The teaming of ukulele virtuoso Jake Shimabukuro and Mick Fleetwood might seem a mismatch in theory, but it only takes a minute to confirm that everything about it makes perfect sense—or five minutes and 13 seconds, to be more precise. That is the length of the co-stars’ collaborative version of Procol Harum’s 1967 classic “Whiter Shade of Pale,” a song that has been covered by countless others but never quite like this before. With Shimabukuro transposing the dual Gary Brooker/Matthew Fisher keyboard melody of the Bach derived original to his four-string instrument, and drummer Fleetwood stripping down the insistent backbeat to the fundamentals, the song takes on a tenderness and sweetness without losing any of its inherent soul. Both Shimabukuro and Fleetwood are musicians with a well-honed knack for adaptability, and regardless of the tune they take on here—from Muddy Waters’ “Rollin’ ‘n’ Tumblin’” to Neil Young’s “Rockin’ in the Free World”—they remold their material to fit snugly into the world they’ve created. Perhaps no two songs better illustrate their collective versatility than the opener and closer, Stevie Wonder’s “Cause We’ve Ended as Lovers” and Fleetwood Mac’s “Songbird.” On the former, guest guitarist Sonny Landreth channels his inner Jeff Beck (who did a bangup rendition on his Blow By Blow), with Shimabukuro taking a support role, while the Mac’s own Christie McVie written finale is given a bass-‘n’ tom-toms-infused haunting quality that turns it dark and mysterious, even while its melody maintains the charm of the Rumours classic.