Burton is back and the good news part of the story is that (sticking with the sports analogies) he has picked up the ball and absolutely slammed it out of the park. Backed by his now-regular band of Toronto's The Carpet Frogs, lyrically, musically and sonically, he has never sounded so good. All of his previous records contain mostly great songs but there were always a few passengers. This time out there are no duds or floaters.

There is an introspective vibe that permeates the set but unlike other rockers that have racked up more than a few road miles, there's no poor me mindset --- just an objective look at his profile. And quite obviously he's still feeling a need to rock! The most impressive thing about this record is the variance of the material. There are 19 tracks and there is no duplication in style or repetition of lyrical matter.

Crazy When You Mess With the Gods: This guitar-driven rocker swaggers in and confidently kicks off the set with nary a sense of trepidation. With his piano shoved high in the mix for the chorus, Burton reminds us that he is indeed a rock and roller.

Junior Won't Behave: Another rocker with an interesting minor chord progression and some unusual choices for line-ending notes. This cut laments the fact that most of Burton's regular crowd has eschewed their proclivity for the usual adult night activities due to family commitments.

TPOS: Get yer boots ready for some line dancing. "TPOS" is a country-tinged song that is the aural equivalent of a diary or Live Journal. It's a call-out to a former love who has moved on and the singer definitely hasn't. It's odd in that it has an upbeat melody coupled with downbeat lyrics.

Any Minor Miracle: The record starts to dig into the real good stuff now. The trademark piano work sort of lies underneath everything but helps framework this excellent song that recalls Bob Seger from the Night Moves era.

Powers at Play: Sprightly, like a spring lamb, this song sizzles from the opening note. The piano is positively uplifting, accenting the song perfectly without being obtrusive.

Ponderlust: This slinky, straight-ahead rocker shimmies along with lyrics that sound like someone soured on his life. Great melody and convincing vocal delivery. A huge Doors fan, Burton adds a few lines from Shaman's Blues.

Rollaway: For me, this is the only head scratcher on the record. It's just Burton and his piano, accompanied by a great set of background vocals. It's a plea to a friend for a place to sleep and is told he can rest on a rollaway bed.

We Just Came From the U.S.A.: Here's the spine that legitimizes the record for those that are looking for BC's relevance in today's market. The song is like an 18 wheeler shifting gears. This rocker navigates a strong verse and hits a killer chorus that is the payoff --- simply infectious. In the vein of "American Woman", it's not trying to cheaply replicate but rather create a vibe that recalls the essence of that song. It's funny how little things can change or add to a song. The Carpet Frog's Nick Sinopoli's yelled "hey" is looped through all the verses and it creates an urgency, becoming the glue that somehow makes the track rise above what it would have been without it.

Pretty Pictures: This is one of my favourite tracks on the record. It's like crack delivered via sound waves. It's impossible for either of your body's North or South Poles to react to this song. Either your neck gets cracking or your feet take on a life of their own. Expertly crafted to allow some fantastic interplay with the background vocals towards the end of the song.

Look Out Charlie (There's a New Bartender in Town): Burton takes a step backward from the light-hearted moments to make some observations about some of the somber moments in the world over the last few years.

Kurt's Song: Not quite tearful eulogy. Not quite happy recollections. "Kurt's Song" is a remembrance of former Guess Who guitarist Kurt Winter who died in 1997. It's a strangely comforting song, like it has a special aura emanating from it. As with "TPOS", it has an upbeat melody with some morose lyrics. The rollicking piano ties this package up with a perfectly beautiful and respectful bow.

Richard: One of the surprises on the record. Musically unsettling, it's a song that lyrically is essentially a composite of some of the people that have passed through Burton's life over the years. Awesome bridge on this one. An excellent piece to balance out some of the more straight forward stuff.

Dream: This is one of those picturesque ballads that only Burton Cummings is able to write. A snapshot of the singer who finds himself increasingly (by purpose) in his own company. Excellent. Excellent. Excellent.

Up in the Canyon: One of my other favourite cuts (although to be fair, this is like asking what sort of champagne you like best --- it's all good). Choosing a jazzy vehicle, this one reminds me of Steely Dan with their cooler-than-you demeanor.

A Touch of Morning: This is the kind of song that goes well with a Sunday morning on the back deck with a coffee and a nice warm sun. A relaxed pace and a sleepy vocal set the scene as the singer looks back at his life.

Revelation: A light-hearted bopper that sounds like old time rock 'n roll.

Invisible: This sounds like it could have been written around the time of Woman Love. Like "Dream", nobody does this kind of thing better. Great background vocals courtesy of the Perry Sisters.

Retribution: Like "Crazy When You Mess with the Gods", there is a swagger here that is almost palpable. The undeniable melody lines propel your hips and Burton has one of his most relaxed yet intense vocals. It just seems like he was more plugged in on this take. You can almost envision a video where Burton and the boys walk into a bar and the crowd just parts. Great projection of attitude here.

Above the Ground: A perfect album closer. Once again, the soul-soaring piano propels this fantastic song. Lyrically, there is more self reflection that kind of lets the listener into Burton's world --- who seems to be acutely aware of the passing of time and the status of his own mortality. The master of melody once again goes above and beyond with a bridge that is just perfection!! Gotta love that piano!!!!!

But it doesn't stop there, kids. There is also a companion DVD that shows Burton in the studio. Many, many laughs here. The best part shows how some of the songs come together and how they got some of the performances. Some extra stuff like Burton out of the studio would have been nice but I'm quibbling.