I've been following Willie Dowling for some time - way before there was ever an easy-click Twitter button. Ever since his dalliances on the outskirts of The Wildhearts in fact. First there was the excellent Honeycrack who made one cracking album  - the result of Willie teaming up with Wildheart CJ. Then there was the Sugar Plum Fairies who again released one cracking album before transmogrifying into Jackdaw4 which is the exhibit that we have on show today. But unlike the previous bands this is actually Jackdaw4's third album and, coincidentally, I've been waiting 3 long years for it.

My initial reaction to the album is one of shock - that it's a lot more pop than I'd anticipated. It's only when I recap their previous 2 albums that normality is resumed and I realise that they've been going down this road for longer than I thought. Maybe I can't get Honeycrack out of my head - they're still a great band nearly fifteen years after the fact.

It's true that Willie's songwriting has always been eclectic and lyrically adventurous which no doubt is the strength behind Willie's other endeavour - writing music for TV and film. Readers may be surprised to find out that they've been listening to Willie for many years in a list that includes 'Monkey Dust', 'I am Not An Animal', 'Catterick', 'Green Wing', ' Big Train', 'Jam' and my own personal favourite 'Anyway' -  the theme to 'The Armstrong And Miller Show' - which was actually released as a Honeycrack single after the 'Prozaic' album was done and dusted. I must have missed that. I was too busy crying.

So, knowing the man's work it comes as no surprise to behold the symbolism of the beetle rolling a big ball of dung on the cover while the album title speaks of 'justice'. And talking of that 'The Eternal Struggle For Justice' is the first track up and is a breezy reggae infused rocker that recalls Terry Hall and The Specials. This is followed up by 'Everyone Becomes The Road They Take' which is a breezy piece of blue-eyed brass-backed soul that I could imagine turning up on a Rick Springfield or Daryl Hall album. It's also the only song not written or co-written by mainman Willie. Rather it's written by another Jackdaw4 man - guitarist John Steel. So with these two specimens tucked under my arm is it any wonder that I start to wonder where the rock has gone?

Track 3 is 'Wire To The Wire' which you could call a traditional Tom Waits on the chain gang song but what's traditional about being on a chain gang? It's not like Christmas is it? I ought to rephrase that as a rhythmic chanting work song type vibe but laced with huge choruses that reminds me surprisingly of The Four Horsemen.

We don't have to wait long before the full evidence of Jackdaw4's eclecticism and invention bursts forth with songs like 'We Sold It All' and 'Wonderful' which both salute, tip their hats and rub the tips of their waxed moustaches to The Beatles, Queen, Bowie, Jellyfish, Faith No More and Robbie Williams - I'm referring to his early stuff with Guy Chambers. Although if you don't like Robbie Williams then I didn't mention him - okay?

'Waiting To Die' is another twisted and swinging number that by turns sounds like Alice Cooper, Jellyfish and The Beatles. Willie uses a combination of organ, Mellotron and Fender Rhodes to conjure up a hallucinogenic psychedelic carnival of old biddies with one foot in the grave. Honestly! Is no one safe from Willie's pen?

There's more rock and more reggae in 'Someone Who Cares' in which Willie prefaces "Don't mistake me for..." - as if we would having just listened to 'Waiting To Die'.

'Pornography' has a storming 70s glam rock Mott The Hoople, Bowie, Roxy Music driving groove to it. Lyrically and musically it wouldn't have been too out of place on John Cameron Mitchell's 'Hedwig And The Angry Inch' soundtrack. 'The Great Unknown' continues to summon the glam rock ghost this time via though a more modern Goldfrapp 'Black Cherry'-type medium.

The album ends on high note with 'Baby I'm a Killer' a multi-layered harmonius and hooky tune which laces a pretty lullaby with acerbic jabs at 'respectable' thieves in suits and Willie's not talking about David Niven in 'Raffles' either.

To be fair the whole album is one long high note. And it's just what you'd hoped, dreamed and expected if you're familiar with Jackdaw4 or genre-stepping power pop in general. There are no unhappy faces around here.

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