Boxcar Nancy is John Raido’s new band, and John Raido sings love songs. That said, the tunes on Turning ‘Round are like Forrest Gump’s box of chocolates: Pick one out and you’re never sure what you’ll get. From the head-bobbing Bringing It All Back Home-style rock ‘n’ roll of “That’s All Right” and (my personal favorite,) the almost Clash-like punkadelic grind of “Everybody’s Feeling Fine,” to the delicate acoustic picking on the title track, “Turning ‘Round,” to the sweet country waltz of “Blind,” to the fresh funky vibe of “Groovy #14,” to the Harvest-like melancholy of “Blue,” the album abounds with tasty confections guaranteed to please the discerning indie-pop fan.

The abundance of acoustic guitar and traditional instrumentation – John’s own warmly engaging harmonica, the gently flowing strains of Rik Mercaldi’s mellifluous steel guitar, John Burke’s steady but unintrusive drumming, and Phil Ippolito’s melodic bass lines – might cause the casual listener to dismiss this as a “country” album, as if that was a bad thing. (After all, what’s a born ‘n’ bred Jersey boy doing warbling “yippi yo ki yi yay?” ) But if this is country, it’s country-eastern, as influenced by the smokestacks and snarling streams of traffic that surround John’s suburban home studio as by such obvious, classic, and definitely non-country influences as Neil Young, Dylan, and Gram Parsons.

The warmth and richness of every track here, with their finely-crafted layers of instrumentation, are a testament to John Raido’s skills as a Do-It-Yourself producer and engineer. But all the pretty guitars, keyboards, and harmonicas in the world wouldn’t matter were it not for the most important instrument on this album, John’s voice. This is no callow emo boy endlessly reliving that one bad day in junior high; this is a man who’s known more than his share of heartbreak and joy – a couple of marriages, a couple of kids, and a day job teaching special needs children, a vocation that requires more patience, heart, and enthusiasm on a daily basis than most of us can imagine.

The happy songs here bounce and sparkle and will make you smile, but I think John really shines as a singer-songwriter on the sad ones: The plaintive longing of “Blind,” accentuated by Rik Mercaldi’s exquisite steel guitar; John’s depth of emotion and appreciation on “Like,” the gritty tone of regret and bluesy self-flagellation on “I Was Wrong,” the almost palpable sadness he infuses into the beautiful and deeply felt ballad, “Blue,” and the gently lilting optimism of “Rollercoaster,” which shines through this track like the first hint of sun after a week of dark and stormy days.