On the Jimmy Reed Highway began as an Omar Kent Dykes album, but once Jimmie Vaughan came into the studio “the songs took on their own life,” remembers Omar. “I figured Jimmie would come in and play a couple of solos, but he got so excited about it he stayed for the rest.”

Ain't nobody can do Jimmy Reed like Jimmy Reed could. But this drive down Jimmy Reed Highway with fellow Mississippian Kent "Omar" Dykes at the wheel with Jimmie Vaughan riding shotgun and folks like, Kim Wilson, Miss Lou Ann Barton, James Cotton, Delbert McClinton, and Gary Clark, Jr., joining the duo, comes mighty close. Joe Nick Patoski

With the news of the pending release of “On the Jimmy Reed Highway” for the first time on vinyl, I thought it might be fun to feature this classic from 2007.

Plus new releases from TajMo, Southern Avenue, Jon Cleary, Charlie Musselwhite, Bobby Rush & Kenny Wayne Shepherd, Janiva Magness, Larry McCray, John Primer, Hussy Hicks, Tad Robinson, Johnny Rawls, Carolyn Wonderland and Brandon Santini.

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The center of Clarence Gatemouth Brown's taste is post-World War II jump blues and R&B with a distinctly Southwestern feel. Tasty as his guitar playing is, he likes to add horns and even a bit of country fiddle to the mix.

As its title indicates, Back to Bogalusa particularly investigates the Louisiana influences… notably on the tracks "Going Back to Louisiana," "Breaux Bridge Rag," "Bogalusa Boogie Man," and the Cajun-styled "Louisian'." He adds in some sympathetic songs by writers of a later generation, notably "Lie No Better," co-written by Delbert McClinton and Little Feat's "Dixie Chicken," co-written by Lowell George.

And he sounds most at home in the funky instrumentals "Grape Jelly" and "Slap It”… with a singing and playing ability that belies his years he sounds like he's having a wonderful time. Allmusic

With Jazzfest in New Orleans in full swing, I’m thrilled to present for you this week, this quite wonderful classic from Clarence Gatemouth Brown.

Plus new releases from Jon Cleary, Tad Robinson, Hussy Hicks, Davis Coen, Bernard Allison, Kid Ramos, Southern Avenue, Larry McCray, TajMo, Carolyn Wonderland and Bob Corritore.

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"Basic and bare-boned West Coast jump blues, down home Texas grit, and Memphis rockabilly . . . wild, funky and menacing."
-- Guitar Player

"Sizzling roots rock . . . gutbucket power . . . no-holds-barred excitement."
-- Billboard

Music writers have likened The Paladins' high-energy blend of rock 'n' roll, R&B, swing and rockabilly to the music of Stevie Ray Vaughan, The Fabulous Thunderbirds and other hard-working roadhouse rock bands. A Washington Post critic may have described The Paladins' music best, however, when he wrote, "If musicianship, dedication, soul and the ability to express raw emotion were all you needed to gain fame and wealth, The Paladins would be known in every home in the land, and they'd have enough money to buy New York."

With Bluesfest making a highly successful return over the Easter weekend here in Australia, I’m casting my ears back to the earliest days of the festival and revisting the band that changed it all for me, the Paladins. Featuring three of the bands earliest records Years Since Yesterday, Lets Buzz and Ticket Home. And to put it in context, I’ll throw in some choice cuts from my interview with the bands Dave Gonzales.

Plus new releases from Jon Cleary, Southern Avenue, Tommy Castro, Kid Ramos, Bernard Allison, GA 20, Early James, Bob Corritore and plenty more.

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“Smokey is difficult if not impossible to categorize. Possessor of a powerful voice, he can bellow like Wolf or cry sweetly like B.B. King. Smokey's guitar playing is equally diverse as he romps through the stylings of Elmore James and Jimmy Reed (which Smokey calls "countryfied blues") one song and then polished urban blues the next. He also digs into the soulful side a la Z.Z. Hill and Tyrone Davis, which was extremely popular with the patrons of the Pioneer Club. Smokey's singing and playing bear the influences of these greats, not by impersonation, but by the fact that Smokey is the genuine article.”

With Bluesfest beginning this week with easter upon us. I’m reeling back the years to revisit this 1983 classic by Smokey Wilson 8th Street Blues.

Plus new releases by Jon Cleary, Bob Corritore, Kid Ramos, TajMo, Bernard Allison, Early James, Southern Avenue, Polythythmics, Tommy Castro, GA20, Eric Johanson and Frank Bey.

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“Clarke's timing and music are right on the money, with the great Alex Schultz on lead guitar. There is no doubt that Clarke is one of the few modern bluesmen who are exploring and extending the amplified blues harp tradition without violating any of its principles. No one plays chromatic blues harp with this kind of passion and sheer conviction.” All Music

A classic album from the early 90s, William Clarkes debut for Alligator records stands as a modern blues classic and I’m thrilled to to feature it for you this week, in the new extended 2hr version of Blues With A Feeling.

Plus new releases from Southern Avenue, TajMo, Kenny Neal, Jon Cleary, Tommy Castro, Kid Ramos, Bernard Allison, Bob Corritore, GA 20, Early James, Canyon Lights and Polyrhythmics.

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“The band were at the peak of their powers as a live unit at this point, so it made sense that their next release should reflect that; the self-explanatory Live was recorded at a rapturously received gig held at Cincinnati Gardens on 23 May 1986. Including firm favourites such as ‘Who Do You Love?’, ‘I Drink Alone’ and ‘Madison Blues’, the LP was a terrific snapshot of The Destroyers in viciously good nick and – after climbing to No.33 on the US Billboard 200 – the LP eventually earned itself a platinum certification.” Udiscovermusic

With George Thorogood & The Destroyers arrival in Australia now just weeks away, I’ve reached back to 1985 to feature this gem, the bands chart topping, platinum selling album “Live”. It was huge here in Australia and across the world, spending an amazing 42 weeks on the Billboard 200 chart.

Plus another crackin couple of sets of new releases from TajMo, Southern Avenue, Kid Ramos, Jon Cleary, Carolyn Wonderland, Bernard Allison, GA20 and Canyon Lights.

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"Recorded in both Memphis and Texas and prominently featuring the amazing Bill Willis on Hammond B-3 (who doubles on bass pedals -- leaving this as one of the few blues albums without an official bassist), Jimmie's more subtle approach leaves lots of spaces to nail a groove that gets deeper as the album progresses. Guests like James Cotton on harp and longtime associate singer Lou Ann Barton (who just about steals the show on the songs where she duets with Vaughan) inject extra spice, but the singer/guitarist has crafted a compelling slice of contemporary blues that blends traditional elements in a distinctive way....Rootsy yet polished tracks like the R&B swamp of "Without You" and the Texas soul of Johnny "Guitar" Watson's "In the Middle of the Night" (featuring Stevie Ray's Double Trouble rhythm section) crackle with taut energy and low-down soul. By forging an individual musical style, Jimmie Vaughan not only avoids all Stevie Ray comparisons, but has produced a remarkable album that truly sounds like no one else." ~ Hal Horowitz, AllMusic.com

With Jimmie Vaughan celebrating a birthday on the 20th, I couldn’t resist the temptation to pull out this modern classic for a BWAF feature.

Plus new releases from Kenny Neal & Micah Willis, Jon Cleary, Bernard Allison, Southern Avenue, Tommy Castro, Carolyn Wonderland and Bernard Allison.

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“He was one of the most gifted blues guitar players of all time. A mere thirty two years old at the time of his passing, Fats had already made a big splash in this small pond. His playing however continues to make waves and has had an impact on blues guitar players worldwide.” David Mac Blues Junction Productions

With the legendary Hollywood Fats birthday this week, I thought I was long overdue to feature The Hollywood Fats Bands debut album “Rock This House” on the show.

Plus new releases from TajMo, Charlie Musselwhite, Keny Neal and Micah Willis, Jon Cleary, Tommy Castro, Ian Siegal meets Johnny Mastro, Early James and Polyrhythmics.

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