Blues rocking slide guitarist is a bona fide road dog. He's been playing shows all over the world for decades. Perhaps because of that traveling he hasn't released a record since 2014's raucous . , released by , is a wooly collection of originals and a lone cover. Longtime compatriots (drums) and (organ and keyboards) appear alongside new bassist ( , ) with producer helming the boards. While the guitarist doesn't change up his seasoned formula all that much, some longtime criticisms of his work are no longer valid. A startling example is in the lyrics: While isn't writing poignant originals, he is employing fewer cliched blues metaphors and imagery. What's more, the vibe here, while typically rowdy, is less "serious." That means is a rocking party record top to bottom with some truly stellar moments. Opening single "Long Shot" uses ' classic "Dust My Broom" slide assault to house-rocking effect. The verse is played in a shuffling swagger adorned with screaming fills, filthy distortion, and uncharacteristically relaxed vocals. Second track and single "Tonight" pulls a classic move, wedding wooly vintage roots rock and rowdy roadhouse blues. "Planks of Pine" is notable for the dynamic, chanted, call-and-response chorus vocals from the band. "Swamp Cooler" opens with acoustic resonator guitar before blues legend and his harmonica start trading fours with before the band enters a nasty, anthemic instrumental that is equal parts Southern-flavored hard rock, garage band blues, and outlaw swagger. While this could have been a sorry blues album cliche (despite the caliber of the players), it's anything but: The playing by both is inspired, and high-octane with rock-solid support from the rhythm section. has always held the late Irish bluesman 's playing in the utmost esteem. He's covered him in the past and here takes on one of his most iconic songs in "Laundromat," the opening track from 's eponymous 1971 album. In typical fashion, and company play it at almost twice the tempo; astonishingly, it's nearly punk in its intensity. He delivers the vocal with gravely soul, but dirtier. The rock & roll rave-up in the bridge is anthemic here -- a show stealer. "Miracle Mile" is a nasty yet soulful Chicago-style blues with killer string pinches and striking -esque harmonic invention. Other highlights include "Julep," "Lock and Key," and "Movin' On," all with added women's choruses. The presentation on all three recalls the overdriven sleaze & roll of ; the good-time back porch stomp of "Liquor Store" has the sleaze but a different production style. Finally, the uncharacteristic, instrumental closer "Emelia" has glorious fingerstyle work that unfolds with phase-shifted, multi-layered psychedelia atop modal changes and a soaring finale. ' fans will certainly enjoy the fingerpopping to drastically improved songwriting and 's instinctive production skill that frames this raw, manic study in blues power. ~ Thom Jurek