[2] In Rolling Stone, David Fricke wrote enthusiastically, "The fluid, orchestral invention of Bromberg's fingerpicking — his original calling card on pivotal late-Sixties and Seventies sessions for Jerry Jeff Walker ("Mr. Bojangles") and Bob Dylan (New Morning) — is in undiminished bloom, invigorating sturdy old blues and ballads by Robert Johnson, Reverend Gary Davis and Elizabeth Cotten, among others.

His old, shaky rodeo-hand yelp — which had its eccentric charm — has settled into a rippling Fred Neil-like baritone that, when the going gets rough in 'Levee Camp Moan', brings warm, reassuring comfort.

"[4] In Allmusic, Jeff Tamarkin was more reserved, saying, "An all-acoustic, solo set of blues and folk tunes... the album feels intimate, honest and earthy, and of course the guitar playing is never less than masterful.

There is no denying that Bromberg, who basically gave up the road and the studio at the dawn of the '90s in order to become a violin maker, possesses an innate love for the roots Americana that populates his comeback album.

But therein lies the disappointment: he's too comfortable.... Bromberg's Delta-style guitar work is, as always, note-perfect (the two instrumentals are a treat and his slide playing is sweet), but fans already know he can do that with his eyes closed.