Because of Cape Breton's historic isolation, the absence of English cultural imperialism that occurred in Scotland, and the rigor of life in early Cape Breton, the music and the Gaelic language from which it derives so much of its flavor survived in a far purer and more vigorous form in Cape Breton than in Scotland. Today, Scottish musicians are flocking to the island to relearn music and dance steps long forgotten in Scotland. Cape Breton music is very fundamentally dance music. It is played for dancers, who may be (temporarily) mere listeners. This contrasts with the pub or concert music seen in Scotland, Ireland, or in most celtic music concerts in the U.S. Whereas, to my mind there is too much emphasis in concert playing in the U.S. on playing fast, particularly fiddling fast, the Cape Bretoners are very focused on having a very energized but steady rythym to the tune. "He or she's good to dance to" is the standard measure of praise. And what I love about Cape Breton playing is this focus on the rythym gives the playing so much more drive and kick than simply playing fast. A runaway train on a long downgrade has less drive than Natalie or Brenda when they get going. And, if you really want drive, and fireworks virtuosity in the same package, just listen to Ashley MacIsaac, Natalie, Dougie Macdonald, J.P. Cormier. Whether it is played in people's kitchens or at the local parish hall, the sign of good player is folks on the floor dancing up a storm. It is driving, highly rythmic music. The best players achieve a tremendous 'lift' in their playing that makes it almost impossible not to dance. Just listen to Brenda Stubbert's new CD or Natalie's No Boundaries CD and you will understand immediately.