On their debut album “Ways Not to Lose,” the Wood Brothers come right out of the chute with a bottleneck slide lick on a resonator guitar that leads into a bluesy New Orleans shuffle on “One More Day.” The Brothers have more soul than a shoe factory, and it feels great—their rootsy/bluesy/jazz sound is fantastic.

Most of this record features the brothers as a duo without drums or other instrumentation. Oliver Wood’s excellent rhythm and lead guitar work on acoustic, electric or resonator guitar, and Chris Wood’s skillful and often percussive upright bass playing makes a big, beautiful noise without the extra bells and whistles. Each can hold down a feel just fine and let the other one shine a bit. Try not dancing to the funky “Atlas,” an almost Bo Diddley beat that’s fat enough for a Richard Simmons intervention. Oliver’s chopping rhythms on the resonator and Chris’ groove-inspiring bass work hold the fort on the song, including a tasteful and melodic solo from the latter. Not to be forgotten, Oliver can really sing his arse off—one part honey, two parts molasses and real as the day is long. “I’d like the be the wind, don’t wanna be the sail / I’d like to be the train, not the rail,” sings Oliver with his natural, easygoing phrasing on the standout track “Tried and Tempted.” His voice slips over the words as Chris finds another profound bass hook and feel behind him. This isn’t “white guy” blues, it feels like the south. Chris’ high harmonies are tight.

There aren’t any studio tricks here—a very, very good thing with this material and these players. All of it sounds like it was recorded in a room with great sounding acoustics, and only the occasional “slap back” vocal effect is used. Kudos to producer John Medeski for steering the duo in a direction that showcases the brothers’ tasteful playing with a less-is-more philosophy. And yes, that is Medeski of Medeski, Martin & Wood fame, as is Chris Wood.

The songs themselves are a journey through the Brothers’ American music influences, from the New Orleans-style groove of the aforementioned lead off track, to “Angel Band,” which starts out with a creepy ambient-bowed bass bit and turns into a country gospel song, to straight up bluesy stuff. Occasionally they sound like Tom Freund or a bit like G Love’s early stuff (minus the over-the-top affected “blues” guy voice) like on “Glad,” one of the few tracks with drums that features Oliver’s tremolo electric guitar. “Where My Baby Might Be” sounds like the Brothers channeling Tom Waits’ “Mule Variations”-era material, especially in some slide guitar work reminiscent of Marc Ribot’s contributions to said record. It’s all here, and they make it sound fresh.

The smart and interesting arrangements, light-handed production and fine songwriting mean “Ways Not to Lose” is going to sound just as good 10 or 20 years from now as it does on your iPod today. The only way to lose is not to get this CD.