artist: Billy McLaughlin country of origin: USA style(s): New acoustic, folk, ambient, blues, jazz essential releases: Fingerdance (1996, Narada)

Having first waxed ears on an earlier generation of American finger-style guitarists like Leo Kottke, John Fahey and William Ackerman, I've always found the guitar albums from quasi-new age label Narada (William Ellwood, Eric Tinsgtad) to be rather lame affairs. That is, until I heard Billy McLaughlin.

McLaughlin is a new voice in modern guitar music, a player whose amazing technical virtuosity is matched every step of the way by a remarkable warmth and razor sharp sense of melody. And even at its most energetic Fingerdance is so disarming and lovely you can't help but sit back, close your eyes and smile. McLaughlin's distinctive two-hand technique enables him to play two or three lines simultaneously; there are moments you'd swear the guy is using back-up or double-tracking when in fact he's doing it all right in front of you. McLaughlin is also in the fortunate position of being able exploit the latest in guitar technology and design, allowing him coax nuances of tone and timbre that were once inaudible to the audience. Fingerdance remains his definitive album. Several others repeat the same compositions and his albums with a backing band are best avoided for newcomers - he's at his best solo.

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