There is nothing innovative about these twelve tunes -- and God bless Frankie Lee for that. At a time when musicians like R. L. Burnside are pushing the blues into exciting new territories, Lee reminds us just how satisfying a traditional presentation can be. On his first new recording in seven years, Lee turns himself and his crew of crack musicians loose on both originals and standards. While his band is rock solid -- especially the red-hot guitar work of Bobby Murray -- this is clearly Lee's affair, and as such the focus is squarely on the vocals.

And what vocals they are! One listen to the slow stomp of "Here I Go Again" is enough to get me all frustrated with the unmistakable imprisoned energy of the blues. This ode to searching for the right kind of woman is pure heartache; when Lee's slightly ragged voice rips into pleading lines like "I've been looking for you baby, such a long time/ Here I go again," it's done with such passion that everyone within hearing distance will respond with rueful grins and understanding nods. His work on the cover tracks is equally impressive. By incorporating slinky keyboards into Robert Johnson's "Crossroads", Lee moves the legendary site of misery from a dusty plain to a seedy corner of Detroit. This recasting allows Lee's vocal reading to invoke the trials of an urban, red light existence as much as a crisis of faith. On Hamilton Arthur's "Cry Me a River", Lee pits his plaintive voice against a smoky piano and calls down the misery of every failed relationship since the dawn of time. Similarly, his relatively straightforward reading of Robert Cray and Dennis Walker's "Playing With My Friends" wonderfully captures the original's intent. Here, he trades vocal licks with Jeanie Tracy, whose strong, clear voice makes a delightful foil for Lee's grittier style. Elsewhere, such as on Chester Burnett's "Smokestack Lightnin'", the band is pared down to acoustic guitar and Lee, whose howling wails tremble with startling emotion.

This variation makes Here I Go Again play like a fine blues set. Blues artists often place too much focus on one facet of the art form, leading either to album-length pity-fests or the longest guitar solos in the world. Lee avoids this pitfall by mixing upbeat rock, midtempo funk and sultry ballads, creating a flowing sense of artistry. Although the title makes clear that this performance is a return to the roots of the blues, it's certainly not a half-hearted rehash of tired standards. Instead, Lee provides us with a glowing reminder of why his art form is so vital.