Last year I got the chance to review the predecessor to this album and it was pleasure with business to do so. Now the second edition featuring a whole new cast of Taylor guitar users, some perhaps less well known than those on the first, but hardly less talented. The first volume featured mostly artists known for their guitar artistry. For this edition T. J. Baden, producer of both albums, wanted to come at guitar play from a different perspective, that of the songwriter. As their goals are different, their approach to the guitar is perhaps less innovative but having a conceptual idea their music tends to be much tighter and a bit more mainstream.

Thus a few of the names on this album may be unfamiliar to some listeners but there are also a number of well known names including, Clint Black, Richie Sambora and Jim Messina. The difference between this album and the first might be labeled as simple versus complex but it would be doing a disservice to the music here to consider it simple. It is more like a short story vs a novel. Much more has to be accomplished with less so no note can be wasted. They all serve a purpose, thus the listener will find repeating phrases and themes slightly altered leading to a reinforcement of the songwriter's basic concept. The songs tend to be softer and more evocative because the songwriter wants you to listen to his song as played by the guitarist - not just listen to a guitarist playing.

A good example is the opening cut from singer/songwriter Nanci Griffith, "Year Down In New Orleans" which while having a sleepy, backwater sound to it, also contains hints of the forbidden delights of the Crescent City. Much the same can be said for Jars of Clay's contribution, "Wicker Basket." This Christian band performs using electric guitars and most of the tools of the modern day band but still write and work out all their songs first on the acoustic guitar. This particular song they felt should be left as it was, simple and sweet, a soft paean.

Clint Black says his contribution is one of the best things he's ever done. Love is "Something That We Do" to his mind and Clint adds the harmonica to give this cut it's country feel rather than via guitar twang. It may seem like multiple guitarists playing but it's just Doyle Dykes using his extraordinary talent to take flight with "Wings Of The Morning."

One of the most unique songs on this album is "Caroline,No" a tribute by Elliot Easton to Brian Wilson and what he considers one of the prettiest pop ballads ever. All the sounds heard were played on the guitar from beating on it to produce the drum sounds to bowing it to give the illusion of strings, a guitarchestra if you will. Taylor built six special guitars in order to make this work.

Richie Sambora, guitarist for Bon Jovi, wrote "Ava's Eyes" for his daughter and if she's as beautiful as this song the guys better watch out. Jim Messina was joined by long time partner Kenny Loggins and Hawaiian slide guitarist Led Kaapana on "The Island" a kind of fusion of latin rhythm with the traditional island sound so this island could as well be in the Caribbean as the Pacific.

Jazz-fusion legend Steve Lukather takes inspiration from John Coltrane on "Naima" and gives us a short but involved piece that makes you listen for each note. Producer T. J. Baden shows that he not only sells fine guitars but can play one as well as anyone on "Opportunity."

The Wooten Bros offer another unique piece, "Liz and Opie" featuring the bass guitar in a lead role. This results in a deeper, richer but somewhat muted song that may take a few listens to really appreciate. Flatpickin' is what they call it in bluegrass country as Dan Crary teams with blues duo, Cephas & Wiggins on the aptly named, "Rusticity."

The boss gets in the act as Bob Taylor gives us "After The Goldrush" and Rodney Crowell plays "Taylor Willowbee" which he calls the Taylor theme song. This song is one of the catchiest tunes on the album and seems to express the pure joy of playing the guitar and especially one made by Taylor.

While perhaps not quite matching the high-powered virtuosity of it's predecessor, volume II is no Hollywood sequel but stands on it's own six strings.