Kicking off with the Wayne Walker country/ rockabilly classic, All I Can Do Is Cry, the band swings into action with twin guitars and Fuhrman’s pulsing horns. Steinbeck inspired, East Of Eden, meets the band head on as Kelsey Roy brings Cathy/ Kate back to life with this testimonial from arguably the most wonderful villains in print. The band employs the help of Jager’s grinding Hammond and Joyal’s drifting pedal steel swells sitting under the relentless dual guitar attack from Denoncourt and Rodriguez ending in gurgles and dying tape echo feedback. Round and round they go on the Burch, Wilken twister, Whirlpool, peopled by handclaps, horn bursts, silky tenor sax and electric organ solos. A dizzying turn for the band who normally prefer to stand still. Performing with all the shmarm they could muster in this Trini Lopez inspired track, El Camino Real by Lee Dresser hits the pavement. You might even think that Roy’s been to California by the way she belts the final “L.A.!!”. Don’t ask and she won’t tell. No one can sound more lost by the road than The Luckies, always performing each song close to their miserable hearts. This Beyries, Denoncourt co-write, Coupe De Ville touches on the ache of being left behind mid-journey which as you know is the sweetest place to feel abandoned. Roy and Eddie Blake kick it back up with, My Baby’s Comin Back, a country-billy tale of two people who ache from their long distance relationship. You can hear all of that in Rodriguez’s ripping solo. Though The Luckies are not advocates of gun violence they do like the odd murder song. Roy was in such a mood when she penned this delicate, but tragic story of betrayal, Caleb. Her vocal atop the plucking banjo strings and the plaintive whine of the harmonica tells it all. But maybe it was just an innocent misunderstanding, you be the judge. Returning to all the shmarm in this Jager composed ditty, Big City Twist, The Luckies blast into it following Thomas’ thundering drums. With her saturated lead, Roy grows to twice her size backed by The Luckettes, Bastarache and Muller singing their sweet, sweet counterpoint. Gurgling Hammond leads, horn shots, thumping piano, a one-take guitar solo, hard hitting handclaps, what more could you want?? And finally, Kelsey Roy caps this off with a solo rendition of Amelia Curran’s delicious number, The Dozens. Stripped down with little accompaniment allowing Roy’s voice to ring out the final words with breathy certainty.