Collective eyebrows were raised with the release of 1995's Hi, How Are You Today and its subsequent tour. Fans and critics awaited the arrival of with eager anticipation and wariness, respectively. Although it clearly states "a traditional album" on the cover, suspicions weren't fully quelled... [+] Expand

Collective eyebrows were raised with the release of 1995's Hi, How Are You Today and its subsequent tour. Fans and critics awaited the arrival of with eager anticipation and wariness, respectively. Although it clearly states "a traditional album" on the cover, suspicions weren't fully quelled until an actual listen took place. After all, MacIsaac could be pulling a fast one. Well, he did and he didn't. Yes, this is a traditional recording that few expected, and no, he didn't engage in false advertising despite some feeling duped over his abrupt change of direction. Equally sudden was MacIsaac's permutation from traditional fiddler on his debut Close to the Floor to alternative rocker on Fine, Thank You Very Much. This album begins with the three-minute slow air "Rosebud of Allenville," but after that, MacIsaac shows no signs of slowing down. It's midtempo to uptempo jigs, reels, hornpipes, and strathspeys for the remaining 50-plus minutes. With the exception of John Cameron's aggressive acoustic guitar on "Athole Cummers," this record is all MacIsaac. In addition to his exemplary fiddle playing, he accompanies himself on piano in the unique and oft-alluded to Cape Breton style. For those expecting more thumbing of the nose by MacIsaac, it should be noted that his eccentricities wouldn't have received nearly the attention they did if he hadn't first established himself as an excellent fiddle player. ~ Dave Sleger, All Music Guide [-] Collapse

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