That the electric set has an edge over the acoustic program – or the Smithsonian set, as the band calls it – is a complement to the electric, not a slight to the acoustic. The Smithsonian set gives the multi-instrumentalist Flip Tops more of an opportunity to shine as Moss' acoustic guitar gets buried in the mix. The interplay is better and more obvious on these songs, but the periodic absence of Moss' guitar at the center of it all is what puts these songs just a notch behind their electric cousins.

There's really only one knock on this album and it's debatable whether or not this even qualifies. The unfussy, DIY aesthetic of this mostly live in-studio recording has its charms but it also has its drawbacks. There is a sameness to the sounds – not the songs, but the instrumental tones – that can wear down a listener over the long haul. The blues should always have a little mess and chaos and there is plenty of that on Play it 'Til Tomorrow, but just a little bit of polish and precision would have given the individual songs a little more individual character and these songs deserve that. It's a minor complaint, which is what happens when great material is crossed with masterful musicianship; there's not much left to notice after that.

If my endorsement and the great price for this 28-song set doesn't move you to make the purchase, consider this:  blues icon Buddy Guy and the legendary Jimmy Rogers — with whom Moss toured — are both on the Nick Moss bandwagon.  Check out <i>Play It 'Til Tomorrow</i>.  You'll be playin' this motherfucker 'til tomorrow, too.