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 instrumental guitar albums from quasi-new age label Narada to be rather lame affairs. That is, until I heard Billy McLaughlin.

His debut album Fingerdance announces 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, this album 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 he is using back-up or double-tracking when in fact he's doing it all right in front of you. He's 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 release. Several others fall back on repeating compositions from his debut, while the albums he has recorded with a backing band are best avoided - he's by far at his best when heard solo.

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