Once known and famous for her vocal contributions of lead or dual singing and songs, on the earliest Fairport Convention album, and with her band Trader Horn, and with Giles, Giles and Fripp, the folkier beginnings of the progressive band King Crimson, who redid a couple of their tracks, Judy Dyble disappeared for a long while from the scene, only to return It was made with the help of her musician friends from the early days like Ian McDonald (on saxophone and flute), from the Trader Horn days, Robert Fripp, mostly known from King Crimson guitar, Simon Nicol, of Fairport Convention, on guitar. On backing vocals we also have Celia Humphris of Trees, Jacquie McShee of Pentangle and Julianne Regan of All About Eve. Pat Mastelotto is on drums and Tim Bowness of No-Man produced the album and also added some vocals. Not much changed in Judy Dyble’s approach or voice. These new songs now came forth after a long life time experience, shows here and there a touch of bitterness with age, while she had been reengaged by so many people through the new times of internet contacts, of which the title track is also about. There is a folk touch in some songs. The band sometimes improvises a bit longer on the tracks, occasionally slightly go more progressive, convincing only through building this up throughout the album leaving the songs intensions entirely intact, they also remain the most important. Judy’s very fine interpretation of “C’est la vie” by Emerson Lake & Palmer, lead by piano, folk violin guitars, sets the statement a bit. It could have been a Giles, Giles & Fripp moment that reappeared later in a different version as if this is again such a more folkier original. The band themselves rock now and then, never become too extraordinary in its approach but fitting always well, giving a fine contribution that could make this new album work well.