This is the third album from the Steve Robinson and Ed Woltil collaboration. I last reviewed Steve's solo album back in 2007 and thoroughly enjoyed his Beatles and George Harrison-tinged brand of pop. It's great to know, almost twenty years later, that he's still going strong.

The album opens with "I Won't Let Go" and memories of Steve's music came flooding back. Bright guitars, catchy hooks and songs that never fail to lift your mood, with harmonies that simply feel right. It's like meeting up with an old friend.

There's a more rock-oriented feel to "Outrun the Sun", with Ed taking the lead vocal. For me, his voice doesn't have quite the same appeal, although the guitar work is outstanding and really carries the track, with the vocals acting more as part of the overall texture.

I really like the opening guitar on "Take Two If You Want One", and was further won over by the splash of mandolin, which gives the song a touch of R.E.M. I wasn't entirely convinced by the opening line, "Birds fly. People die.", which struck me as a little trite, but thankfully the lyrics quickly develop into something much stronger. Overall, it's a really enjoyable track.

There's no denying the Beatles influence in the intro to "Learn You By Heart". This is another Ed-led vocal, but it feels much more complete, with the music, vocals and harmonies blending beautifully. Another tasteful guitar solo provides the icing on the cake.

I really wanted to love "Strange Orchestra (Everyone's a Song)". It has all the right ingredients, but somehow it never quite clicked with me. Perhaps it's the slight country flavour, but I couldn't quite put my finger on it. Sometimes that's just the way it is.

The opposite is true of "Junk Drawer Heart", which grabbed me immediately. It has an instant appeal that's hard to ignore. Vocally, I occasionally hear shades of Warren Zevon, something that's been lingering in the back of my mind since the album began. It's also funny that every time I hear the phrase "junk drawer heart", I get flashes of AC/DC's "You Shook Me All Night Long". Now there's an unexpected blast from the past.

I feel like I'm being overly critical, but once again it's the opening line of "Famous Last Words" that doesn't quite land for me, or at least makes me question it. The rest of the lyrics are absolutely fine. Musically, I can't help thinking of The Smiths, perhaps an unexpected comparison, but I think it stems from the bass line. Regardless, it all adds up to another excellent track, aside from what is probably just my own minor quibble.

Another immediate favourite is "The Man With the Interrupted Heart". You can't help but be won over by the sheer sense of fun. It's an effervescent, upbeat song with a distinct 70s flavour, and it's an absolute joy from beginning to end. I especially loved the outro.

Slowing the pace a little, "When We Were Kings" captures that wistful feeling of looking back on friends who are no longer around. I love the spaceman and McGuinn references, and I found myself wondering whether the bass player mentioned was someone they had both played with. It feels like one of the album's most personal songs, and it's all the stronger for it.

"Perfect Day" also has that unmistakable 70s feel, with strong Steely Dan vibes, particularly in the vocals. There's something about this song that makes me want to hear it on vinyl, complete with the gentle crackles and pops that transport you back to another era. I miss that experience of buying a new record, poring over every detail of the sleeve on the bus ride home, then lowering the needle for that very first play. Those really were the days.

At first I thought "Mourning Mothers" was going to be a deeply personal reflection on losing a parent. Instead, it feels like a commentary on the conflicts happening around the world and the needless loss of lives. I appreciate the sentiment behind the song, although it feels noticeably heavier than what has come before.

The album closes with "Squint", opening with a distinctly Harrisonesque guitar. It unfolds at an unhurried pace and, while it isn't one of the album's strongest songs for me, it provides a fitting and satisfying conclusion.

I have to admit I wasn't familiar with Ed's solo work, so I gave one of his albums a spin afterwards, and there are clear similarities with Steve's songwriting. Steve tends to lean more towards power pop, while Ed sits a little closer to pop-rock. That's probably an oversimplification, but together they complement each other extremely well, and the result is a thoroughly enjoyable album.