If anything, I believe this album puts Duncan squarely back on track with his first and second albums. Those two cleverly mixed pop sensibilites with quiet, cunning thoughtful pieces that I think are the real source of his joy of musicianship. Problem for me was that Phantom Moon was too much a departure into the quietude, and Daylight appeared to be the chart-topper attempt his label wanted him to make that ultimately betrayed his true nature.
The songwriting and production quality on White Limousine are, simply put, second to none. This album simply *sounds* great and is a real joy to listen to. The arrangements and instruments clearly show Duncan was really interested in stretching himself, and it shows _and_ works. What's left is the songwriting - and on tracks like White Limousine, Shopping, and Land, Duncan delivers with ever-increasing precision.
My wife voiced her disappointment of the dearth of 100-beat-per-minute fast-clip tunes so prevalent on Daylight, but I think she has missed the point. I've been searching for the Real Duncan, and I'm convinced that, by releasing on a small label, he afforded himself (and us) the artistic freedom necessary to reveal just that. I hear it, and if you listen deeply enough, you will too.