Releasing a covers album to follow up 2013's commercially and critically successful might seem like a curious commercial move, but Santa Clara's are no ordinary band. For 15 years, the drummerless trio has issued album after album of stomping roots music that weds country, bluegrass, early blues, and jug band traditions. This set of classic and obscure American tunes is divided thematically (and in reverse order of 's title: it journeys from a raucous and sinful Saturday night to Sunday morning and the hereafter). All-star invited guests assist on various interpretations. The "Ruin" side opens with a smoking modern bluegrass read of 's "Drunken Hearted Man." 's popping five-string banjo introduces 's lead vocal as 's upright bass and backing vocal pace him. 's stinging lead guitar and fiddle and ' steel guitar get wrapped tightly in the tune's stomp and swagger. They stick with the blues, offering a rocking take on ' "Champagne and Reefer." 's moaning harmonica rides above 's choogling electric six-string, paced by the bassline and 's primitive drum kit with adding fiddle fills. An excellent ragtime version of 's "I Gotta Get Drunk" features 's tuba as a rhythmic complement to the bassline, with ' Dobro chugging on the changes. The first half closes with countrified psychedelia as the trio enlists ' harmony vocals on 's already otherworldly Americana blues "Waiting Around to Die." Fine as those six songs are, the second half, drenched in gospel, is even more successful, commencing with 's popping "There'll Be a Jubilee" with delivering a -inspired rockabilly guitar pattern. 's "I Am the Man Thomas," sung from the perspective of Jesus to his doubting disciple, is a 21st century bluegrass ramble with providing percussion on spoons. ' "Come on Up to the House" is completely (and beautifully) reimagined as country gospel with upright honky tonk piano, three-part vocal harmony, and a tenor banjo appending the acoustic guitar, bass, and 's fiddle. The traditional nugget "Down in the Valley" is a sprightly, high lonesome read done with absolute conviction and a finger-popping tempo thanks to 's fiddle and 's Dobro that add to the urgency in the band's attack. ' "The Angel of Death" closes the set on a reflective note, but the soul in 's vocal -- accompanied by his bandmates' haunted harmonies -- in this waltz-time country blues is chilling. 's pedal steel and ' acoustic one are appended by 's skeletal reverb-o-phonic electric leads, a viola, and fiddle. is a fine covers album: it not only illuminates and adds new dimensions to these songs, but it unmistakably reflects 's musical persona, making it a welcome addition to their catalog. ~ Thom Jurek