PARALLELOGRAMS

American singer songwriter with a voice and style reminiscent of Joni Mitchell's Blue period, Anne Wilson's acoustic torch singer side, and early Suzanne Vega. She has one of those voices that would vault her into the pantheon of the best female folk singers à la Joni, Judy Collins, Maddy Prior, Sandy Denny, Jacqui McShee, Judy Dyble, Barbara Gaskin, Clodagh Simonds, Amanda Parsons, Máire Brennan, Loreena McKennitt, and Tirill Mohn.

1. "Chimacum Rain" (3:20) great introduction to such a clear, pristine sound recording. Linda's breathy, airy vocal approach is an immediate winner--but then you get the multi-track injections of other voices to augment the "rain" word. Gorgeous! Then there is a shift at 1:40 to a different motif that sounds like Suzanne Vega until the eerie psychedelic elements bring in an ANNETTE PEACOCK feel. Definitely a top three song. (9.25/10)

2. "Paper Mountain Man" (3:10) blues. Not my favorite. (8.333/10)

3. "Dolphin" (2:53) a moving, angelic vocal performance. (8.875/10)

4. "Call of the River" (3:46) opens like a Jimmy Webb song over which Linda spreads her airy vocals like a cool breeze on a hot day. The more quick-dictated chorus section is more reminiscent of what would become one of SUZANNE VEGA's signature styles. (8.875/10)

5. "Sandy Toes" (2:52) with full electrified combo of bongs, electric guitars, electric bass, and her voice doubled up. (8.75/10)

6. "Parallelograms" (4:32) two acoustic guitars gently picked while Linda's multi-tracks vocals weave in and around each other. Weird dramatic/cinematic Alice in Wonderland-like psychedelic freak out starting at the two-minute mark. The song returns to the opening motif at 3::40 as if nothing had happened. Great song and vocals despite weird interlude in the middle. (9/10)

7. "Hey, Who Really Cares?" (2:35) ethereal voice sung over gently picked acoustic guitars, perfect bass guitar play, and some Wurlitzer organ. A top three. (4.75/5)

8. "Moons and Cattails" (4:02) more fare on the Beatnik blues side of the folk spectrum. Interesting vocal affectations. (8.6667/10)

9. "Morning Colors" (4:34) opens sounding so much like JONI MITCHELL at her most personal and introspective. The great British folk chanteuses also come to mind--especially when Linda hits and holds those crystalline high notes. Even the lyrical content and delivery feel so Joni-like--though occasionally I find myself (in the lower notes) right inside the SUZANNE VEGA camp. Flute and saxophone interplay is a nice touch. (Is it more than a coincidence that song's final word--carried on a long held high note--is "blue"?) (8.875/10)

10. "Porcelain Baked-Over Cast-Iron Wedding" (3:59) muted drums, electric bass and picked guitar with acoustic guitars (including a 12-string) over which Linda sings a more aggressive/acerbic Joni-Annette Peacock vocal performance. (8.75/10)

11. "Delicious (4:07) the delicate side of Linda: frail, angelic high pitched voice with one sole acoustic guitar in support. Linda's gift to posterity that is comparable to PETER, PAUL AND MARY's "Wedding Song." Absolute musical perfection. My final top three song. (10/10)

Total Time 39:50

B+/4.5 stars; a sonic and performance masterpiece of folk music that isn't quite proggy enough to qualify for the "masterpiece" status within the Prog umbrella. HIGHLY recommended for ALL music lovers.