On his fourth studio effort and first for , 2017's , New Orleans singer, songwriter, and brass wizard (aka ) fully embraces the organic '70s-style R&B he's heretofore only touched on. Ever since officially debuting in 2010 with , has moved ever closer to that '70s soul aesthetic with each subsequent album. even featured contributions from both and legendary New Orleans pianist . In fact, his previous effort, 2013's , had a similarly old-school bent courtesy of neo-soul master and co-producer . But for dives into the sound full-force, paired with producer ( ) on a set of songs that bring to mind the earthy, vinyl-laden vibe of '70s artists like New Orleans own . Heralding this vintage approach are several well-chosen covers, like ' 1974 -style groover "It Ain't No Use," and 's New Orleans funk jammer "Here Come the Girls" (originally recorded in 1970 by ). channels new life into both tunes with his vibrant jazz- and brass-infused arrangements -- ones that don't so much reimagine the originals as re-energize them with a live-in-the-studio vibe and a youthful zeal. Even his originals here, like the joyous, choir-backed title track and the yearning, organ-steeped ballad "No Good Time," find him working in the nuanced harmonic colors and hip-swaying lyricism of band's like and . And yet it would be reductive to simply describe the album as "retro." Longtime fans will appreciate that hasn't abandoned his crossover, hip-hop-inflected sound, just integrated it deftly into songs like the buzz-bass heavy "Familiar" and minor key-tinged "Where It At?," tracks that nobody would think twice about hearing churn out of the car stereo in 1977. Also, as with past albums, he leaves plenty of room for enthusiastic, mid-song trombone and trumpet improvisations. even ambitiously bookends the album with two New Orleans funeral parade marches, showcasing his bluesy phrasing and clarion brass tone. Ultimately, is one of 's most balanced productions, equal parts New Orleans R&B sophistication and loose, block party fun. ~ Matt Collar