Elvis Costello shifts genres yet again, this time into emotional and driven New Orleans R&B. His partner on this voyage is Allen Toussaint, a prolific songwriter and producer in his own right who is also in the Rock and Roll Hall of Fame. Together, they pay respectful homage to a number of classics from Toussaint's catalog as well as to several new tunes written by the pair.

The title track was written solely by Costello in a quick session after he heard about the tragedy destroying the city whose musical legacy he has long respected; the collaborations were written by the pair in October, and the recordings took place in late November and early December. The first week of sessions was in California, while the second week of recording took place among the ruins in New Orleans. This no doubt added an immediacy and a deluge of emotions, as Costello insisted that he be shown the hardest-hit 9th Ward when he arrived.

Costello has approached the New Orleans sound before, and recorded with Toussaint in the past on his 1989 album Spike. Costello's 2003 hit "Monkey to Man" referenced a song by Toussaint contemporary Dave Bartholomew, "The Monkey Speaks His Mind." The love Costello has for this genre of music shows in the vocal performances. Toussaint's lengthy career includes piano-playing sessions with Fats Domino; producing the Meters and songs such as "Right Place, Wrong Time" by Dr. John; as well as authorship of well-known songs such as "Workin' in the Coal Mine," "Mother-in-Law," and "Southern Nights" (made famous by Glen Campbell).

Musically, the teaming of Costello's Imposters as the rhythm section with Toussaint's Crescent City Horns and A.B. Brown on guitar makes an interesting musical gumbo, deftly handling the Toussaint R&B rhythms atypical of Costello's own work. Toussaint takes vocal duties on "Who's Gonna Help Brother Get Further," his smooth voice expressing a question Costello can't quite morph into form to pose himself. On the other twelve tracks, it's Costello's voice and Toussaint's piano-playing that take the lead. One standout track is "Ascension Day," the marriage of new lyrics by Costello with Toussaint's minor-key inversion of "Tipitina" by Professor Longhair.

Costello's vocals are in the spotlight throughout, and they hold up generally well. Costello's vocal abilities have improved greatly in the latter part of his career, and the improved delivery serves him well here on material that's somewhat outside his typical range. His vocals fit well with his strong expression of anger and frustration at the scene that he and Toussaint reflect with this artistic statement.

It is because of Hurricane Katrina that this collaboration took place at all, and given the situation, it's impossible to listen to this record outside of the influence of that massive event. For Costello, this is an inspired collaboration — one with more energy and passion than some of his others in the past. The pair manage to convey frustration and anger, but they express just as much hope and light-heartedness, as if to hold onto and protect the threatened spirit of New Orleans. That spirit infuses this record, and makes it a very special title worthy of adding to one's collection.