The Whitmore Sisters Ghost Stories Red House
Texas born sisters Eleanor and Bonnie Whitmore were raised in a musical and liberal home, where their father taught them how to fly planes while still in their teens. Bassist Bonnie, the younger of the two by seven years, has four solo albums under her belt already. Having spent a few years in Nashville, she currently lives back in their home town of Austin, where she plays bass with people like James McMurtry. Eleanor (strings and piano player) moved to the other side of the continent to be with her husband, Chris Masterson in California, from where they tour as The Mastersons, collaborate with Steve Earle and Chris also produces other artists in their home studio.
This first duo album from the sisters became inevitable when Bonnie visited Eleanor and Chris in LA for a week during lockdown, and Chris insisted that they finally record that project that had been bubbling under for so long.
GHOSTS is permeated by the spirits of the many loved ones that they have lost along the way. Contrary to what one might expect, it is not a collection of dirges, rather a diverse series of recollections, reminiscences and tender tributes, which have been tempered by the gift of time.
Bonnie was in a relationship with the late Justin Townes Earle during her time in Nashville, and Greek Tragedy expresses the intense pain of loss brought about by addiction, by it’s almost inevitability. Hattie Webb’s harp adds an appropriate ethereal atmosphere to a touching farewell, sung in harmony by the two sisters ‘carry on in our memories, goodbye, sweet dreams’.
Another ‘dead ex-boyfriend’ of Bonnie’s was Chris Porter, a musician who died tragically while on tour, is the inspiration for The Ballad of Sissy & Porter, which is given a distinctly Cajun flavour, helped by the presence of Dirk Powell on accordion and triangle.
In addition to the two sisters on their usual instruments, they are accompanied throughout by the core band of Chris Masterson on guitars, Jamie Douglas on percussion and Tyler Chester on Melllotron, piano and organ.
Friends We Leave Behind is intensely moving, and in fact could be a difficult listen for the recently bereaved, ‘The friends we leave behind, is what defines us, how many will there be when we’re gone?’ Soaring strings express the rising pain of a break up in Superficial World of Love, and the title track is a beautiful tribute to all the people of colour killed by the police in the US, “I will remember you, I will say your names”. Renowned pedal steel player Jon Graboff adds his magic to the delicate subject of falling for someone who’s already taken in By Design.
The two covers - Aaron Lee Tasjan’s Big Heart Sick Mind and Paul McCartney’s On The Wings of a Nightingale - are less appealing to this reviewer.
The album is visually appealing with its sepia photographs and detailed lyrics and information insert - take note, all you budding artists out there!
I must admit that it took quite a few listens before I really ‘got’ this album, but it’s one of those that is worth every minute spent in its company, and it reveals new riches with each play. Seek it out and enjoy.
Review by Eilís Boland
Old Salt Live in Room 13 Self Release
Describing themselves as an ‘international Americana band’, Belgian based string band Old Salt have released this 5 track EP as a sort of calling card for their return to live gigging, post the you-know-what. Recorded live in Ghent’s Room 13 Studios, they have raided the Great American Songbook to chose songs that express ‘the monotony, loneliness hope and loss’ felt by all of us over the last two difficult years, but recorded with their usual verve and enthusiasm.
Led by American Dan Wall (banjo), the band is completed by a trio of Belgian natives: Lotte Remmen on violin, Johannes Wannyn on guitar and Lara Rosseel on upright bass (although the touring bass player often changes).
The much covered Woody Guthrie’s Pastures of Plenty is given an appropriately ominous and menacing feel (very different from the original recording), emphasising the trials of the many migrant workers who toiled in the US (and indeed still toil) to feed the country. ‘(We) cut grapes from your vines, to set on your table your light sparkling wine’. The song runs into an original lively, fiddle-led instrumental Charlie’s Dog, before reprising the original song, ‘we come with the dust and we go with the wind’.
Ry Cooder popularised Always Lift Him Up and Never Knock Him Down, originally from the pen of fiddler Blind Alfred Reed in 1928, and here it’s given a gentle soulful rendering, led by Dan on open backed banjo, with exquisite harmonies from the three band members. Nobody Knows You When You’re Down and Out, the blues standard originally popularised by Bessie Smith, is given a gloriously over the top jazz-blues rendition, and another jazz-folk standard, St James Infirmary Blues affords Old Salt the opportunity to show off their jazz chops, including a dramatic increase in tempo halfway through. They cement their versatility with a stunning a capella version of the sea shanty, Grey Funnel Line, written by Cyril Tawney in 1959 and now a standard in the English folk cannon.
On top of their existing three albums of mainly original tunes, Old Salt have demonstrated that they are equally adept at breathing new life into the time honoured covers that they sprinkle through their live set. Check it out, and catch them live if you can.
Review by Eilís Boland
The Wooks Flying High Self Release
The third album from contemporary bluegrass band The Wooks was recorded live over two sessions in Nashville. Self-produced by the band, the recording took place in the home studio and under the watchful eye of bluegrass guitar player Jake Stargel, who engineered the album. Acclaimed in bluegrass circles, Stargel’s many awards include the IBMA 2014 Instrumentalist of The Year. The band’s objective was to recreate the authentic live sound attained by the late Tony Rice’s work with producer Bill Wolf at Arch Studios. Following the passing of Rice in 2020, the band made contact with Wolf, asking if he would master the album, which he agreed to do.
The current line-up of The Wooks includes three Nashville-based players, Harry Clark on mandolin and vocals, George Guthrie on banjo and vocals, Allen Cooke on Dobro, and Lexington, Kentucky resident CJ Cain on guitar and vocals. Additional guest musicians that lent a hand in the studio are Johnny Calamari and Mike Bub on bass, and Nate Leath and Jesse Wells on fiddle.
Of the twelve tracks on the album, ten are written by the band along with two covers. John Prine’s Iron Ore Betty gets an acoustic makeover and opener What The Rocks Don’t Know was written by Arkansas songwriter Willi Carlisle. One instrumental, Madison Chimes, also features, showcasing their individual and collective playing skills and, in particular, the banjo playing by Guthrie who composed the song.
Far from being ‘one trick ponies’, they stray from their traditional bluegrass origins on Tennessee Girl and the old-timey New Peace Of Mind. Both tracks tip their hat in the direction of Tyler Childers, no doubt influenced by partnering Childers on tour in recent years. They recall the country roots of The Band on the title track and Mudfish Mama, which sit comfortably alongside more conventional bluegrass tracks Virgil’s Prayer and Butler Hayes.
All in all, a refreshing suite of songs from a band whose appeal should travel much further than simply diehard bluegrass fans. FLYING HIGH captures the mood of free-flowing and fun-filled live music, in addition to delivering well written and spirited country tunes.
Review by Declan Culliton
Sarah Shook & The Disarmers Nightroamer Thirty Tigers
“I didn’t want there to be a shocking, jarring difference, but I definitely wanted it to feel like things are opening up. It’s a bigger feeling experience,” explains North Carolinian artist Sarah Shook about her third full album with her band, The Disarmers.
Her previous two albums SIDELONG (2017) and YEARS (2018) were both released by the now defunct Chicago based independent label Bloodshot Records, who were the perfect fit for Shook’s marriage of raw country and indie rock. The demise of that label resulted in a delay in the recording of NIGHTROAMER, which thankfully received the support of the Thirty Tigers label and finally sees the light of day.
The album is somewhat broader in range than her previous releases, without abandoning her trademark ass-kicking insurgent country punk. The opening three tracks, Somebody Else, Been Lovin’ You Too Long and If It’s Poison, all super melodic, do signal a move from her core sound to a more indie driven power poppy direction. However, that all changes with the next three songs No Mistakes, the title track and It Doesn’t Change Anything, all of which find Shook and her comrades as spunky and twangy, both musically and vocally, as ever. Believer and Stranger both land somewhere in the mid-point between alt-country and power pop.
Shook has spoken openly about the many life challenges that she’s been dealt. Born into a fundamentalist Christian family, dealing with issues around sexual orientation, depression, addiction and relationship issues dominate her songwriting. The titles of the majority of the ten tracks leave the listener in little doubt as to the extent of Shook’s intense personal searching and allude to open wounds not yet entirely healed. Lyrics such as ‘God is dead and heaven’s silent’ on It Doesn’t Change Anything are a stark reminder of the people’s never-ending struggles with mental health and addiction issues.
With Eric Peterson on guitar, Aaron Oliva on bass, Phil Sullivan on pedal steel and Shook’s marked vocal deliveries, they collectively reproduce their rugged weather-beaten sound that works spectacularly well in the live setting.
Let’s hope that removing Bloodshot Records from the pitch does not signal the death knell for many alternative roots and insurgent country artists, it does seem fewer and fewer albums are coming from that genre. This recording, loaded with attitude and passion, opens new doors on every listen. It’s also further testimony of Shook’s creative fire, one that deserves to continue burning brightly.
Review by Declan Culliton
Hailey Whitters Raised Pigasus/Songs & Daughters/Big Loud
The path to stardom for Iowa-born artist Hailey Whitters is the stuff of fairy tales. With a passion for country music since childhood, at the tender age of seventeen she abandoned her hometown of Shueyville (population 731), leaving her parents and five siblings, and headed for the bright lights of Nashville. Overnight success evaded her and she existed for over a decade working at various jobs while performing most evenings on any stage available to her. Twelve years in Music City and without any prospect of a sustainable career in music, her final throw of the dice was the independent release of MY DREAM, an album, in the main, detailing her unfulfilled aspirations. Despite her upset that the recording was to be her Music City swansong, the album, and in particular the track Ten Year Town, finally got her critical industry attention. It also won her a label signing and fast-tracked a deluxe and expanded recording of that album the following year. Ironically titled LIVING THE DREAM, it included collaborations with Brent Cobb, Jordan Davis, Hillary Lindsey, Lori McKenna, Little Big Town, and Trisha Yearwood. It also resulted in the accolade of being ‘one of the most interesting voices in country music,’ from NPR. Her reputation was further enhanced when she was Grammy-nominated for the song A Beautiful Noise, co-written with Brandi Carlisle, Brandy Clark and Alicia Keys.
If THE DREAM and LIVING THE DREAM focused on the ups and downs of her adventures in Music City, RAISED finds her back home in Shueyville, recalling the events of her previous life. Co-produced with Jake Gear, Whitters has a lot to report about those times and does so across no fewer than seventeen tracks, sharing the writing duties with a host of big hitters including Lori McKenna, Craig Wiseman and Brandy Clark. Also featured - quite unexpectedly for me - is an out-and-out rocker titled Middle of America, which finds her working with B.J. Barham and his band American Aquarium. It’s a killer track and possibly a hardcore sound that Whitters may explore in the future. Elsewhere, she sticks broadly with the sonic terrain that worked so well on LIVING THE DREAM, blending country ballads with more mainstream tunes loaded with irresistible hooks.
Whitters is blessed with a vocal purr with heaps of twang, that dips, soars and quivers on a host of impressive tracks which hit the spot instantly. Many of those tunes are memoirs from happy times growing up, with the album’s deepest cuts being the title track, Big Family, In A Field Somewhere, the piano ballad Pretty Boy, and complete with a Tom Petty sounding riff, College Town.
The album opens and closes fittingly with the operatic Ad Astra Per Alas Porci, i.e. ‘To the stars on the wings of a pig.’’ It was the defiant personal seal of John Steinbeck in response to being told by a teacher that he would succeed as an author ‘’when pigs fly.’’ It may or may not reflect comments made to Whitter as she set off on her journey to realise her dream, but it is a testament to her resoluteness and dogged hard work, notwithstanding her talent as a singer and songwriter.
‘’This record is where I'm from, this is me. It feels like the prequel to THE DREAM," explains Whitters. She has thankfully also remained ‘country’ - there’s plenty of pedal steel, fiddles and banjo on offer - without a total crossover to mainstream pop, striking the balance perfectly between both. Similar to Miranda Lambert, her chosen musical direction is likely to reward her handsomely in the years to come. Sometimes dreams do actually come true.
Review by Declan Culliton
Amy Correia As We Are Self-Release
Singer songwriter Amy Correia grew up in Lakeville, Massachusetts prior to relocating to New York, where she graduated from the woman’s Liberal arts college Barnard College. Signed by Virgin, she recorded her debut album at Daniel Lanois’ Kingsway Studios in New Orleans, but issues with the label resulted in the album being shelved. Titled CARNIVAL LOVE, it was eventually released by Capitol/EMI in 2000. Her output has been quite sparse since then, though consistently of very high quality. The outstanding LAKEVILLE was released in 2004 and YOU GO YOUR WAY followed six years later.
Her latest release is a five-track EP. Written before the pandemic, Correia revisited and refined the songs during the lockdown, eventually recording them at Woolly Mammoth Sound Studios in Waltham, Massachusetts. The production duties were carried out by bassist, singer songwriter and producer Kimon Kirk, who has recorded and toured with Aimee Mann, Alejandro Escovedo, Rufus Wainwright and many more. Kirk played bass on the album and was joined in the studio by Mike Castellana (The Blue Ribbons, Sarah Borges) on guitars and pedal steel, and Andy Plaisted (Pete Mulvey, The Radio Kings) on drums and percussion.
The album is one that doesn’t slot easily into any particular genre and covers a number of bases. Correia is quite at home being a little bit jazzy (Bow To The Fire), a little bit folky (Sweet Thing), and a little bit bewitching (The Beggar). Her vocals are out in front, gloriously edgy, sometimes sounding as soulful as Frazey Ford, other times as delicate as Melanie. There’s also a noticeable chemistry between her supporting musicians, whose understated intricate arrangements fully support her vocals.
An acclaimed lyricist, there’s mystery in Correia’s writing, with the outcome of tales that unfold often left open-ended. An abandoned pair of sneakers, observed by her following a rainstorm, sowed the seeds for the song The Beggar and we hear of a carefree driver heading for a possibly fatal crash on Sunday Driver. She signs off with an ode to the artists who have opened their minds and hearts and inspired Correia. Titled With All Of Us, it’s a fitting finale to a collection of most enjoyable, ambitious, and ambient songs.
Review by Declan Culliton
Bigdumbhick A Little Bit Weird Self Release
Jeff Wall grew up in Tennessee and he now resides in North Carolina, playing mostly on the local circuit, where he has developed a reputation based on a hard-work ethic and a natural talent for song writing. He taught himself guitar during a 20-year career in the navy and was persuaded to record his songs for the first time in 2016. Since then, Wall has earned his stripes, playing in all kinds of venues, at all types of functions - a long path littered with plenty of stories to tell from gigs in all kinds of strange places. This is Wall’s fourth release and it’s a great listen. With a generous thirteen songs and over fifty-five minutes of listening time, the album boasts an engaging production with plenty of organic playing from Wall and his musician buddies that really bring his songs to life.
Using a performing name of Bigdumbhick gives an early image of someone who is out to trip himself up, or worse still, to scare the kids away. Standing 6 feet 7 inches tall and weighing north of 25 stone, it’s understandable to have such an impression; but don’t get fooled by this sleight of hand. While there is no disputing that Wall cuts a serious presence, my feeling is that he comes over more like a big old wise grizzly bear. And the first song on the new album, Unicycle, gives testament to this, when he sings, ‘ I'm a bear riding a unicycle, wobbling around the ring, I'm old and I'm fat, I wear a dumb little hat, I'm just trying to do my thing.’ As a code for living the simple life, it sums up his down to earth, humble approach to it all.
With his humorous, witty words, and ironic world view, Wall is an artist that will certainly turn a few heads. If you enjoy the keen observational eye of James McMurtry, with some of the old wisdom of perhaps, a Guy Clark influence, then you may well find yourself seeking out the company of Bigdumbhick. This performance moniker probably doesn’t serve him well if looking for new admirers, but I can assure you that it’s all very tongue in cheek, the self-mocking joke being more an inverted way to win friends and influence people. A testimonial from Patterson Hood of Drive By Truckers fame, does no harm at all and underlies the talent that creates these songs. A perspective that is worthy of serious attention.
When you look beyond the wicked sense of humour, you find plenty to pose some serious, heartfelt questions too. First Cup Of Coffee looks back at the values of older generations and is in tribute to his father, ‘My old man is gone but I wish I could ask him, If he ever felt the same in his day, You don't have to like it, you just have to do it, That's one of the things that my old man would say,’
Also, with the song, Help Me Mama, I Can’t Breathe, the shocking death of George Floyd is the subject for righteous anger and frustration at the way Black minorities are treated, ‘8 minutes, 46 seconds, The time it took for him to die, Another person executed, Being Black his only crime.’ The jagged, edgy electric guitar of producer Tom Troyer venting the rage in a really dynamic arrangement.
Equally, closing song, Choices, is a deeply personal regret that Wall holds over his inability to support his pregnant girlfriend, back in their teenage years. His decision to run from the reality of the situation haunts him ever since and this very honest apology is something that Wall clearly has thought long and hard about including on the album. It’s just a vocal and an acoustic guitar, bare bones, and reflecting, ‘Being young and scared that ain't no excuse, That won't justify the things that we choose, And every choice we make comes with a price, Some you pay right now, others take the rest of our life.’
The playing has an addictive, loose, almost ramshackle feel in places, but is filled with inspired interplay among the musicians. Recorded at Big Rabbit Audio in Greenboro, North Carolina, the talents of Mark Byerly are to the fore on a combination of lead electric guitar, resonator and slide guitar. He is joined by Mark Dillon on banjo and mandolin, with Evan Campbell on upright/electric bass and Aaron Cummings on drums. Jack Gorham plays accordion, Caleb Baer and Christen Mack both contribute on fiddle, and producer Tom Troyer also adds some key parts on electric guitar and calliope (a keyboard instrument, resembling an organ, but with the notes produced by steam whistles). Jeff Wall plays acoustic guitar, in addition to providing all lead vocals. His vocal tone is very engaging and bears a rugged quality that fits perfectly into the character of his songs.
He wrote all thirteen tracks and included are memories of his childhood on the folky blues of 1968 Lebanon, TN; the country steel twang of I Don’t Know Where I’m Going,’ and the witty observations of a travelling musician on ‘Ain’t Nobody Listening To Me.’ Another great road song is Check Out Time and the race to check out of the motel each morning, ‘I played a club just up the street / I had them people on their feet, The party moved down to my room / Daylight came way too soon, I got to bed at half past 7 / Check-out time’s at 11.’ Wonderful stuff!
‘What We Ain’t Got’ is a heart-felt tribute to those old local hardware stores in rural America, ‘We got everything as you can see, What we ain’t got, brother you don’t need.’ The country cheating song, Every Bone In Her Body, is a hilarious look at two sisters who are having affairs with two best friends and the words speak for themselves, ‘I guess I ought to hate her but she's the mother of my kids, I love every bone in her body except for his.’
Bigdumbhick is a great discovery and his music will bring plenty of enjoyment to those who jump on their own unicycles and wobble down the road on this colourful journey.
Review by Paul McGee
Michael LaneTake It Slow Greywood
This artist released a debut album in 2014 called Sweet Notes, and he has spent the last seven years living up to that title, by providing music that both calms and soothes the spirit. He followed up his debut with two further releases in 2016 and 2017, before returning to the studio again in 2019 to produce his fourth album. Four albums in six years is quite an output and a strong statement for an artist who is a prolific songwriter. With a gentle vocal style, these folk tunes dance along on sweet melodies, all written and produced by Lane himself and his mellow sound will appeal to many.
Lane was a soldier in the American army and served in both Iraq and Afghanistan. No doubt the experiences of seeing conflict at first-hand has shaped his world view ever since and is certainly reflected in his song-writing. His sweet vocal tone brings to mind the style of Sam Beam (Iron and Wine) or Michael Fitzsimmons. Lane is also a producer and operates out of Studio Waldblick, based in Bavaria. He was born in Nuremburg to a German mother and an American GI father, but spent much of his childhood and teenage years living in Wisconsin, USA, before moving back to Germany.
This new album arrives with a very positive energy and a message of hope for all. The title track is about rebirth and starting to see the world through new eyes, ‘The prison of the mind is just a choice, Free your head and take a breath to quiet down the voices.’ The next track, Good Times is a song that reflects on a bad relationship experience and how placing too much focus on material trappings cannot take away inner doubts and pain. A bouncy melody hides the serious lyric.
Ladybug is a reflection on nature and the changing seasons, a wish to also be part of the circle of life, just letting it be. A gentle acoustic tune. Coming Home reflects upon home life as a ‘sanctuary for the soul’ and the joy of family. Fire In the Night looks again to nature as a soothing balm in our world. Lane’s tenor vocal high in an arrangement that uses electronic reverb to lay down a soothing path. This is folk music for the modern age.
Moment is about just that – staying in the moment, enjoying the sense of just being present. Angelic voices soar as the message counsels, ‘shine bright like a diamond, remember who you are. Life’s too short to be living in the past, stay close to the present moment.’ Open Road is a gentle acoustic song that reflects life as a continuous journey. Moon and Sun is another song about nature, stepping out into what surrounds us and enjoying its presence.
The theme of enduring love and a trust in the natural world to always provide and survive, infuses these ten songs with a positivity throughout – Be Still says that ‘Love is all that we need,’ and to ‘spread your wings and you will fly.’
The final song is an acoustic version of the title track, Take It Slow, and the abiding message to, ‘Just take it slow, The sun will show you where to go, Trust your heart can help you see, I have seen the light, it settled me.’ No doubt about where Michael Lane’s sentiments lie and the future direction in which he is heading. Contemporary Folk music is still rooted in both personal and social reflections but the use of modern production techniques has increasingly taken it into the pop arena and towards a new psychedelic direction. While this album doesn’t stray quite that far, there are elements of this new sound emerging and Lane is certainly an artist worth further investigation.
Review by Paul McGee
Andy Irvine and Paul Brady Self-Titled Mulligan / Compass
It was 1976 and the destination was Rockfield Studios in Wales. The decision taken by both Paul Brady and Andy Irvine to bring their talents together and decamp to a foreign location was both inspired and prophetic. With invites also accepted by Dónal Lunny (Planxty, The Bothy Band, Moving Hearts) and Kevin Burke (The Bothy Band, Patrick Street), these four master-musicians travelled to this rural setting to record what has become an Irish Folk classic.
This special edition has been remastered from the original analog tapes, using a combination of classic analog and state of the art digital equipment. Lunny and Burke's own group, The Bothy Band, had previously recorded at the same studios and while Brady and Irvine were galvanizing themselves after the break-up of Irish legendary band, Planxty, the scorching weather of a record-breaking summer was a distraction that they needed to ignore.
The combination of such special talents inevitably led to great results and the rewards are here on this remastered album for all to enjoy. Andy Irvine contributed vocals, bouzouki, mandolin, mandola, hurdy-gurdy, harmonica. Paul Brady contributed on vocals, guitar, mandolin, bouzouki, tin whistle, cittern, and harmonium. Their interplay is mesmerising throughout, both understated and laced with intricate finger-picking, and yet fully realised in both tempo and tone. The sessions were produced by Dónal Lunny, who also played on guitar, bouzouki, bodhrán, plus backing vocals. Kevin Burke provided superb fiddle on five of the ten tracks, lifting the interplay with his lyrical touches.
Nine of the songs are traditional tunes that were adapted by the musicians and given fresh arrangements. There are ballads, laments and love songs to be enjoyed and the ensemble knitted together so fluently that you can only applaud the nuance and subtlety of their playing. The production is crystal clear and you can revel in the separation of each instrument in the mix.
Opening song, Plains of Kildare, is a song that recounts a horse race and is delivered with great elan. This is followed by Lough Erne Shore, a tale of unrequited love, and there could not be a better introduction to what follows… Fred Finn's Reel / Sailing into Walpole's Marsh is an instrumental of the highest quality, before Bonny Woodhall tells the tale of young love being taken away by the killing fields of war. The famous tune, Arthur McBride, follows on, with its story about rebuking army recruiters on the road and ending with a beating. Brady sings it superbly, before The Jolly Soldier / Blarney Pilgrim gives flight to the players and another song about a soldier – this time returning from war to marry his young bride and entry into her wealthy household.
Irvine sings his reflective tune, Autumn Gold, and is followed by Mary and the Soldier, once more a history lesson borne of conflict and war. Equally, Streets of Derry, tells of a love story with the lady rescuing her love from the gallows with a king’s pardon. Martinmas Time / The Little Stack of Wheat brings everything to a superb conclusion with a tale about a young maiden who tricks a troop of soldiers by dressing up as a soldier boy herself and gaining her freedom. It concludes in a rousing hornpipe, The Little Stack Of Wheat, to deliver the perfect finale.
The album came together over a period of only ten days which is a remarkable achievement, given that studio technology at the time was not as enabling as it is today. It’s a glorious reworking of all that is creative and special in the Irish tradition of musicians coming together in celebration of both song and storytelling. This is an example of that very best tradition – perhaps the finest one ever, as it influenced such a wealth of music that has followed over the decades, from De Danann and Altan through to Kila and Lankum. A classic and a treasure.
Review by Paul McGee