And, one hopes, she'll never be a country girl again. Buffy Sainte-Marie went to Nashville to record this album, with help from such session vets as Grady Martin, Floyd Cramer, and the Jordanaires. As expected, it doesn't gel that well, although it's not as poor as you might fear. Sainte-Marie's strengths, though, are best amplified by folk material; her vibrato isn't suited for Nashville country. Predictably, the best songs are the ones which most recall her early folkie work. "Now That the Buffalo's Gone," like several of her better songs, touches upon Native American issues, and the stark, somber "Tall Trees in Georgia," a solo acoustic guitar piece, seems like a refugee from an earlier album.