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So, whilst Rebel Spring will not catapult Tom Pacheco from small audience club gigs to the Royal Albert Hall at fifty quid a seat, it's worth noting that whilst Mr. Coming Home has the surprise inclusion of flugelhorn and has Parker on acoustic guitar.

His voice is so suited to this and it rocks. His complete omission of even a mention of some to my mind quite key figures in pop history Joe Meek for a start is both questionable and yet understandable in the circumstances. Where I Belong is the culmination of two years worth of finding himself and a re-evaluation of his blues and soul heroes in addition to those influences of a less bluesy origin.

Yet to be honest, although it has its awkward moments, it's not as ill-fitting as it sounds. There's a feeling of Richard Marx on Meant To Be and I'm sure that when others hear Parkers songs then he'll be in demand as a songwriter as well as an artist in his own right. But I wouldn't want to give the impression that the remaining tracks exude an air of predictability - far from it, for the band's choice of songs and tunes is as faultless as ever. If that combination doesn't point to something genre-defying, then I don't know what does! What'll get the press attention though are her two covers.

Even the more conventional-sounding country-blues tracks have much of interest. It's hardly dated, and constitutes a true landmark both as a documentary and for the presentation of music history, made by a supremely knowledgeable director at his peak. This is one parish newsletter you owe it to yourself to read thoroughly. He's a storyteller of note, too.

Funny How is funky and laid back in the extreme with another blues riff in the background. By and large, Niamh has retained the pared-down approach that worked so well on her two previous albums, again paying considerable dividends for the listener.

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The cover photo gives a good and accurate measure of the man - Tom almost looks like he might be a third member of Show Of Hands, but most of all he's a big man with a big musical personality. Musically, Ben's ambit is best described as retro-romantic pop-punk with a strong acoustic base, a styling with which he's clearly very much at home. That aside, I think you'll find that Ernie's smoky voice will hit the mark for you. Kevin's personal contribution to the repertoire is a fine original hornpipe The Long Acre.

For instance, the title track never one of my favourite songs! Hopefully, it won't be another seven years before the next.

Bread's If gets perked up in much the same way as Ray Stevens did Misty only bluegrass style and, to these ears at least, really should have been left well alone. Finally, the softly strummed You've Got Your Work Cut Out sees Pare moving on, opening his heart to new love while realising things might still not work out. The depth of genuine feeling and understanding is acute and tangible, though Tom has the gift of conveying this with a sure control of emotional expression. Style-wise, their music is a folk-Celtic-bluegrass-oldtime hybrid that doesn't quite recall any particular antecedents except perhaps approximating a more earthy version of Nickel Creek.

The whole thing builds up into a top class blues rocker and is a fine way to end the album. If you're a troubadour like Tom Pacheco it's a different kettle of fish. This flirts with being slushy but he manages to pull it off but only with the Derrin Nauendorf style guitar flurries. Diamonds For Gold has nothing too much to get excited about although it does pick up towards the end.

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Playing and singing is predictedly hot, not much else need be said - if this is your bag you won't go wrong in grabbing a copy. No matter, for the subtitle need not be taken entirely literally, and can just as adequately reflect the revival tenets.

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Even so, Humble Beginnings proves a confident and not altogether unassuming album that's well worth getting your head around. Borderline features some exceptional slide guitar work from Phil B, who also contributes virtuoso fiddle, dobro, Spanish guitar, lau, mandocello, etc throughout the record.

Even so, and in spite of the considerable even laughable predictive flaws in its concluding episode, All You Need Is Love remains compulsive viewing thirty years on. He might not get the same exposure as Kiss but he certainly can generate the same power. What the cynics fail to realise - to their cost - is that Brad Paisley makes music from the heart and that music will be listened to long after they're forgotten. You'll want to hear these bright lights tonight. There are thirteen new songs here, covering themes of personal importance to Tom which also prove to be of continuing universal relevance that transcends mere momentary topicality.

Behind The Brothel is an interesting title. There's also a brace of folk carols eg Coventry Carol which give the lie to the oft-held view that a banjo can't do sensitive! All he needs is for someone to get behind him on the radio and he's going to become a major new star. There's also a true-story-in-song about one man's resilience and persistence in the face of adversity Dakka Dan. After decades in the business, they've nothing to prove, and so they can just get on down and deliver - which they sure do, no problem.

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She even does an early hours lush and languid cover of Bjork's Joga, from Homogenic. The chorus sends shivers up my spine. Eventually back home, having been robbed of everything save that player, he decided to turn the songs into a properly recorded mini album. The two most striking numbers, however, are also the rockiest. Tom's background story turns out to be an unusual one, in that he trained as a chef before taking up singing and songwriting full-time.

This has more blues elements than most of the other tracks and is a good old foot stomper. It's more that he draws strength from staying close to what always had made great country music. If he's as grumpy and chauvinistic hell to live with as his songs suggest, no wonder he's making albums about failed relationships and townsfolk who'd like to see him skewered.

Once again all the songs were co-written with Paul Mason, displaying the high level of intelligence and literacy both musical and lyrical that we've come to associate with Angie's work. Misfits And Fools has a great blues riff to it and is one of my favourite tracks. Papa stopped and said son, you are in love with love, and I replied, Papa, that is a great song title. There is a lot going on in this song but it all comes together very well. Grinding, thumping rock at its best.

Richard Curran's spirited, sinuous violin work provides a link from the latter song into Side Two after you hear the actual side-turnover being made! And you just know he's so right-on!

One of the finest Irish singers of the present day, Niamh has never produced anything approaching a bad album, but this brilliant new collection eclipses even her own high standards I feel. In this instance, we're treated to just three of Sam's own fine compositions, new ms word with one apiece by seven other writers making up the tracklisting.

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