Sure Sharman is good, a maestro even, but just like Vinnie Moore he has that all too rare appreciation of feel, with ample quantities of flair and technique. Furthermore, he has learnt from the mistakes of others and recruited a singer, vocalist Thomas Brache gives it plenty when required. Indeed opener ‘Man’ has some rugged rhythms to augment the fretboard fire and brimstone of the Boy Wonder. Elsewhere ‘Home’ comes across like a Dio power ballad and ‘Cos You’re A Woman’ has all the sizzle n’ spit of an on-form Blackfoot, which is adequate testimony in itself to drummer Neil Huxtable and bassist Neil Murray. As for Sharman himself, he displays a wide variety of styles from light, airy acoustic to classical Spanish, and from a bubbly exhibition of hammering-on to banjo-mania, all of which involve the exemplary musicianship of any self-respecting guitar God. However, it is his ability to incorporate raw chords, choppy tempos and free-form solos, all whacked through a distortion pedal and cranked up loud, that got my blood racing. As long as he continues to write songs that highlight his abilities without sacrificing structure, Dave Sharman could well prove to be an exciting prospect for the future. He has done well to avoid the pitfalls that so often befall the guitar-based artist, and with a concerted effort may yet rewrite the rulebook.