Naked Voice is just what it says - mainly unaccompanied songs from one of Scotland's best known traditional singers on the late 20th and early 21st centuries. No gimmicks, no techno-wizardy. Just strong songs, haunting tunes, compelling stories, and great delivery from a sangster at the top of her game. Elspeth's emergence as one of Scotland's best-known traditional singers brought her full circle in a story that started with the winning of a Burns singing prize at primary school. By the late 1960s, she had left her native musical roots behind in favour of rock and blues like thousands of young Scots. Sandy Denny (Fairport Convention, solo etc) and singer-songwriter Joni Mitchell were fave raves. But a move to the traditional music heartland of Aberdeenshire got her back on track in the 1970s and early 80s when she was also involved in audio production at NorthSound Radio. There she became a stalwart of what was then the Aberdeen Folk Song Club and was privileged to become acquainted with Lizzie Higgins, a fine trad singer and daughter of the celebrated Jeannie Robertson of travelling folk stock. Lizzie's encouragement and kindness ignited a passion which led Elspeth to join the band Seannachie (Gaelic for 'Storyteller') in 1986 after moving to Edinburgh. Well known for its wickedly clever arrangement of Scots songs and tunes, Seannachie provided an ideal vehicle, superb musicians who could support the singer and help her to point up the story without railroading over her. Two great albums, Take Note and Devil's Delight resulted, the latter still reckoned by aficionados to be a modern folk classic. Apart from Elspeth, the line-up included at various times Corrina Hewat, Simon Thoumire, David Milligan, Derek Harkins, Donald Gorman, John Borland, Nick Brennan and others. Seannachie drifted apart in the early 90s but still re-formed sporadically in different combos for tours throughout the decade. Elspeth co-founded the eclectic Scottish vocal trio Chantan but moved mainly towards solo work to find the freedom and confront the challenge of putting the story across without the aid of an instrumental safety-net. On the concert stage, the effect is uplifting, stirring and moving as audiences and reviewers at festivals, clubs and events in Scotland, England, Ireland, Spain, Germany, France, Sweden and the Netherlands have testified. Scotland's two leading national daily newspaper agree. 'Magnificent vocal gravitas,' said The Herald. 'Utterly compelling', said The Scotsman. Scotland has a rich store of instrumental tunes, as well as a legion of exciting young musicians to take them out to enthusiastic new recruits. Yet arguably, the country's powerful old ballads and songs are what make the Scots tradition truly unique in world music. Elspeth Cowie and others like her are the bridge over which the tradition has been carried to a new generation of singers. Her tireless work on behalf of traditional music was well recognised. From 1996 to 2001, she was full-time National Organiser of the Traditional Music & Song Association of Scotland. She helped to develop TMSA into an influential information, education and lobbying voice, listened to in the corridors of power. She also tutored for bodhran and song workshops at festivals, other events and the Edinburgh based Adult Learning Project. The sounds of pipe music and jazz have also inspired her. Elspeth's father was in the Cameronians (Scottish Rifles). So the sound of pipes playing The Black Bear, reputedly the fastest regimental march in the UK army, was a regular event during her childhood. Albums by jazz greats such as Billie Holiday and Peggy Lee are also constantly on the turntable at Elspeth's home. Ten album appearances point to a singer revelling in her craft. Naked Voice, the solo album of mainly unaccompanied songs is the compelling proof of what everybody knows - Elspeth remains at the peak of her powers.