When I heard "Shine" on Folk Alley I knew I had to have the CD. It was easy to find and easy to order, and is oh so easy to listen to - over and over again.

I was skeptical when I heard of the comparison of Justin Roth to Michael Hedges, fearing another instrumental album with virtuosity but no soul or mass appeal. Imagine my surprise when "Shine" came on the speakers, leaving me smiling by the end of the song whilst I drove down the highway. The second track blew me away (maybe it was my good mood but does the WB have a copy of this record? I’m sure I’m not alone when I say this song should be licensed for TV). "The Only Life" is the standout pop track on this disc and has one of the best examples of what most other folk records lack: ARRANGEMENTS! And not just some mandolins in the background, I mean full-on, layered guitar, three-part harmony production. This production style is all over the album but not obtrusive to the point of obscuring any song’s original intent. This all carries over to the "dark side" of this record. The first half of this record featured sweet natured lyrics and major keys but the second half kicks off with morbid "Savior" (and John Hermanson’s eerie theramin) about the execution of a sick horse in winter. This is followed by the minor key but generic "On The Fault Line", topped off by the ebullient yet "gross" offering of "Dead Horse Trampoline" (by Bay Area native Christopher Smith). Trust that the title offers no metaphors. I was also impressed by the two instrumental tracks on the album, "The Weaver of Avoca" (by Billy McLaughlin) and Roth’s own "Bagshot Row." The latter avoids the trap of acoustic New Age music by hybridizing folk with Trilok Gurtu (courtesy of percussionist Marc Anderson and Roth’s double-hand technique). Overall, this is a great record with instrumental command, lyrical substance, and pop sensibility.