On his millionth album (or does it just feel that way?), teams with a new band -- except for harmonicat -- and duets with some major leaguers. Most of the time, feels like a album of old. Recorded for the label and produced by in Nash Vegas, it's an inspired collection of fine songs for the most part, and is in fine voice with the edges beginning to show just a tiny bit. He wrote the title cut, one of the strongest here. Lyrically, it's tender without being overly sentimental, sweet without being saccharine, and delivered with his trademark elegance and grace. The cover of and 's though faithful, puts 's stamp firmly on it. With 's harmonica, 's acoustic, and a skeletal band featuring an understated pedal steel, 's dignity in the delivery is deeply moving. When he's this on fire, the only place he usually blows it is in duets -- at least on his own records. There are duets here. with daughter and written by her, is just a gorgeous song. The pair's voices contrast beautifully and the tune itself is tight and hooky in a Texas music way. with , is a pretty swing tune that is forgettable but far from offensive, and is the star on her own were made to sing together; the melancholy of the tune lends itself well to her whiskey contralto and his easy baritone. The tune sweetly drifts and lilts with swaying guitars, an accordion, and whispering brushwork. makes an appearance singing background vocals on his but makes the song his own. is a wonderful song that gives way to bittersweet Southwestern balladry and showcases his excellent guitar work. The set closes with the album's only dog, a big-beat over-produced dancy punch-up of 's classic It sucks bad. Why this song made the cut is a mystery, but it's a typical thing for , to add something that just doesn't fit. Thankfully, it's the album's final song and can be skipped. Be that as it may, is the best outing for since . ~ Thom Jurek