THE DEVIL'S WHISPER

For some reason I keep comparing PAUL BRETT to the YARDBIRDS/RENAISSANCE/ILLUSION main man JIM MCCARTY these day. McCarty has reaped more of a commercial windfall but Brett is firmly established as one of the world's most proficient acoustic guitarists, the consummate musician's musician. Both have been prolific in recent years with solo material and collaborations but, while McCarty has increasingly tilted his gaze just north of his waist and reveled in his own inner contentment, Brett is as caustic as ever when he does choose to allow his words to complement his technique. Like McCarty, his messages are rather blunt, but Brett's persona is more of a chiding parent than an aged hippy, more of a moralist than a self possessed elder. Decision Paul Brett for the latest round, even though his manipulation of track lists on download only releases has propelled my prog folk librarian glasses a little too far towards my upper lip in recent weeks. Yes, I'm only surprised I haven't seen this phenomenon before.

One of the strengths of PAUL BRETT's occasional resurrections of the SAGE name in recent years lies in his use of electric guitars under this moniker to complement his unplugged plucking, not to mention his crustily benevolent vocals. This added variety allows the flow of numbers to breeze by in fortuitous succession. From the upbeat opener "From the Cradle to the Grave" to the raucous "Life on Earth" (in which he musically references his sweet "This Side of Heaven" from a bygone 1970s classic) featuring MEL COLLINS on ripping sax, to the bouncy title cut with some of his most appetizing electric licks in recent memory, this collection keeps beckoning me back to its gruff musings. He also skillfully whips in story songs like "the Oval Portrait", which also appears on his "solo" "The Raven" release, and the outlaw sympathizing "Ballad of Charlie Peace". Brett also knows how to dissipate the clouds just often enough to sidestep outright dreariness, as evidenced by the brightly acoustic "Happy Bunnies" and the African shaded "Sun".

It's heartwarming to hear some of the artists who were "there" during the height of musical creativity of the early 1970s still turning out music that both challenges and entertains, and with a devil may care attitude that Paul Brett has come by honestly.