The six-track collection—including the bonus cut "Somebody's Always Doin' Something 2 Somebody"—represents Allen's ongoing quest to forge what he describes as "vintage yet modern" rock'n'roll. This isn't empty marketing speak. The production aesthetic genuinely bridges decades, honouring the warmth and presence of analogue recording whilst delivering the clarity contemporary ears demand. Allen's self-described obsession with "old school" recording techniques manifests throughout, lending these tracks a tactile quality that digital shortcuts simply cannot replicate.
The personnel assembled here reads like a masterclass in American rock musicianship. Drummer Steve Holley—whose CV includes stints with Paul McCartney's Wings, Elton John, and Ian Hunter—anchors five of the six tracks alongside bassist Paul Page, himself a veteran of sessions with Dion and Ian Hunter. This rhythm section doesn't merely keep time; they understand groove as conversation, pushing and pulling against Allen's guitars with intuitive precision. Their work on "History" and "Modern Ways" exemplifies this symbiosis, providing the foundation upon which guitarist Lance Doss layers his southern-inflected leads.
"Read The Signs," featuring long-time collaborator Bruce Engler on vocals and co-writing duties, ventures into unexpectedly psychedelic territory. Described aptly as a "rock'n'roll raga," the track demonstrates Allen's willingness to stretch the DownTown Mystic template without abandoning its core identity. Engler's vocal approach differs from Allen's—slightly rougher, more weathered—providing textural contrast that serves the EP's overall architecture.
The EP's centrepiece, "Some Day," showcases Justin "JJ" Jordan's contributions on both guitar and mandolin. Jordan's delicate string work elevates the arrangement beyond typical power-pop bombast, introducing folk-rock shadings that recall the Byrds at their most ambitious. The production here—Allen's domain—reveals sophisticated understanding of dynamics and space, allowing individual elements to breathe whilst maintaining cohesive forward momentum.
Allen's stated philosophy—that the best advice he received was to be the worst player in his own band—might read as false modesty, but the results speak eloquently. By surrounding himself with musicians of this calibre, he's created a genuine ensemble rather than a vanity project. The interplay between guitarists Doss, Engler, and Jordan throughout the EP demonstrates this democratic approach, each player serving the songs rather than jockeying for spotlight.
The Buffalo Springfield-meets-Rockpile reference point Allen cites proves instructive. Like Springfield, DownTown Mystic traffics in American roots music filtered through rock'n'roll urgency. Like Rockpile, there's an economy to the arrangements—no extraneous flourishes, no indulgent solos, just song-serving professionalism executed with passion. The Tom Petty and Bruce Springsteen comparisons are inevitable given Allen's sonic palette, but they're not unearned. He's absorbed their lessons about melody, narrative, and the emotional weight guitars can carry.
That the EP arrives accompanied by DownTown Mystic's first AI-generated video—created by Richard Levinsohn and the Rick Lee Vinson Group—suggests Allen isn't merely cosplaying vintage aesthetics. He's engaging with contemporary tools whilst maintaining fidelity to timeless songwriting principles. This tension between preservation and progression defines *Mystic Highway*'s success.
The sync-licensing achievements aren't mere trivia. They confirm what this EP reiterates: Allen writes songs with inherent visual quality, narratives that enhance moving images without overwhelming them. That international audiences from London to Hong Kong encounter his music through television and film speaks to its universal accessibility without pandering.
Mystic Highway won't revolutionize rock'n'roll's trajectory. Allen's ambitions lie elsewhere—in demonstrating that certain verities remain worth pursuing, that craftsmanship and authenticity can coexist with professional success. The result is an EP that functions equally well as background to your afternoon commute or foreground listening for those who still value the album as artistic statement.