It is true that the original American style drew strongly upon Irish, Scots, English, French, German, African, and other roots. Fairly early, however, it evolved, almost organically, into a style that was recognizeably American. While American artists today draw upon many of the same influences, they are of later origin and today's artists tend not to adapt the music in ways that had occurred naturally in early American music. It's refreshing to hear an American artist sing music with such an authentic American flavour.

Williams has a strong voice well-suited to folk music, especially that music which grew out of the mountain cultures of the eastern United States, with their characteristic assimilation of the songs of the British Isles into distinct American forms. While her songs span an eclectic gamut of folk styles, Williams seems most at home singing country music and every song rings with country music's American heritage. Williams has the voice and talent to sing whatever she chooses and to sing it well. She brings polish and style to her performance on this release.

As with her singing, as a songwriter Williams has a very personal, almost whimsical style. Choosing a subject area which bogs less talented writers in a mire of saccharine cliche, Williams manages to make her personal revelations universal and very conversational to boot. This is not easy to do, certainly not as easy as she makes it seem. In songs as in life, personal revelation easily becomes introspective and so uninteresting, and conversational writing can as easily become simply long-winded. She manages to avoid the traps and tell simple, personal stories which could as easily be the listener's story as her own.

There's a sense of humour, too, in Williams' writing. "I Had A Lover Once" is one example among several songs which suggest an artist not afraid to have a laugh at her own expense. This is the story of a maid who forsakes a lover to find one better, only to have him forsake her for another better yet. "Custom-made Woman" is a bitter-sweet song which uses humour to compare the role of a woman to those of "custom-made" products people buy. A reflection on a woman's lifetime, "A Little Worse For Wear" verges on despair but the humour in the words foreshadows the positive outlook of the final verse.

The relationship between parents and children plays an interesting role in Williams' writing. "Caleb's Blues" plays with the relationships between men and women, using the example of the relationship between a mother and son and their respective views of the role played by toy "action figures" in a boy's life. "Sanibel Island" is a song that will appeal to parents and children alike. It has much the same sort of appeal Shel Silverstein's "The Unicorn Song" or Raffi's "Baby Beluga" had thirty years ago.

There is an introspective side to Williams' writing. The gentle "Do You Believe In The Devil" explores the dilemma of one who no longer has faith her god is still with her. "I Took My Life" and "When You Die" take a very serious look at suicide and death. "The Current Takes Me Down" paints a chilling picture of despair.

One of the best written songs, and probably the best performed, "You Said" is a country song tinged with irony. "You Said" has the feel of Dave Loggins' "Please Come To Boston" or Ian Tyson's "Someday Soon" but without sounding at all derivative or cliche. Very close is "Kaidi's Song," a tender love song to a child with all the feeling of "Scarlet Ribbons" or "To A Sleeping Beauty" perhaps. There is a quiet beauty to these songs one doesn't often see from modern writers.

Those contemplating the future of American songwriting and performance would not go wrong to add Bronwen Williams' "This Is Me, Is That You" to their music collection.

--- Bob MacKenzie, Sound Bytes, 09-06-00