Timothy Duguid's new monograph builds upon a growing scholarly interest in and literature on Reformation-era musical practice, and in particular metrical psalmody, to produce a study which breaks new ground in its comparative breadth and interdisciplinary depth. Arranged in eight brisk chapters, the book is essentially made up of three broad sections. Chapters i, ii and iii provide context on the origins of Anglophone metrical psalmody at the Edwardian court, and trace its development on the continent during the Marian exile, where the schism between opposing factions of reformers cemented two separate trajectories in terms of both religious and also musical practice. Upon the exiles' return to their native lands, English metrical psalmody, although not deliberately eschewing continental influence, looked back to its balladic roots at the court of Edward vi, whilst Scottish psalmody stayed much closer to Genevan precedents. Building on Beth Quitslund's work, Duguid paints a detailed picture of John Day's eventual publication of the famed 1562 Whole booke of psalms. While Day's psalter was a commercial enterprise, the first Scottish metrical psalter was commissioned from Robert Letpreuik by the General Assembly, picking up where the last edition of the Genevan Forme of prayers left off, making it a very different beast indeed. This early context is followed by a detailed examination of English and Scottish metrical psalmody across chapters iv, v and vi. Duguid seems equally at home as a book historian, a literary scholar and a musicologist, although his use of the technical jargon associated with these disciplines without much in the way of explanation may prove a little off-putting to the uninitiated. His industry in tracing such convoluted printing histories, his mastery of the minute (but significant) differences between subsequent editions, and his attention to detail when it comes to both text and tune, is extremely impressive. This is exemplary close-reading, and Duguid uncovers some fascinating relationships between (for example) multiple psalm texts grouped under similar tunes, which might convey a meaningful theological association (although the nature of some of these associations is necessarily speculative). The last section (chapters vii–viii) turns from detailed textual analysis to consider the practice of the Psalms in both England and Scotland. These chapters lack some of the energy and conviction of the central section, in part because there is simply so little evidence to draw upon. Questions as to how the Psalms were sung in church, and by whom, are important; but without new evidence definitive conclusions are impossible. Duguid makes some interesting observations about the different characters of English and Scottish psalmody – the former an unofficial and genuinely popular practice, the latter a sacred part of the liturgy, formally regulated and prescribed by the Kirk – but there is also a danger of generalisation, by neglecting (for example) English Puritanism, or orders for certain Psalms to be sung as part of national celebrations or state prayers. In conclusion, this is an important book, and will be of interest to historians, musicologists and literary scholars alike. It is the first to consider English and Scottish psalmody alongside one another, it provides new and important analysis of both the English and the Scottish traditions, and finally, it brings us a few steps closer to understanding what was surely one of the most important facilitators of reformation north and south of the border. Religious change in England and Scotland may have followed very different paths, but both the English and the Scots became, in their own ways, nations of psalm-book Protestants.