David Mead left his wife and Brooklyn for the family home in Nashville, working manual labor jobs and figuring out his next move, which was apparently to team up with songwriter Bill DeMain, begin writing songs with Bette Midler in mind, record them himself with veteran producer Brad Jones (Sheryl Crow, Steve Earle) and see if his “unknown” status might change with album number five. Mead’s always been a modest songwriter, intelligent, tasteful, subtle. His voice is sweet without excessive force; one leans into his songs. Even here where Mead imagines he’s writing “torch” songs, they hardly reach for nightclub theatrics but rather a quiet singer-songwriter’s corner. “Blackberry Winters” swings towards a falsetto, earnest backing vocals and an accenting piano. “Mojave Phone Booth” uses scattered guitar notes to find its location. The gorgeous “Last Train Home” adds strings for somber depth. The title track reflects on the love that always escapes Mead’s grasp. Surely, his luck is due to change.