As a songwriter, however, Osborne is passable at best, with none of the surreal energy which marked George's compositions out from his peers. He also spends too much time on the album imitating New Orleans neighbours such as The Neville Brothers ("Brother, Brother") and Dr John (the voodoo gospel groove of "Nothin' On") with an efficiency that precludes too deep an involvement.
Also, like many a peripatetic minstrel (Osborne spent his teens and twenties hitching around the world), he bulks out Which Way To Here with far too many home-sick road songs. It's a chicken and egg situation, I suppose - why keep wandering if it hurts so much? Or does he need the hurt for new material? If so, he needs to find a new pain.Reuse content