From the start, Eli "Paperboy" Reed has specialized in soul like they used to make back in the good old days, but being a revivalist only goes so far.

Sooner or later, revivalists hit their glass ceiling, left with only two paths forward: either grind out a living on a blues circuit or place all their chits on a crossover.

Reed opts for the latter on Nights Like This, his first album for Warner that also, for most intents and purposes, functions as a reboot of his entire career.

He replaces his Stax foundation with a stack of Motown 7"s that are indeed more welcoming to his new style, a fashion heavily indebted to the productions of Mark Ronson, particularly his sharp neo-soul for Amy Winehouse.

At times, Nights Like This quite explicitly draws connections between Ronson and Reed -- "Shock to the System" rides a Tamla bounce that's quite similar to "Valerie" -- but Reed also shows an awareness for sounds that have reached the charts in the 2010s.

"Lonely Word" opens with a desolate piano plonk that's a dead-ringer for Katy Perry's "Roar," but Reed and his chief collaborator Ryan Spaker generally don't dive head-first into complete crossover territory (with its iciness, it's reminiscent of a warmer Ryan Tedder).

He still favors tightly written, cannily structured songs, but this time favoring aggressively friendly melodies and R&B stomps to signifiers of authenticity, and that craftsmanship is why his music is appealing whether dressed in thrift-store suits or modern threads.

Underneath all this gloss and glitz -- and, to be sure, there is a lot of razzle-dazzle here, enough so that it may alienate some fans of his earlier, simpler material -- Reed remains the same sharp, skillful soulman, one whose good taste and craft are hard to resist.