Scotland, early eighties. The semi-cult Postcard label was defining a sound with its principal acts, Orange Juice and Aztec Camera. It was no surprise then that at the tender age of 16, Roddy Frame was plucked from school and allowed to cut his debut album, High Land, Hard Rain for major label Warners, and before excessive record company advances and shoulder holder synth-boxes took stock, it was amazing what a young lad could do. Armed with an acoustic guitar, Frame and Aztec Camera took us on a musical trip beyond his years. The singles Pillar to Post and Oblivious created an almost folk beat-pop, yet whilst donning his balladeers hat, Frame proved a dab hand at the slower numbers with tales of yearning (We Could Send Letters), and heart-ache (The Bugle Sounds Again). Finishing with the flurry of Queens Tattoos, in under 40 minutes Roddy Frame had delivered a record of surprising vulnerability and quality. What wasn't surprising was his steady slide into the all encompasing fog of eighties over-production and pap pop. In that one young year of his life however, he produced something that shone.