The sisters' second album didn't meet with the same amounts of high praise
that their debut album allowed for, but the McGarrigles have rarely every
been about critical appraisals. This album shows a genuine love for traditional
music -- not to mention a marvelous sense of humor and a skill for the
melding of multiple genres into one living, breathing entity. Excellent
musicianship abounds on the album, no doubt aided by players like bluegrass
pioneer Bill Monroe, John Cale, Dave Mattacks, and Pat Donaldson (both
British folk luminaries from Fairport Convention and Fotheringay). A few
cuts on the album simply opt for the traditional route. "No Biscuit
Blues" is a rolling, short, happy take on traditional blues with
the sisters' vocals providing solace above the vaguely hippy-dippy instrumentation.
"Hommage a Grungie" takes a similar route using piano blues
with a bit of a back-porch honk and a woozy disposition. It's often the
piano-led, more dramatic pieces that work best for the sisters. "Kitty
Come Home" is a searching piano piece with a slight vocal waver and
a building of intensity that comes through the warm organ accents and
harmonies. It's a dramatic, pleading song. "Southern Boys" is
also set at the piano, but there is no pleading on this track, although
there's plenty of drama. Easily the strongest track, the eerie melody
has a chorus that seems to glide in from reverse. As momentum gathers,
the melody begins to rock evenly back and forth and a drunken structure
is established. This is a fine ode to the South. There is an unevenness
that comes through on many tracks on the album. The leisurely approach
and reliance on occasional silly lyrics often make the album sound a bit
too frilly. One wishes there were more tracks like "Southern Boys"
or "Blanche Comme la Neige" (a traditional tune that is one
of the strongest interpretations on the album due to its reliance on the
vocal interchanges and light orchestration; it drifts from traditional
French folk to British folk easily and successfully). No doubt this is
a fun record to listen to. It's hard to deny the merits of a French/Canadian/hippie
folk record. But there is certainly a difference between a record that
is fun, well-meaning, and excellently played and one that is great.
(by Jon Pruett, All
Music Guide)
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