Dobson remained very much in the sparse, chaste style of early Joan Baez and Judy Collins on this rare Mercury release, though even Baez and Collins were moving beyond that approach by the time this was recorded. Most of the tracks are just Dobson and acoustic guitar on typical early-'60s folk revival material. A slight reverb added to her voice helps give the record an appealing solitary late-night vibe. Mild (about the mildest possible, actually) percussion and pop backup is given to a couple of cuts that sound as if they might have been tentative bids at crossing over into a pop-folk market, "Lovin' Johnny" and "Guantanamera." Aside from "Lovin' Johnny," the best cuts are when Dobson lowers the pristine quotient a little and gets a bit gutsier, as on "Country Girl Blues" and "So Early in the Spring." The title track was written by Alix Dobkin, who would become a leading musician in the women's music movement from the 1970s onward.
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