So another year another Vaughan vamping-up of classics from the blues assembly lines, eh? Maybe so but he manages it all with the much-vaunted smoky swagger that hurtled his hide outta Austin in The Fabulous Thunderbirds quite a few stratospheres as well as 'caster's hence. The classy slink never seems strived for, or even summoned, or countenanced, it's just there filtering in through his atmosphere as he slopes and skulks through Roscoe Gordon's Just A Little Bit (several saloons away from Jerry Lee's version), Charlie Rich's Lonely Weekends, his own Comin' & Goin' and fellow Texan Doug Sahm's Why, Why, Why or the closing time spicy reflection as Bill Willis' leads 'em on down through a genially genius rendering of Willie Nelson's Funny How Time Slips Away. Relish the tart, staccato guitar bursts along with the libidinously funky, struttin' arrangements wherein strident upsurges of brass and ball-blastin' sax replenish your glass and fire up the flash, as the JRV saunters along at the head of the class pausing to slur a slew of lectures on cattin' around while long-term cohort Lou Ann Barton provides beau-bastin' vocal assistance on several tracks. Always a song-centred interpreter rather than any painstaking aural mini-gun on the note-staking, the attention here is the Texas strut hunkering down with N'awlins shuffle. Casual, cool as you like, or would like to be, they may seem shrugged-off insouciant, nonchalant shoulders but there's a reason why this guy's rap-sheet casts him as no slouch. While slightly short of sublime, as genre records go, this guy assuages the wages of wailing and ailing in his own gauges .