"The album quivers with a Daniel Lanois-like ambiance." writes the Times Picayune about "Basil for Nino"

Andi Hoffman and the B-Goes: Just for fun, I typed in the name of my favorite obscure musician (Daniel Lanois) to see who dared to claim that their music sounded like his. Surprise, five or six did. Most of them were just god-awful, but Andi Hoffman and the B-Goes made up for all of them. Hoffman does sound quite a bit like Lanois, sharing with him a musical sensibility deeply informed from Zydeco and New Orleans (Hoffman's guitar sound even sounds a bit like Lanois', which is a complement of production), but he brings his own offerings to the table as well. A real find. Highlight: "Lake Pontchartrain," which makes you feel like you're really there.
John Scalzi for Media One, January 15th 2000

Learn more about Daniel Lanois from the Canadian Encyclopedia Of Rock:

Daniel Lanois
* Born: September 19, 1951
Lanois was born in Hull, Quebec into a French-Canadian musical family; his mother was a singer and both his father and grandfather were noted violinists. After the separation of his parents in 1963, Lanois moved with his mother to Hamilton, Ontario where he learned the guitar, and with his brother Robert, began recording on a rudimentary cassette player.
In 1970, the brothers upgraded to a four-track machine which they set up in their laundry room as a make-shift recording studio offering local bands a place to record.
By offering more than just engineering and production assistance in the form of songwriting and arranging, the Lanois brothers gained a reputation amongst the Hamilton area music industry. By the early '80's they had once again upgraded to a full-blown recording facility named Grant Avenue Studios.
While working on material by such acts as Ian Tyson, Simply Saucer, The Shakers, Brian's Children and Raffi, Lanois began working closely with King Crimson/Roxy Music keyboardist Brian Eno who taught Lanois the technique of guitar and studio ambience and sound manipulation techniques.
Following Eno return to the UK, Lanois began applying his new techniques to the recordings of such acts as The Parachute Club, Martha And The Muffins, and in 1983, producing improvisational trumpet player Jon Hassell's album 'Aka Darbari Java (Magic Realism)'.
In 1984, after working with Eno on guitarist Michael Brooks' 'Hybrid' and Harold Budd's 'The Pearl', Lanois was asked to co-produce U2's 'The Unforgettable Fire'. The success and overall production feel of the recording came to the attention of Peter Gabriel who invited Lanois to co-produce the 'Birdy' soundtrack.
Lanois and Gabriel worked so well together that he was asked to produce Gabriel's 1986's million selling 'So' album which finally launched Gabriel as an accessible commercial recording artist. However, it would be his and Eno's second co-production outing with U2 on 'The Joshua Tree' (1987) that would finally bring Lanois fame.
With a Grammy for 'The Joshua Tree' and the immediate release of the Lanois co-produced 'Robbie Robertson' debut solo album, he found his dance card full.
In 1989, he spearheaded Bob Dylan's comeback album 'Oh Mercy' as well as the Neville Brothers' 'Yellow Moon' considered to be a breakthrough for the New Orleans soul group.
By this time Lanois had already built his own studio, Kingsway Studio, while living in New Orleans. It was here that he finally laid the foundation for his debut solo album - 1989's Acadie.
In 1991 he worked with U2 for a third time on their career altering 'Achtung Baby' followed by another Gabriel team-up in 1992 for the album 'Us'. Lanois returned to his own musical muse in 1993 with 'For The Beauty Of Wynona' and toured as part of the Tragically Hip's 'Another Roadside Attraction' but like 'Acadie' before it was a commercial failure.
With one more lukewarm solo disc, 'Cool Water', Lanois returned to the non-stop production grind for others including Emmylou Harris' 'Wrecking Ball' (1995), Luscious Jackson's 'Fever In, Fever Out' (1996), and Dylan's 1997 comeback 'Time Out Of Mind'. During all this activity he found time to record the soundtrack to 1996's 'Sling Blade' movie.

With notes from Marc Hohmann