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Attila is waxing lyrical about the political state of his neck of the woods.

Cheering The Plough manages to combine all that has gone before. Recorders mingle with a guitar with the Heavy metal pedal on, timeless social issues are raised and a fist in the air and two fingers are waved at the moneymen. It's as if Purcell or Tallis were given a modern recording studio to use and put to music the concerns of the Civil War revolutionaries. Sarajevo returns to the modern era and allows Attila to express his interests in European political injustices. This is not a man singing from a detached view point, in the twenty odd years that he has been treading the boards he has played all over the continent and become politically involved in many areas.

After the Mandocello and Recorder duet that is inexplicably called Worms we come to a set of three songs that sit together to make a fantastic suite of music. March of the Levellers is an Attila penned instrumental, dedicated to those seventeenth century rebels who raised the concerns of the lower classes in Cromwell's supposed brave new world. The Diggers Song comes to us from its original composer Gerald Winstanley stalwart of the English Civil War, via fellow punk activists Chumbawammba. Basically lyrics sung to a drumbeat, as was a normal way to perform popular song, the Diggers were a group of revolutionaries who tried to take back the enclosed common lands of their communities. And just when the tension has risen to boiling point by the solitary back beat the music explodes into the fury of Leon Rosselsons much-covered standard, the World turned Upside Down. A perfect conclusion to the rising dynamic and subject matter of the three songs.

The next song, a personal favourite appeared on an Attila solo album many moons ago, but here what was already a great song is raised to the ranks of immortality by the extra musicianship. Tyler Smiles begins with a recorder led riff, gentle guitar playing and a soothing voice, which is unusual for Attila, but soon the temperature is rising and the volume with. But before reaching breaking point the little teases drop back into the former gentle tones. The analogy of the song is that with the resignation of Margaret Thatcher would have made had socialist folk hero Wat Tyler smiling in his grave. A nice sentiment and a great song.

Tirana sees Attila dreaming of Albania, a country he has more than a passing knowledge of and a women that he loves. Not known for love songs, this is one of

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