Dwight Yoakam: "Long Way Home" (Reprise) Judging by his recent output young Dwight is, as the album title says, some way from base - and increasingly none too sure of his way back, either. He tries a myriad of country and rockabilly styles on this new album, but the flow of fine music which brought him the accolade of being cool and country at the same time has slowed. His last studio outing, Under The Covers, was fair to average and this collection, though frequently engaging, still lacks the purpose and authority of his earlier work. The joy of Yoakam is believing that he is a hick with real attitude. Although accomplished in the traditional Bakersfield sound, there is a rasping edginess to his nasal reedy vocals redolent of the rock'n'roll that filled his ears when he was growing up. There is much to admire here, such as the thumping Only Want You More, but his mystique is fading. Someone should give him a compass. Joe Breen

Skara Brae (Gael Linn)

If you're susceptible at all, you'll get the goose-bumps from this reissued nugget, recorded one bright afternoon in 1970, with Micheal O Domhnaill, his sisters Triona and Maighread, and Daithi Sproule, frozen in bygone youth. They married, in a profound way, the emerging folk music of the time with the sad old songs of love-pangs, poverty, soldiers and stray cows off Tory Islandaim Breoite go Leor): all heart-breakers, sung sweet as lullabies in that soft Donegal accent, the naive honesty of the voices woven into rich, winding harmonies. Triona's baroque clarinet nicely complements Micheal and Daithi's guitar textures - all that finger-picking, string-bending John Renbourn-era stuff. I only wonder how they fared when they briefly reunited last New Year's at the Frankie Kennedy Winter School... Mic Moroney

Don Baker: "Just Don Baker" (Round Tower)

Don Baker clearly realises a deep personal ambition with this simple, lovingly crafted statement of his love for the blues. Accompanying himself on guitars, with only his wonderfully moody harmonica for company, Baker ambles through an inviting and well-balanced selection of his own songs and a number of blues standards. His voice may not be one of life's perfections but, like the singer, it has loads of character, while his guitar picking is elegant and unhurried. His songs vary in quality but there is no doubting his sincerity. His covers are affectionate; they have not withered in the years of playing them. This is a man doing what he loves. It's in a studio but it could be in his front room. Pull up a seat. Joe Breen