That rare blues rock album that finds the sweet spot between slavish 12-bar lockdown and halfhearted deference. Most of the songs put down solid, standard turns at building tension and ripping off mournful solos, before veering into some exciting twist of tempo, tenor or form.
And then there's the tentpole Nina Simone-related tracks in the 3 and 7 slots: a solid take on Feelin' Good, and an inevitably underwhelming take on Four Women. Which is to say, it's less that the covers are such great ones, but that going there represents a refreshingly broad take on what classic sources rock music should be drawing from. These guys got it better than most 3.5/5
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