A review of Legacy from http://www.greenmanreview.com/

The name of Irish guitarist and singer Tommy O'Sullivan has previously appeared in Green Man as both the musical partner of the incomparable Paddy Keenan and as a member of Sliabh Notes. The re-release of his 1993 album Legacy is cause for no little rejoicing as it's a real beauty! What, for me, sets O'Sullivan apart from so many 'Celtic guitar pickers,' is the fact that he's playing Irish traditional music on the guitar, rather than playing the guitar on Irish traditional music. The booklet notes (penned by Arty McGlynn - what further recommendation do you need?), state: "A constant influence throughout (O'Sullivan's musical development) were the uilleann pipes, which is evident in his playing." The truth of that observation is apparent from the very first track, 'The Congress Reel/The Star of Munster.' Where a piper would employ chanter, drones and regulators, O'Sullivan flies around the melodies on the treble strings, while adding repeated open bass notes and punctuating partial chords.
There's a good variety of instrumental tracks here, with a few fine original compositions scattered among the familiar titles like 'Saddle the Pony,' 'The Blarney Pilgrim' and 'Off to California.' Only four of the twelve tracks are actual solo performances, but the arrangements are never swamped or cluttered. Matt Cranitch plays fiddle on a couple of tracks, Steve Cooney pops up on a couple (another fine endorsement for a guitar player!) and Cian O'Sullivan adds flute and whistles. The most regularly employed collaborator, however, is bodhrán player Martin O'Hare, whose accompaniment is absolutely first-class. Set amongst all this marvellous instrumental music are four songs. 'The Maids of Culmore' and 'The Water is Wide,' while familiar to many, both sparkle when sung by O'Sullivan, who has a warm, expressive voice. These, and Tommy Small's 'The Welcome' also demonstrate O'Sullivan's versatility as a guitarist, his finger-style arrangements providing a contrast with the rapid flat-picking of the tune sets. The American song 'The Factory Girl' is delivered unaccompanied, to powerful effect. Among the many artists that O'Sullivan has been favourably compared with, it's interesting to note the name of Andy Irvine. Both artists share a background in both Irish traditional music and English Folk Clubs, and both have an abiding interest in American song. While their repertoires and voices are very different, O'Sullivan is more than capable of building a reputation to rank alongside the likes of Irvine. Given the quality of Legacy it's astonishing to note that this music was heard by comparatively few folks on it's initial, cassette only, release. It's taken ten years to become more widely available and, believe me, has been well worth the wait.