Performer Notes

Personnel: Mary Black, Paul Brady (vocals); Bill Shanley (acoustic & electric guitars, mandolin); Greg Leisz (acoustic & baritone guitars, lap & pedal steel guitars); Michael Landau (electric guitar); Larry Klein (guitar, keyboards, bass, drums, percussion); Frank Gallagher (fiddle, whistle, keyboards); Pat Crowley (accordion, piano, Hammond organ); Jim Cox (Hammond organ); Garvan Gallagher (bass); Jerry Marotta (drums); Amy Kanter (background vocals).
Engineers: Tony Phillips, Billy Robinson, Don Smith.
Recorded at Capitol Studios, Hollywood, California; Windmill Lane Studios, Dublin, Ireland; and in Los Angeles, California via an ISDN link from Sound Studio, Melbourne, Australia.
Personnel: Mary Black (background vocals); Paul Brady (vocals); Frank Gallagher (whistling, fiddle, keyboards); Bill Shanley (guitar, acoustic guitar, electric guitar, mandolin); Greg Leisz (guitar, acoustic guitar, lap steel guitar); Larry Klein (guitar, keyboards, drums, percussion); Michael Landau (electric guitar); Pat Crowley (accordion, piano, organ); Jim Cox (organ); Jerry Marotta (drums, percussion); Amy Kanter (background vocals).
Audio Mixer: Tony Phillips.
Recording information: Capitol Studios, Hollywood, CA; L.A., CA; Sound Studio, Melbourne, Australia; WindMill Lane Studios, Dublin, Ireland.
Photographer: Gwendolen Cates.
Although Mary Black's solo career has been consistently successful in commercial terms, by the time she was due to deliver this her 1997 album, critics were beginning to discern a creeping blandness about her work. Perhaps she had this in mind when she turned to bass-playing producer Larry Klein. SHINE was certainly a departure for Black, being most definitely a rock album rather than another folk-influenced offering.
Indeed, the stripped-down ensemble sound-guitar, bass, and drums augmented by occasional mandolin, Hammond organ, and pedal steel-is at times reminiscent of Klein's work with his ex-wife Joni Mitchell. If the material itself rarely comes close to matching Mitchell's in quality (whose does?), there is the compensation of one outstanding song, Amy Kanter's "Beautiful," plus another of Black's periodic dips into the Richard Thompson songbook for a cover of "I Misunderstood," laced with dramatic baritone guitar.

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