It's hard to believe that it's been a full two decades since Tracy Chapman first burst onto the scene with her classic self-titled album, one that proved that there's still appetite out there for artists brandishing an acoustic guitar and a bundle of superb self-penned folk songs. Chapman beat the long odds she faced in the slick, synthesized eighties with simple but unforgettable melodies and direct lyrics about the dichotomy of hope and despair. Her fuss-free approach connected with listeners whether it was the quiet desolation of "Fast Car" from the 1988 debut or the surprising straight blues of "Give Me One Reason" seven years later.

Last month, Chapman marked her twenty years as a recording artist with her eighth effort, Our Bright Future, and she resolutely follows the same winning formula she established way back in 1988. With Chapman sticking close to her long-established template of no-nonsense, socially conscious modern folk, the one aspect that's going to separate Our Bright Future from prior efforts is the production. This time, Chapman turned to Larry Klein, fresh from helping Walter Becker produce his Circus Money album from earlier this year and earning a Grammy for Herbie Hancock's River: The Joni Letters of last year.

Selecting Klein to produce (with Chapman co-producing) was a logical choice, and for reasons that go beyond Klein's recent surge in star power. Klein produced several albums for another major female folk singer-songwriter in ex-wife Joni Mitchell. And this wasn't the first time Klein had worked with Chapman; he played bass on that seminal first album.

No Tracy Chapman record could ever be accused of being weighed down by overwrought production, but Klein went the extra mile to make Chapman's music organic and warm. Compared to the prior release Where You Live (2005), which was still fairly rootsy under Tchad Blake's production, Future's ambience delves even further into the past. It's laden with hand-made percussion, minimal backing vocals, and ensembles kept small...even Chapman herself can be hear counting off at the beginning of some of songs. Indeed, Klein kept Chapman close to her coffeehouse beginnings.

At the same time, he brought in some big-name session players to support Ms. Chapman. Preeminent drummer Steve Gadd and organist Larry Goldings were borrowed from James Taylor's touring band, and rounded out by Dean Parks on guitars and Klein himself on bass. Other tracks used younger session stars in Joey Waronker (drums), Rob Burger (keyboards), and Joe Gore (guitars), while Klein stayed on bass. These musicians never threatened to take any spotlight from Chapman, but when you listen closely, you find they are making good songs even better. In spite of using two different sets of personnel, the album stayed cohesive under Chapman and Klein's direction.