After the success of their second album Late as Usual (1994), Neill Burnett and Moritz Behm left the band and were replaced by Shannon Saunders and Shona LeMotte, both of whom came from musical families and had been steeped in Celtic and bluegrass traditions for years.

This early version of the band was very popular with the Vancouver college crowds, but, after creative discrepancies, Tom kept the Paperboys name and all the other remaining bandmembers reformed as The Clumsy Lovers.

"[3] Upon returning from the tour, they found some minor success when, after filming a music video for the Late as Usual song "She Said", the video found some airplay on "Canada's MTV", MuchMusic, whilst the CBC and several college radio stations also added the song to their playlists in both Canada and the United States, whilst in January 1995, the album went on to garner a Juno Award nomination for Roots and Traditional Album of the Year, which Landa said was "a definite nod from the industry that we were on the right track.

[7] Overdubs were recorded at Beatty Lane and Chaz Jean Studios, whilst the album was mixed at The Warehouse with the assistance of Gary Winger, and was mastered by Geore Leger at Utopia Parkway.

[9] Landa said that becoming a pop band was not the group's aim but that commercial radio stations could use a "good dose of ethnic and roots music, " and considered Webster to be, "odd though it sounds, the perfect choice for what we were trying to do.

[10] David Kidman of NetRhythms called the album a "vigorous fusion of rootsy pop" with distinct Celtic, bluegrass and Latin influences.

[2] Landa said that although the material on Molinos is "a mix of folk and roots, we wanted to come up with a sound that blended all of our interests - Celtic, bluegrass, Latin, African and Eastern European–but could still get play on the radio.

Not that becoming a pop band was our ultimate goal, but I believed (and still do) that Top 40 radio is mostly full of shit and could use a good dose of ethnic and roots music.

"[3] NetRhythms also stated that the album "almost effortlessly conveys the high energy for which they've been renowned at festivals in recent years, certainly" and said that at times the band's "driving full-frontal sound and approach" reminded me of Tanglefoot, at others of the Waterboys or Oysterband without that same degree of political edge, at others there are hints of Los Lobos, the Specials, Ukrainian dance, South African townships jive and klezmer–"all wonderful stuff!

Rick Anderson of Allmusic said that "what the Paperboys bring to the table with their version of Celtic rock is something lacking in almost all of the other fine, artists who have taken a similar approach: namely, consistent skill at writing real pop songs with unembarrassing lyrics and honest-to-goodness melodic hooks.

"[1] Another critic, Tom Knapp of cultural arts magazine Rambles, characterized the album as possessing: "an 'infectious' style of accessible, bluegrass-tinged pop rock which definitely makes listeners aware that, yes indeed, a Celtic influence is at work here.

Just listen to Shona Le Mottee's blistering fiddle riffs or Hank Araki's swirling whistle solos in some of the band's bouncy dance songs if you don't believe me.

"[11] Most of the album's are written by the band's main songwriter and singer Landa and have a "wistful pop air about them, but there's a driving undercurrent of Celtic wildness and bluegrass stylings which set the Paperboys apart from their just-pop peers.

"[9] "Salvation", a song about "love lost to god,"[11] incorporates the John Campbell-written reel "Sandy MacIntyre's Trip to Boston" for "added flair" and in the words of Landa, was inspired by how "values and religion are very sacred and beautiful things.

"[8] Drummer Paul Lawton wrote "Waste Some Time", a song heavily influenced by John Mellencamp's Lonesome Jubilee (1987) and features Webster on Hammond organ.

"[7] "While You Were Sleeping" begins with an Araki whistle set in slow, airy motion, before kicking into two fast-paced jigs, "The Breathing Method" and "The Jaunt".

"[9] Webster added an additional edge with some distortion on almost every instrument, and due to its double fiddle work, is rarely played live by the band, although Landa later noted that he "loves it" and "always thought it would be perfect for a soundtrack.

[7] Discussing the lyrics of "Oh Maria", which incorporates ska influences, Landa said "In Mexico there's a saying... 'El que se fue a la villa, perdio su silla,' which means 'He who snoozes - loses'.

"[17] The artwork was designed by Ralph Alfonso and features a painting by Robert Cerins on the album cover and illustrations of musical instruments by Tom Bogley within the liner notes.

[3] The attendance at the band's shows in Seattle subsequently tripled and copies of the disc could not be printed fast enough; Landa recalled "we felt like rock stars.

Singer/guitarist Tom Landa has a good voice and knows how to shape a song, and fiddlers Shona le Mottee and Shannon Saunders weave a sparkling fabric around and behind him.

Molinos, however, hasn't dated one iota, and is one of the most rousing and infectious CDs of its kind – look no further for some truly vital hardcore roots music that puts most other worldbeat practitioners firmly in the shade.