Since playing with on 1961's "Last Night" and ' "Green Onions" a year later (he co-wrote both), 's influence on popular music is indelible. Since the 1960s, he has amassed literally thousands of credits as a guitarist, songwriter, producer, and arranger. An architect of the sound, he co-founded the bands mentioned above and wrote dozens of hits including "In the Midnight Hour" with , "Hold On, I'm Coming" with , and "(Sittin On) The Dock of the Bay" with . He produced every major artist and dozens of minor ones. As a guitarist he has played on recordings by , , and hundreds of others. He was a founding member of the , and has released eight previous solo records. was co-produced by and multi-instrumentalist . During the COVID-19 quarantine, the pair revisited unused material from two albums recorded with ' (his keys appear on two cuts) and decades-old vamps from the guitarist's workbook. Vocalist/lyricist joined him, and he had assistance from Nashville session drummer and guest kitmen including , and . Setting the pace for this gritty hunk of groove is the brief instrumental "Bush Hog 1," with 's inimitable, circular blues vamps flying above a swirling organ, multi-tracked saxes, and mean snare breaks. The title track offers 's grainy baritone wringing maximum soul from the melody. 's playing comes right out of ; with his ringing double-string leads, the punchy Southern soul vamp is punctuated by staccato horns and a bumping bassline atop a hard-swinging blues shuffle. "One Good Turn" is a souled-out midtempo ballad. The loopy organ covers the vast terrain between and early ! 's expressive six-string underscores 's sung lines with tasty fills. "I'm Not Having It" erupts with raw, greasy funk. Guitars and horns offer nasty call-and-response under the vocal. and take brief solos amid popping rim shots and a taut bassline. "Far Away" and "Out of Love" were crafted for the dancefloor. They bridge swashbuckling funk, soul, rock, and choogling blues. "Say You Don't Know Me" rides the roots rock & roll train with pumping upright piano, gospel horns, and 's trademark I-IV-V progression. "Heartbreak Street" weds vintage R&B to Memphis showband blues. "She's So Fine" commences with one of 's trademark multi-string soul guitar vamps, but also channels swampy R&B and blues-rock as the horns, keys, and drums frame 's unruly vocal. The second part of "Bush Hog II" and full two-and-a-half-minute version of the instrumental close the set out the way it arrived: with 's reverbed guitars leading an army of grimy horns, piano, organ, and funky breaks in a nighttime bacchanal. showcases 's joyous brand of grit & groove with swagger aplenty. ~ Thom Jurek