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The next track, A Choir Apart, is perhaps the most characteristic of the beautiful arranging work by Walker and Leroy Bach which has gone into Golden Sings That Have been Sung. The overall effect is slightly disconcerting and by the end of that first track, you know you’re in for a fascinating ride. The instrumental feel is consistently upbeat, optimistic yet Walker’s vocal seems world-weary. Opened by the duet mentioned above, then driven by an upbeat fingerstyle riff from Walker’s guitar the track builds as instruments are brought into the mix. This track sets out the album’s store with the subtle complexity of its arrangement. It is Bach’s clarinet which opens the album duetting with Walker’s gentle fingerstyle on The Halfwit in Me. The core line-up is essentially that of Primrose Green with the notable addition of Leroy Bach whose credits cover acoustic guitar, electric guitar, keys, piano, clarinet, percussion, lap steel and, on the technical side, production, arranging and additional engineering. Ryley Walker is a considerable fingerstyle player, but on Golden Sings That Have been Sung there is no sense of a vehicle for a virtuoso. Walker’s latest album Golden Sings That Have been Sung. More fool me…my excuse, life seems to have a nasty habit of getting in the way of music. Later, I saw references to Walker’s album Primrose Green but for some reason didn’t follow them up, even after having been on the same radio playlist on a couple of occasions. I first came across Ryley Walker as the driving force behind the Tompkins Square label re-issue of the late John Hulbert’s fingerstyle guitar album Opus III.