When it comes to singers, there’s nothing on earth quite as beautiful as a woman’s voice. Far more emotive than even the best of male voices and capable of reaching notes with the capacity to pierce you through your heart in an instant, Clela Errington is among those to be considered something very special. Her fifth release, this low-key folkie is so much more than she pretends to be – with the vocal wallop of a veteran artist and, seemingly, as many musical interests and potential directions as befits her many talents. This songbird, (as visualized on the cover of her last release, 2014’s More Love and Happiness) is all ours and deserves our complete attention. One listen to Walking Each Other Home is all it’ll take to take you prisoner.

This sophisticated release reveals another significant strength: it’s one thing to have a stunning vocal ability but quite another to use it to the greatest advantage by selecting smart songs to cover. With 8 of 10 song choices representing a significant range or musical landscapes – from folk to blues, to jazz and back, the listener is treated to Errington’s ability to do more than re-interpret them. She makes these songs by artists she clearly admires – and owns them. Better still, her velveteen vocals tie the entire recording together through her injection of heartfelt soul into each selection. There’s no genre-jumping disturbing the flow of the album – it’s ’all Errington’, which is quite an accomplishment.

While we’re at it, she doesn’t accomplish this entirely on her own. The connection between Errington’s vocals and the quality of the musicianship is entirely simpatico. Both are stronger together and the sound quality on this recording is stand-out. Co-producing with the steady hand of Jimmy Bowskill, who expertly adds electric and acoustic guitars, pedal steel, acoustic bass and mandolin as prescribed by each composition, Errington is clearly and fully relaxed. The stunning keyboard work of Steve O’Connor is equally outstanding. With a rhythm section of Bowskill (acoustic bass) – Alec Fraser guests on “Careless Love”, “My Dear Companion” and the final track – and Ian McEwan (drums) adding considerable depth in a warm, gentle manner. The addition of Chris Bartos’ electric violin and back-up vocals from Jocelyn Barth (Errington’s daughter) provide complimentary shades of colour to Errington’s vocal power, without ever overpowering her lead.

Beginning with the slow, slinky “I Know You Rider” a traditional song covered by no less than Judy Henske and the Kingston Trio (!), its role in helping to build the kingdom of the Grateful Dead is not lost on her updated approach. Here. ‘rider’ is an old blues term which references a lover but its theme of lost love is merely melted butter in her hands.

Another traditional song (made famous by Bessie Smith and covered by everyone from Elvis to Pete Seeger, Janis Joplin to Madeleine Peyroux), “Careless Love” mines the heartbreak of a relationship gone south, dripping with regret. Introducing mandolin and reinforced with some sublime piano work, lending an element of country to the piece.

Possibly a role model, Abbey Lincoln’s “Throw It Away” is perfect Errington fare, dispensing words to live by, while the addition of accordion (O’Connor) for an extra dash of Cohen-like of despair, if not a slightly European flavour.

Can there ever be enough train songs with folkies? No. Errington’s own “Standing on the Platform” stands tall amongst the company. A highlight, actually – she kisses the lyric with a jazzlike flourish, as Bowskill & Co. use acoustic guitar, piano, B3 and drums to simulate the actual train as it chugs along the tracks, gradually picking up speed as it draws closer.

Tackling the spiritual twist of bluesman Eric Bibb’s “Don’t’ Let Nobody Drag You Down” is equally daring, yet Errington’s jazzy approach still maintains the gospel-friendly original as her band accentuates the rhythm with electric guitar (and a touch of slide) and an exceptional piano groove while sturdy backup singers underline a needed element of church.

In a wild left turn, Errington’s cover of Lucinda William’s bluesy “Born To Be Loved” benefits from the liquid quality of her voice. Less raw and raspy than the original, she injects it a certain vocal clarity which serves to accentuate the lyric while Bowskill’s tasteful electric guitar, warm acoustic bass and O’Connor’s B3 provide her with a creamy-soft backdrop to pivot from.

Memphis Minnie’s “Got To Make A Change Blues” allows Errington to stretch her bluesy side with a jazzed up treatment which also seems to invigorate the band. A rollicking run-through with acoustic guitar and piano featured alongside the foot-tapping power of this rhythm section, would make this a lot of fun to see and hear live.

No less than Linda Ronstadt, Emmylou Harris, Dolly Parton and Peggy Seeger have covered Jean Ritchie’s near-sacred “Dear Companion” – a haunting song of lost love, which Bowskill nails with his expertise on country-friendly pedal steel. Errington accentuates her deep-dish lonesome sound with a turn on harmonica. Simply beautiful.

Another likely role model for Errington might well be Eliza Gilkyson – here covering her “Once I Had A Home”. Pure emotion and an unerring sense of longing for home is found at the heart of this song and Errington delivers this with ease, her band backing it up with delicate touches of drums, piano and B3. This might be one of the album’s most impactful songs – revealing Errington’s voice as even more than a gift, bringing tears to the eyes.

An additional original is Errington’s “Full Moon Dart Time”. Any fan of the Everly’s ability to harmonize will appreciate the power of this mother-daughter duet, which they have perfected over the years. Gentle guitar and Bartos’ electric violin (adding some interesting effects) support this tender combination without ever detracting from the intimacy of this showcase. Written to comfort a friend dealing with family issues, this closing track pays tribute – as well – to the beauty of the human voice.

Let Clela Errington take you for a walk with this new release. It serves up an emotional intensity on a truly personal level as it calls attention to an artist who truly deserves a much larger stage. A good, caring listen to this recording makes it all the more unbelievable that this hasn’t happened before now. With luck and added exposure, it will. (Eric Thom)