Adrian Legg is one of the better guitarists around despite the fact that he is often just picking an acoustic guitar. This album does little to disprove his reputation as an axe master, playing a delightful blend of music that is sometimes funky, bluesy and totally inspiring. The album kicks off with a gorgeous array of influences on "Nefertiti -- What a Sweetie!" as Legg plays the chorus off of a fine blend of blues-cum-folk guitar. Mellower and melodic is "My Blackbird Sings All Night" which could be mistaken for ...
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Adrian Legg is one of the better guitarists around despite the fact that he is often just picking an acoustic guitar. This album does little to disprove his reputation as an axe master, playing a delightful blend of music that is sometimes funky, bluesy and totally inspiring. The album kicks off with a gorgeous array of influences on "Nefertiti -- What a Sweetie!" as Legg plays the chorus off of a fine blend of blues-cum-folk guitar. Mellower and melodic is "My Blackbird Sings All Night" which could be mistaken for something that either Mark Knopfler or the late Chet Atkins would feel at home performing. Here Legg offers a sound that would fit just as nicely in Nashville or Austin as it would across the pond in either London or Glasgow. Another gem is the deliberate, almost minstrel-esque "A Waltz for Leah." Upon listening to it one gets the sense it could be placed in medieval Britain and fare just as fine. Strings are added near the home-stretch to give it a lush, orchestral flavor. Perhaps the first highlight of several is the murky, Bayou-driven "More Fun in the Swamp," a song which comes off as something that either Jeff Beck would attempt but Jimmy Page would nail prior to another heavy Led Zeppelin anthem. Legg is comfortable and more than adequate in transmitting different feelings and styles, even if the simple Celtic, toe-tapping "Doublejigs" is offered. Although the strings again play a large role, his nimble playing is sure to put a grin on one's face during the first of many listens. The only track which seems designed or arranged as a Vangelis-like song is the brief, ethereal and ambient "Decree," which recalls songs like "Chariots of Fire" to a certain extent. Fortunately Legg takes control again with a rapid and brilliant "The Good Soldier." Falling along the lines of Decree is "Psalm With No Words," a lighter and airy piece of music that is quite effective and engaging. "Emneth" wraps things up with another dreamy and reflective piece of work. Legg is head and shoulders above his contemporaries with this excellent album. ~ Jason MacNeil, Rovi
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