With a broad range of styles, Sweany's signature guitar and vocals carry most of the disc. He's backed by veteran Clint Alguire on drums and Jon Finley on baritone guitar. The band has had a bit of a revolving door with baritone players and current sideman Bob Basone plays baritone on a couple of tracks. A few guests appear on various tracks, all to great effect.

Thematically, the disc covers things like sadness, heartbreak, loneliness, and despair. Sweany makes a solid connection because, in his usual fashion, he approaches these things directly and with a rare sense of honesty. Characteristic of the rest of the set, there's a maturity that comes through in "Frannie's Blues," a sort of mile marker on the road from youth to adulthood. Will Dawson's subtle organ on "An Understanding" matches the subtle humor in the line, "It don't bother me all the time, just everyday, and most of the nights." Anyone who has ever had a broken heart can nod and agree that that's about right.

Sweany is a traditionalist, but he's no purist and doesn't seem to mind rocking out a little. Strangely out of place here, the rocker "Stark County" strays from the Roots and Blues core of the rest of the disc. He immediately makes up for it with the full-on guitar assault of "The Hornet." Mathus joins in on second guitar for a number that seems to be the logical evolution of post-war Electric Blues. Think Earl Hooker with heavy effects and a little more distortion. Pick up the pace, tweak the volume and you get the picture.

"Over But the Cryin' " has been a part of Sweany's repertoire for a long time, but it never gets old. It's one of those tunes that has an old feel to it - could be Soul, could be Country, could be Motown. More than any other, this number showcases Sweany's sharp wit and capacity for humor and affords him a chance to show off his vocal range.

The bright spots are many, but the highlight has got to be the chant-like delivery of "One More Time." This is a cut that was recorded later with Dan Auerbach (of the Black Keys) at the controls. A harmolodic drone forms out of the layers of Auerbach's understated harmony vocals hovering above Sweany's over top of the low rumble of the guitars, while Alguire's minimalist percussion completes the effect. The result is powerful and melancholy, but at just the right spot, the tune takes a turn, ending on a triumphant note and running perfectly into the upbeat final number.

Those lucky enough to have seen Sweany and company in the past few years will recognize the closer, "Bounce." A great live number that gets everyone up to "shake what your mama gave you," I wondered how it would come across on a studio disc. It's a testament to Mathus' and Dawson's production and recording skill that it captures the essence of this one without sacrificing the energy.

I might as well admit it: I'm a fan, and I've been waiting for this one. It's not a disappointment.