This is a very bizarre record in every regard. The production and instrumentation are strange (out of place blistering blues-rock guitar solos, strings, electronic drums [?], DI'd bass), and there are very poor rhymes and at times desperate stretches of the English language to make those poor rhymes. But what is most bizarre, and what causes one to approach this record with caution is that "Indian Jack" is not an 'Indian' (clearly evident by the very-white man on horseback gracing the cover). John Charles Visser was a lawyer of Dutch, Scottish, and Irish origins. In his travels "he came in contact with native Indians of many different bands, tribes, and nations" and essentially came to sympathize with their plight as a result of the wrong-doings white settlers have done to them over the course of history. The topics sung about herein, then, are praise-worthy and commendations are warranted due to the fact that a white man (from Alberta, no less) would tackle these subjects in a time when they were still being shoved under the rug by the general population and 'social justice' wasn't the mandate of any self-righteous individual with internet access. Sonically this is very much akin to Ian Tyson barely singing word one about cowboys (and being half the songwriter he ever was), and it has its charm, but that charm is lost with his problematic choice of stage name (and career as a lawyer - and relation to Imperial Oil [read: Exxon]) which certainly shouldn't be ignored. It casts a shadow over what has potential to be a well-regarded attempt to shine light on important issues regarding Native (North) Americans, but instead comes across as nothing more than attempted points-gaining plight-tourism.