1984's The Wind in the Heather finds Cromarty evolving from folk-blues purist to a cosmopolitan songcrafter fully aware of the environment in which he created. From the outset, the listener finds that Cromarty is still a powerhouse of the alternating thumbed bassline though he has picked up some new tricks. Incorporating flamenco style strumming, quick runs of clusterchorded breakdowns, and, importantly, that ever elusive idea of ‘space’ within the composition expand his sound beyond the decades-old template dictating the cornerstones of Guitar Soli . . .
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