My first recollection of hearing a finger-picked steel string guitar solo was Paul Simon playing "Angie" on a Simon and Garfunkel album in the early sixties. It began what was to become a life-long fascination with a style and approach to music that was unique, compelling and intricate. Following the musical trail back from that early Paul Simon track led to the discovery of Davy Graham, Bert Janch, John Renbourne and others who not only excelled at the form, but were expanding its repertoire and boundaries by composing for it. I also became aware of a whole school of players who were clever at adapting for finger style the vast body of traditional material availablein the British Isles and elsewhere. Experimentation led to non-traditional tunings and techniques, and the recruiting of fresh young players, addicted as I was to this, the original "New Age" music.

It was sometime in the winter of 1992 that I became aware of Paul Wadden's playing. Having showed up at Don Walsh's Dadyeen Studios for a recording session, I remarked as to the excellent quality of playing and interpretation of Mingus' "Good-bye porkPie Hat", playing on the stereo as I entered.. Some new hot-shot I suspected, from among Don's excellent collection of Irish CD's. Much to my surprise Don informed me that not only had he recorded the player at Dadyeen, but it was in fact a local doctor who had never played in public but who was an afficionado of the solo finger-picking style I loved so well. When I picked myself (and some potted fern) up off the floor, I asked to hear more. Much to my delight, Paul's repertoire consisted not only of interpretations of Celtic tunes but many of his own compositions. The speed and lightness of technique required make Irish tunes difficult to fingerpick, yet Paul makes these tunes sound easy and delightful. His arrangements, while never straightforward, are full of variation and innovation, accentuating and enhancing the beauty of the melodies.

This recording is a delight for the dedicated fan of fingerstyle guitar and Celtic-influenced music. I like to hear these tunes while driving "around the Bay", or relaxing in front of the fireplace. They create a beautiful ambiance, but also provide plenty of detail for close appreciation. I keep a copy with me wherever I go.

- Sandy Morris


"... Walter the Penniless...is one of the most impressive fingerpicked guitar recordings to come across my desk in quite some time. His arrangements of traditional tunes like the Stack of Barley, Carolan's Draught and Sally Gardens are dazzling but the standouts on this recording are his own compositions. He utilizes a dizzying array of guitar tunings imbuing the album with a wonderful variety of textures. Like no other guitarist I have heard he possesses the ability to paint a picture of a specific place and time without the use of lyrics. I look back fondly on my time spent living in Newfoundland and Wadden's compositions Humours of Rabbittown and Horse Islands make me feel like I never left. This recording is a gem."

- Cliff McGann
http://www.ceolas.org/instruments/celtic_guitar.html