Putting it all together, you get something that borders on a level equal to Robert Mirabal, R. Carlos Nakai, or Joy Harjo and Poetic Justice. Something in that area between performance art and pop music. The land so well occupied by the old-school art-school Native American performing community.

One is reminded of Robbie Robertson's "Contact From The Underworld of Redboy." At least in terms of integrating the cultural idiom with some taste and precision. To use spoken word and voice-over gives the CD the overall effect of a "work of art" in tone and approach.

It's overall and generally a very strong out. Which doesn't come easy since I don't consider myself much of a folkie anymore. Now for a female singer/songwriter, folk-type, show-up-with-my-guitar-and-sing-a-few-songs troubadour you would expect something that is lyrically more distinctive, but on the other hand we all know that music is as evolutionary as it gets. The contemporary interpretation of our culture and history continues in the tradition of the ancient storytellers. You can hear that here.

Vocally she has a strong contralto and as she develops more confidence she will exhibit the hidden distinctive qualities of her voice. There is some consistently innovative use of the voice-over in various contexts throughout the album.

It doesn't surprise me that she now tours with Robert Mirabal's theatrical troupe, because I sense that she has that old kind of Broadway love of the dramatic – and Robert is nothing if not dramatic.

Some highlights of the album:

• Sweet Protector: Morningsong starts with a Native Flute and some beautifully sung vocables.
• Sing For Them: Morningsong uses a little known traditional musical instrument – the Bullroarer – and adds a woman's vocal trill to the mix.
• I walk in Two Worlds: Everyone can identify with the sentiment. There's a didgeridoo mixed in to this song and there's something aboriginal here. My question is who is this "one" guy she's talking about. Some sort of Biblical reference going on here as well? The Indian people need a revelation thing?
• Grandfather's Talking: "Today's Custer is 80 proof, Makes it hard to find the truth. Southern Comfort don't bring you comfort when your children cry at night." Very powerful line that stands apart from some of her weaker lyrics. This song has a blistering guitar solo and this is the kind of guitar work that I have enormous respect for.
• Your Love, My Medicine: Soars over a hot R n B groove and has something of the soul sister chorus feel to it. Nice romantic sentiment. Could this be her crossover pop hit? If her agent isn't trying to sell this to someone he's slackin'.
• Heart Of A Hero: Using straight rock and roll is a good genre choice for the sentiment of the song. "Heroes change the world one person at a time." In the voice-over at the end, the roll call of our national/international leadership is very arty farty but asks you to pay attention to a deeper issue. I love it when that happens.
• Faithful Feet: Use of the traditional drum and bells gives it a ghost dance song quality. The cello adds another mournful sound to your rep.

I have always loved the eclecticism of the artist line-up at Silverwave and Ms. Morningsong is no exception. The versatile musicians give the listener choices. The ability of musicians to express themselves by crossing over to other genres and audiences is to me no mean feat and is on a par similar to magic. It leaves you wondering. It creates mystery. I am always astonished at the ability of good music and good musicians to take me for a ride.

If Shelley Morningsong wants to take me for a ride, my thumb is out and my bags are packed.