There are seven new songs here, none exactly Axton's best. And the numbers he borrows (Chuck Berry's "Maybelline," Michael Murphey's "Geronimo's Cadillac") have been done so well elsewhere that even a fireball vocalist might have shied away from them, let alone one of Axton's limited abilities. But he gets away with it, turning what ought to have been a mediocre set into a likable one —...