by a full orchestra and a plethora of excellent studio musicians.

It's not an exceptional album all the way through—in fact some people might be offended by Rush's unusually low-pitched voice—but included are some outstanding cuts. Foremost of these is James Taylor's "Something In The Way She Moves" which flows beautifully with Bruce Langhorne's fine country stylings pushing it through. Rush's brand of vocalizing fits perfectly—his inflection is that of absolute understatement; he can never get excited about anything.

"Tin Angel" is a lovely, haunting "reflection of love's, memories." His girl tells him she's throwing away all those "valentines and maple leaves tucked into a paperback" because "she's found someone to love today." The orchestration is superb. A really sad, melancholy song. "So Long" is a great cut, again outlined by Langhorne's C&W guitar. Rush's vocal is smooth—his chronic understatement is well-placed: "Go on girl/Go on and shake it up, baby/Tear up the world girl," he laughs. "Rockport Sunday" is a well-constructed guitar solo by Rush that starts off slowly and then goes into some changes more than slightly similar to Vince Guaraldi's "Cast Your Fate To The Wind." It's a nice piece but a bit slow and not nearly as intriguing as his earlier "Orphan's Blues" and the aforementioned "Mole's Moan." "The Glory of Love" is the old Billy Hill rock number of the Fifties and done here exactly like the original ("That's the story of/That's the glory of/Love") including an all-girl soul chorus. Rush likes to do this stuff (he did "I'm In Love Again," Fats Domino's old hit, on the Elektra What's Shakin' album), but it just doesn't make it.

The Circle Game is an easy record to listen to but not one for deep involvement. Rush's voice maintains a wry subtlety that creates a not-too-serious-I'm-just-singing-a-song atmosphere. If you're a Tom Rush fan you'll dig this record, otherwise there are only two or three tracks worth hearing. (RS 11)

BARRY GIFFORD