Although it's no guarantee, looking at the accompanying musicians will often say a lot about the quality and appeal of an album. So, how does a line up that includes guitarists Dennis Cahill, Randal Bays, Dean Magraw, Jim Dewan and John Doyle sound? Percussionists Paul Donnelly and Paul Wertico and Larry Gray on bass (and cello) round out the rhythm section, while a little more on the melody side is added by fiddler Liz Carroll and Seamus Egan (banjo) -- quite a guest list, especially as everyone delivers.

This is John Williams' second solo release and he really lets off steam on button accordion, concertina, flute, whistles and a touch of bodhran. Whether tearing along at breakneck speed as on the "Within a Mile of Dublin" set that closes the album, or at snail's pace as on "Miss Hamilton," an 18th-century harp piece which adapts exceedingly well to accordion, he plays with a tremendous clarity and understanding. On the one hand, he never trades ornamentation for velocity; but then, he doesn't go over the top on slower numbers by adding unnecessary, "clever" embellishments.

Arrangements are kept comparatively simple, which allows the tunes to breathe and tell their own story. Williams switches from one instrument to another with ease (no surprise, really, as he holds five All-Ireland titles) -- the gentler concertina flows tenderly; the more powerful accordion dances and hops through the melodies; low whistle, flute and whistle appear, coloring the tunes, bringing in a more jazz-like influence.

With five different guitarists each adding their own distinctive accompaniment, there is a danger of mood swings that might spoil the overall effect of the album. But this does not happen, even though one can appreciate the different styles, which range from a driving, chordal attack to a finger-picked quasi-classical approach. Williams has chosen his colleagues well, as each musician slots neatly into the interpretation and arrangement he chooses.

Making fleeting visits are Carroll and Egan -- in some ways, you wish for more, especially with the lift banjo adds when it appears on the "John Brady's" set. This is Williams' album and exploring the possibilities with the trio might be a project for another day.

It's hard to pick out any particular track, in that this is a well-thought-out album, well recorded and exceedingly well played. But you would be hard pressed to find a better finale than the closing track. Opening with some rare guitar and accordion sounds, "Within a Mile of Dublin" bursts into life: Gray and Wertico provide a powerful basis for Williams to hit the melody and Magraw to create a near Oriental effect by pulling hard on his strings; they shift up a gear on the second tune, "Seany Dorris' Reel," as again Magraw shows some tremendous technique behind the melody and Williams adds strategically placed drones and chords; finally, they hit overdrive with "P.J.'s Pecurious Pachelbel," one of the most interesting interpretations of "Pachelbel's Canon/Frolics" to date, all the more fun for the interplay between accordion and guitar. You're left breathless.

John Williams' debut album was an exciting album. He added a great deal to Solas. And now his work with Tim O'Brien is attracting much attention. Steam will surely draw him even more into the limelight -- deservedly.