package includes B-sides from the same era and a host of outtakes and demos for us to enjoy. Many of these have never been heard outside the studio and were discovered on the original tapes and cassettes in the band members’ possession. Many were hidden in the back of cupboards and drawers since the recording sessions. Drummer Charlie Heather discovered a tape cassette labelled “Demos of the LP”, which turned out to be the Levelling The Land demos.

The original album has been remixed from the original master multi-track tapes to sound current without losing its essence. The 1991 record was produced by Al Scott, and so the band called on Scott to work on the new mix. Fiddle player Jon Sevnik explains, “We had 24 tracks of analogue tape to work with, and we used them all. But music in the early 1990s was bound by technology. We were told by the record company that too much bass would overload people’s tiny TV and car speakers, making them fart and rattle. Subsequently, low frequencies were removed from the EQ, which we felt left a slightly disappointing listening experience, particularly when compared to modern recordings.”

A 2007 version of the album included five additional tracks, all of which are included here. That previous set included a live-at-Glastonbury 1992 bonus disc, whereas this 35th Anniversary collection focuses on studio work. The 25th Anniversary boxed set included Live At Brixton Academy material along with the original recording, so you may be wondering whether this collection offers anything to justify the investment. No doubt, for a completist, it’s a must-have.

Starting with the remixed Levelling The Land, as you would expect, the track listing is exactly the same as the original. Straight off the mix, it sounds fresh and full. The bass sounds that Jon Sevnik explained were muted are there, big and upfront. Played loud, as all Levellers songs should be, it sounds impressive. Playing the original back-to-back with the new version, the improvement is perceptible, and when you consider how wonderful the 1991 version sounded, that is an achievement. The new mix doesn’t take anything away from the material just adds a little more weight to the music. The vocals feel like they come forward a little more in the mix, but that could be down to the clarity and the use of modern techniques. One Way sounds better than ever, and the guitar intro to The Boatman feels like being there live with the band before the striking drums hit you hard from the speakers. The violin is, as you would expect, exquisite. The dazzling artwork is the same as originally created by bassist Jeremy Cunningham, including cooling towers, the river, and the DHSS office.

The additional CDs expand the Levelling The Land universe. The first, labelled Part 2, includes the aforementioned B-sides, including the concert favourite The Devil Went Down to Georgia and the second cover, Plastic Jeezus. These are followed by nine outtakes. These prove just how tight and proficient the band were, as each one could easily have been included on the finished collection. Listen carefully; you can hear asides and banter between the band members. The disc concludes with an Al Scott remix of One Way, labelled the Lean Fiddler Mix. It’s a growling drum-and-bass dub mix with Mark Chadwick’s vocals muted and sparse. Scott did a great job.

Part 3, or disc 3, covers the demos. A demo of Fifteen Years is missing from the list, but we get another run-through of B-Sides The Devil Went Down To Georgia and Last Days of Winter; otherwise, the rest follow the same order as the main LP. It is interesting, as always, to see how songs came to be born. You can see right away that the band knew they had something special. You may feel the demo of Another Man’s Cause takes the hopelessness and futility of war up a notch from the original. The sentiments are unfortunately still as true as they were then. That theme runs through the whole three volumes: lyrically, the Levellers are still relevant, and 35 years on, things arguably haven’t changed for the better. It is a musical joy to reconnect with these songs, even though you will ask yourself: is it really 35 years? It can’t be, can it?

Dom Flemons, the GRAMMY Award-winning musician and music scholar, will release his new album Making American Music: The Smithsonian Sessions on 22nd January 2027 via Smithsonian Folkways Recordings.

Recorded in the Nicholas and Eugenia Taubman Hall of Music at the Smithsonian’s National Museum of American History, Making American Music is the first-ever roots music album made entirely using instruments from the museum’s 5,000-plus musical instrument collection. By researching, composing, and performing music that both preserves and reinvents Black musical tradition, Flemons has ushered in a Black roots music renaissance. On Making American Music, his third album for Smithsonian Folkways, he breathes new life into twenty-two historic instruments, including guitars played by Elizabeth Cotten and Mississippi John Hurt, Lew Snowden’s banjo, quills made by Joe Patterson, and a number of 19th-century treasures. The result is a record that brings together Flemons’ musical talent and scholarly pursuits in company with remarkable backing musicians to present a vibrant collection of musical treasures. Making American Music: The Smithsonian Sessions releases via CD, digital, and as a 2LP vinyl set.

Performing solo, with his new Black string band The Traveling Wildfires, and backed by Smithsonian staff, on Making American Music, Flemons leads listeners on a journey through two centuries of music. Across twenty-one songs, Flemons performs Black string band music, early jazz, Afro-Caribbean melodies, African American folk songs, 19th-century banjo breakdowns, pre-blues songsters, Piedmont blues guitar, rhythm & blues, bluegrass, Hawaiian steel guitar, country blues, gospel music, and beyond. Making American Music also features a number of originals by Dom Flemons as well as his arrangements of songs associated with Monroe, Hurt, Tampa Red, Doc Watson, The Stanley Brothers, Lightnin’ Hopkins, Jesse Fuller, Ramblin’ Jack Elliott, and Washington Phillips.

Extensive liner notes by Flemons and Troutman, with creative direction by Vania Kinard, illuminate the instruments, repertoire, and creative process behind this convergence of American songcraft, musicianship, and sound.

You can find the track listing for Making American Music: The Smithsonian Sessions below:

Side A (17:51)
1. Shultz’s Dream (4:57)
2. Sourwood Mountain / John Brown’s Dream (3:50)
3. Bankhead Blues (2:35)
4. Long Journey Home (3:02)
5. My Baby Said Yes (3:27)

Side B (19:15)
1. Traveling Shoes (1:41)
2. DC House Party (3:33)
3. Island (4:46)
4. Country Quills (2:20)
5. Lost River Blues (3:13)
6. Star-Spangled Banner (0:44)
7. Briggs’ Jig (2:58)

Side C (20:39)
1. Night and Day (5:16)
2. Pay Day (3:52)
3. Blues Jumped a Rabbit (3:32)
4. Bye Bye Baby Blues (4:03)
5. San Francisco Bay Blues (3:56)

Side D (19:39)
1. Desert Sunrise (5:15)
2. Mother’s Last Word to Her Son (3:49)
3. Piedmont Picker’s Choice (5:23)
4. Take Me Back to Bronzeville (5:12)

Smithsonian Folkways has shared the high-octane bluegrass single Shultz’s Dream, which Flemons wrote in honour of the first Black musician inducted into the Bluegrass Music Hall of Fame. Though he was never recorded, Kentucky guitarist Arnold Shultz was a prime influence on bluegrass originators Bill and Charlie Monroe.

Low-key folk with beautiful vocals and evocative, atmospheric, sensuous words.

Laura Cortese grew up in San Francisco and discovered folk music through the fiddle camps she attended. She has toured with artists including The Mountain Goats and Aoife O’Donovan and travelled internationally as a musical ambassador for the US State Department. She moved to Belgium over a decade ago and is married with two young children. Lucky Water is her first album in six years, recorded back in the US at Betty’s studio in rural North Carolina.

It is rather sparse, still folk music, centred very much on Cortese’s beautifully clear and ringing voice. Produced by Clare Reynolds, a.k.a. LOLLIES, a muted, almost scraping guitar and what could be Cortese finger-picking a fiddle are often heard. A wide range of instruments are also on show, with, for example, LOLLIES on synth and percussion and Matt Douglas (The Mountain Goats, Hiss Golden Messenger) on harmonium, guitar, piano, saxophone, flute, and clarinet.

Cortese’s words reflect her life in Belgium and her young family, but also a sensuous delight in nature and evocative memories of her youth. The opener, Face The Rain, was written after her daughter watched the sun come through the clouds after a storm. Next, You’re All Sound, where a little echo is added nicely to the vocal, is a warm, loving song addressed to her daughter: “Sitting still, with a sly little grin/ Sneaking up to surprise you again, we’re laughing”. Hush Now Child, inspired by Belgium’s Iron Harvest, where unexploded bombs from the wars have been discovered, has protective lyrics for a child: “When the sun rises over the hill/ We’ll be safe and sound”. Half A Mile Away starts with one of these bombs found nearby, but leads to reflections on conflicts around the world and in earlier times.

Tied In A Knot has an added male vocal, a choral backing, saxophone coming in at the end and a chugging beat. Its words are unusually frank about a long-term relationship: “I know if we last long enough/ We’ll disappoint each other”, but in this way, are interesting. The relationship will last: “We’ll stay afloat when the boat begins to rock/ We’re tied in a knot”. The more vigorous Starry Ceiling, with its synthesiser, stirring chorus and sax solo, also, according to Cortese, “explores commitment and shared struggle”.

Lucky Water is a sensuous, evocative story of a family hike to the Lassen Volcanic National Park in California, which “aunts, uncles, cousins, and I have done every year since my mom was born… Each year we stop at the same spots, look for the flowers, put our feet, or full bodies, in the freezing stream”. Likewise, the low-key Calling Across The Lake, with just synth and piano, has atmospheric childhood memories: “Craggy, tall cliff/ Blue-green splash my skin/ Swim down bring rocks/ Back up from the bottom”. The closer, Adieu, Adieu, seems to be saying goodbye to summer, as winter comes: “As we give in to melancholy/ Until the swallow flies into May”. It is all conveyed most poetically.

This album, with its wonderful imagery, will appeal to those who appreciate low-key, sparse folk music with beautiful vocals.

Almost exactly 12 years after First Aid Kit first played the Royal Albert Hall, they’re back at the same venue, this time with the 65-piece Gothenburg Symphony Orchestra in tow, conducted by Erik Arvinder. Tickets went on sale six months ago, selling out almost immediately and necessitating the addition of a second date.

The coming together of First Aid Kit and the Gothenburg Symphony Orchestra has been some time in the making. Both the Söderberg sisters have had children in the past few years, which led to them taking “maternity leave” and meant this concert was delayed. However, it’s not only new additions to their families that mean this is a 12-year anniversary celebration of their classic album Stay Gold, rather than a 10th birthday one. It must be some logistical feat to take such a large group of musicians on the road. The Gothenburg Symphony Orchestra comprises not one, but four percussionists, a seven-piece brass section, 10 woodwind players, a battalion of violins, violas and cellos, an enormous harp, plus a massive array of other instruments.

After the orchestra files on, Klara and Johanna enter stage left, strapping on acoustic and bass guitars respectively, before launching straight into My Silver Lining. The strings shimmer and shine, sending tingles down our spines. There’s an element of nostalgia in the first half, with the band recalling memories of recording Stay Gold over a four-week period in a very cold Omaha, Nebraska, with producer Mike Mogis of Bright Eyes, of whom the sisters are big fans. There are also tales of some of their UK tours, including an incident when their SatNav failed in Exeter and the band not being able to understand a word the locals said when they gave them directions.

During the show, the sisters also reflect on the fact that, until the release of Stay Gold, they had adhered to a strictly acoustic approach to recording, as dictated by the folk tradition. However, after writing the songs which would form the album, they had a change of heart, knowing that big production values and strings were needed to do justice to the songs. Klara reflects on how the sisters felt at the time, saying: “So we just said Fuck it, let’s play what we want.” Klara declares that having the orchestra back them allows the album to “live up to its potential.” That’s certainly the case. The orchestra and band together are absolutely magnificent. It’s hard to imagine seeing First Aid Kit live again without the lush soundscape we’re treated to tonight. The first half ends with Klara and Johanna perched on the front of the stage to deliver the album’s final track, A Long Time Ago.

Following a 25-minute break, the Söderberg sisters reappear in coordinated flowing gowns with a distinctly 1970s feel for a greatest hits set which commences with Fireworks. It’s not just the mass of strings that adds to the sound. The brass section is beautifully soulful on many of the songs, as evidenced on Angels. Back in August 2011, the sisters performed Dancing Barefoot at the Polar Music Prize gala in Stockholm as a tribute to laureate Patti Smith. Their rendition was so powerful that it moved Smith, who was in the audience, to tears. A year later, Klara and Johanna relate how they were back at “Sweden’s equivalent of the Nobel Prize of Music” to play America in front of Paul Simon. Klara declares that she was so nervous that she downed five cans of Red Bull in advance of performing before a grumpy-looking Simon seated directly in front of them in the first row. Those fears proved unfounded when he gave them a standing ovation, and tonight’s transcendent version of the Simon and Garfunkel standard is warmly received by the audience.

After Wild Horses II, one member of the orchestra takes his place behind the behemoth that is the hall’s organ to contribute to Nothing Has to Be True. It’s a tricky task. With its 147 stops, four separate keyboards, a 30-note pedalboard and 9,999 pipes, it’s one of the largest organs in Europe and one of the most complex instruments to play in the world. After a brief interlude, the two sisters are called back, and tribute is paid to the recently departed Dolly Parton, with a performance of I Will Always Love You. The evening culminates with Emmylou, the band’s paean to Emmylou Harris, Gram Parsons, June Carter Cash and Johnny Cash. By the end of the first verse, the hall is lit up by the screens of mobile phones being waved, and the band gets the audience to sing one of the choruses by themselves, surprisingly tunefully. It’s a fitting way to end the show. The combination of First Aid Kit and the Gothenburg Symphony Orchestra was delightful and made for a truly sublime evening.

Wynonna Judd has just released her latest album; it came out last Friday, and it is, she says, the most personal album of her career. For example, this single, which is about the complicated love, loss, and longing that remains after her mother’s passing. At its heart, Hear Me Now is a conversation she can no longer have—wondering what Naomi would think of the woman she is today and whether, given another chance, they might still find their way back to harmony. As Wynonna explains: “This song represents where I’m at right now; it’s me looking around at what’s still here, what’s gone, and what I’m still carrying with me. There are little snapshots and references in these lyrics that probably won’t make sense to anybody but me, and I love that. They’re pieces of my life. So much of my story is wrapped up in my mother, and I still wonder what she would think if she could hear me now. Would she roll her eyes? Would she be surprised? Would she harmonize? Writing this with Sam Beam gave me a place to put those questions, because losing someone doesn’t mean the conversation ends. I still talk to Mom. I still hear her. And every once in a while, when I’m singing, I wonder if she’s listening.”

For this song, Wynonna collaborated with Sam Beam of Iron & Wine, and he says of the experience, “She was really open and vulnerable with the stories she shared. I was surprised at how determined she was about trying something new, and she talked a lot about how much Joni Mitchell’s music meant to her. I wanted to give her something in that vein. A great collaborator.”

All I Ever Wanted is the catchy new single from Charlie Sherbourne & The Nightbirds. Over a steady beat and warm, sustained notes on the bass, Sherbourne delivers tuneful guitar and a clean, clear vocal that follows a memorable melody. Further textures are added by embellishments on the harmonica and keys, resulting in a well-crafted song that feels light and grooving but tackles the depth and gritty detail of long-term relationships. Lyrically, the song traces a two-decade narrative, exploring the complexity of love as it grows and unravels over time. Sherbourne looks back with empathy and sensitivity, expressing hope and warmth in a manner that feels genuinely sincere without becoming mournful or melancholy. Indeed, All I Ever Wanted becomes uplifting; the act of remembering is positive.

Released via Howboy Cat Records, the single is accompanied by a well-shot behind-the-scenes video, in which we find Sherbourne in the studio. The most notable aspect of the visual is the sense of fun and joy the musicians take in the process and in one another’s company. This wasn’t produced alone in isolation or by an algorithm-driven machine. This is all about human connection and, as ever with such studio-based videos, it’s a privilege to get an intimate glimpse of musicians at work. Their joy is infectious, something we all need a little more of. Check it out.

We’re sorry to end this week with some sad news for regular readers which some of you will know already via social media. It’s been a very tough last few days for us as a team here at Americana UK as we lost not one but two of our longstanding writers and editors – Firstly, Martin Johnson, AUK’s amazingly productive Interviews Editor since 2020 pictured on the left above who died on Thursday last week. And then we had the news yesterday of the loss of our beloved Live Reviews Editor Paul Kerr who is basically the longest-serving writer AUK has ever had, just the absolute heart of the website for as long as we’ve existed. You’re bound to say all the usual stuff when someone passes I know but over the years I came to understand that they were two of the most decent human-beings you’re ever likely to meet and between them wrote well in excess of 1,000 different pieces for the site.

We’ll be posting full tributes to both in days to come – please bear with us while we arrange our thoughts. On a personal basis I’ll miss them both hugely and with my editor’s hat on, AUK will without a doubt be a poorer place without them. I asked my colleague Paul Villers for a song which might fit this piece and he suggested something by Giant Sand, one of Paul’s favourite bands. Take care everyone and see you on Monday.

Kyp Harness makes music on his own terms and has been doing it for 35 years. He is prolific, having put out 20 independent albums of storytelling and melody, with his latest (Lovely) released in April 2026. His approach hasn’t changed that drastically since he released his debut album, Nowhere Fast, in 1991. Harness has had his compositions recorded by Steve Earle, Mary Margaret O’Hara and Ron Sexsmith and has been called a “great writer” by Daniel Lanois and noted as “the most vital, essential Canadian singer-songwriter out there” by the Calgary Straight.

But it’s not only his vast solo catalogue that defines Harness. His multimedia adventurousness makes his output all the more impressive. The winters are long and cold in Canada. He is, however, a man for all seasons. Originally from Sarnia, Ontario, Harness is the author of The Art of Laurel and Hardy and The Art of Charlie Chaplin, the latter hailed by Chaplin expert Dan Kamin as “among the best books ever written on the comedian.” He is also the creator of the daily Mortimer the Slug webcomic. His novel, Wigford Rememberies, won the Best Canadian Independent Novel Relit Award in 2017.

His is the type of music that envelops you with its warmth, and you might find yourself feeling lit up from the inside like one of those kitschy plastic snowmen in people’s front yards. The off-kilter playfulness is in combination with serious topics. But there is a kind of serendipity that lends his songs a homey touch, one that is amplified by a certain ramshackle tenderness.

Album opener Rid of Me rocks from the first note and states his intention to never waver: “Whatever way the wind might blow / Whatever way the river flows / Whatever happens I’m stayin’ close / You’ll never get rid of me.” Despite its melancholy subject matter, the folkish Allie Jane has the comforting familiarity of an old, much-worn pair of jeans. “Now it seems like everything is speedin’ up / Can’t remember when I lost track of keeping track / All that’s new is old again.”

For his mini-gig, Harness plays a thirty-year-old Takamine guitar his wife bought him. “It has weathered many trips and stages,” he remarked. “I’m playing on a stage set carefully decorated to look like my backyard. (Joking – I’m playing in my backyard.)”

As always, the best ways to support artists are to go to their shows and buy merchandise. But if Harness isn’t playing a gig near enough, you can buy some without the travel at his Bandcamp site. Follow him on Instagram and visit his website, but first press play and hear what the squirrels and bunnies heard during this recording.

God’s Footstool – In this early song, I humbly set myself the task of describing the cosmos and even titled a whole album God’s Footstool. It didn’t become a top ten hit, at least in this galaxy. I got the title from a remembered Biblical passage: “The heavens are God’s throne, and the earth is His footstool.” I sort of went from there.

Old Grey House – In the country, you can see lots of abandoned houses and decrepit, falling-apart barns that look like the skeletons of dinosaurs. In the city, you can see abandoned boarded-up houses too. At one time, they were built by people full of hope and looking to the future. Someday people will look at our homes and wonder who lived there.

Business As Usual – Just take a look around a world where money controls too many things money shouldn’t control and the human toll of that. In history, we see the human species keep doing the same things over and over again, just as it does today. Jimi Hendrix said, “When the power of love overcomes the love of power, the world will know peace.” I think we’re still in the love of power phase.