Two years after guitar slinger returned to Chicago's label for , he follows with . is one of the most prodigious and gifted electric bluesmen on the planet. He is a double threat as a deeply soulful singer and incendiary guitarist. offers a kindred lineup to the one who knocked 2017's out of the park. Produced by drummer and engineered by (who helms the rhythm guitar chair on all but three tracks where guests), it also includes on keyboards, and bassist on seven cuts ( sits in on the other four). The title number was co-composed by and , leading a compelling set of covers by , , and , among others, including a reprise solo performance of "Witness Protection" originally cut by on her 2016 debut, , with as a duet partner. Diversity is the key as rockin' electric blues, vintage jump, and R&B-flavored jams showcase the singer -- he has become a true stylist over the last decade -- as much as they do as the powerhouse guitarist. Opener "Good Man Gone," by , is an up-tempo R&B-drenched blues, with shimmying along a taut groove backed by on backing vocals as his stinging guitar adds ballast. Pianist guests on the title cut (though he isn't mixed nearly loud enough) with a punchy, Chicago-style vamp; guitars are on stun, with 's distorted fills and screaming solo matching the punched-up beat. "Stop Runnin' Away from My Love" is a souled-out nighttime shuffle with dropping meaty chord voicings on a Wurlitzer in support of 's stellar vocal, while his fills and vamps push him deep into the lyrics. The guitarist revives ' slow-burning "Lights Are on But Nobody's Home," with a snaky set of fills underscoring the emotion in his singing. There is room for the atypical too. 's reading of ' Americana-esque soul in "What Am I?" recalls the , while 's classic "Trouble" offers a more electric arrangement in doing justice to the original. This take on "Witness Protection" is spookier, edgier, and rawer than the version with . As a whole, is full of surprises, from the terrific song selection and inspired performances to uncharacteristically warm production and 's seemingly endless penchant for invention. In sum then, after 40 years, this album registers with his best as a bandleader. ~ Thom Jurek