Other words that could describe both her personality and music are "sweet," "carefree," "fun loving" and "earthy." Her voice, along with the production on this album, is ethereal, yet warm and soothing, like a lazy summer's day. Moore seems to have achieved a comfort level with these recordings, as though she has found her element and doesn't care so much if others like it or not. The result is a set of beautiful, heartfelt songs that may not be greatly appealing at first, but have potential for anyone willing to listen a while. Only two cuts, "I Believe," and "Sugarite," stand out as having instant appeal. The rest will take some time, but it's worth it for the fact that there are some great songs here.

Bolton's biggest benefit here, particularly given the cultural criticism that he consistently must battle, is that he's taking on Christmas tracks here.  By and large, Christmastime and its subsequent sounds seem to bring out the milder side of those critics as they simply sit back and enjoy the season.  Yet, even at their sharpest, there's very little not to like from Bolton this time around.

Lyrically, the album is a bit reminiscent of Woody Guthrie and other folk legends.  Hendrix even covers Guthrie's "Pastures of Plenty" which follows the challenges of working in the field.  There is no fear of taboo subjects, either.  Racism is addressed in a couple of songs.  "What is the Color of the Soul?" uses the idea of colors to show the utter silliness and irrationality of racism.  "A red man married a snow white maid/Now all their kids are a copper shade/You know it puzzles me both day and night/Will their children's souls be red or white" is a good example of the fearlessness of the lyrics on The Spiritual Kind.