Liverpool Sound and Vision Rating 8.5/10

What was once a dream can soon become a myth, a forgotten piece of lore, half remembered, tales told around camp fires and the whispered remains of studios, a warning perhaps to the extent of pulling a plug early on a project, or the damnation of some who are a recording limbo; the masterpiece in waiting, fully recorded, but never released.

Such is the list of albums that have found their way into this kind of purgatory that it is a wonder that more discoveries have not yet been unearthed, that the myths and legends have not been exposed to the modern light of day and shown to be symbols of an age where it was easier to dismiss rather than explore.

As part of the forthcoming release of Moonshine – After The Show, the rediscovery of music by the prestigious Gary Tanin of Daystorm Music, and remastered to such a high quality that time itself is thrown into a flux of congratulations and honour, the first single to see the light of the modern era, Good Girls (Don’t Always Wear White) is a memory exposed and resurrected in such a way that the join between the original recording, with the admired fiddle player of Vasser Clements adding his incredible assured essence to the proceedings, is unnoticeable, carefree, and tantalising.

The taste of Moonshine may feel like a forbidden experience, the vault of exposure always closed and left to become a vintage uninjured, its impact never to be realised by the greater public; and yet with the corkscrew of destiny in his hands, the vapours of the past have been released productively and with honour by Gary Tanin. The brew that become a myth has suddenly, unrepentantly, gorgeously, found a way to the counter and is ready to be finally experienced, and if Good Girls (Don’t Always Wear White) is anything to go by then the crate of the album to come is going to be incredible.

A single filled with dynamic and magical elements, the western swing, bluegrass firewater and the scintillating vocals prove that Moonshine has been missed and whilst not in the same frame of time it was initially recorded in, its modern exposure is one of great and endearing surprises of the year. Magic has been worked, a genie suspended in time has been released, and the wishes now granted for the benefit of the music lover.

Ian D. Hall