Although it is frequently described as his most accessible album, is more accurately thought of as s most widely available, at least at the time. With 1972's having introduced him to an international audience by virtue of being his major-label debut, by the time of , s name and music were well-established within Anglo-American folk circles, as one of the most eclectic, but simultaneously absorbing folk musicians of the day. is not a great departure from its predecessors, beyond his growing interest in ever wilder instrumentation. Eighteen short tracks are traditional compositions, drawn from the Celtic lands -- Brittany, Scotland, Wales, Ireland; and the accompaniment remains sparse and, to ears better acquainted with the folk-rock movement, eccentric. Harp, bagpipes, and bombard all play their part, together with s so-distinctive voice -- itself, at times, employed as an instrument -- and harmonies. is a wild chant for multiple voices, which bleeds beautifully into the fragile, flute-led melody of which in turn slips into a Welsh lament sounded through mournful bagpipe. The result is a constantly shifting patchwork that nevertheless weaves itself perfectly together, long before the record is over. ~ Dave Thompson