Not since the late Stevie Ray Vaughan has anyone burned up the blues like Kenny Wayne Shepherd. The “Tornado” from Shreveport, LA, who has, with his long blonde hair and Stratocaster in tow, rekindled blues in the 90s much like Clapton, Page and Beck did in the late 60s and 70s. With his own band, as well as the additional support of Double Trouble, Kenny Wayne simmers, steams and rocks the blues so as to attract a crowd of serious concert-going fanatics. His unadorned guitar lines alternately caress and blister, easily whipping the unassuming into a mass frenzy. His sophomore album, Trouble Is…, continues the high-octane deluge he started on Ledbetter Heights by echoing the influences of B.B. King and Jimi Hendrix, all the while updating the blues for a new generation of guitar fans.

Americans like their guitar-based blues-rock to have some sort of geographical identification. Whether it’s New York’s underground, Los Angeles’ club scene, the Jersey shore or even Chicago’s house music–these are all places that can easily be located on the map. Lately, though, bluesy guitar rock has started pouring out of places not normally associated with those that are part of the cultural mainstream, cities like Seattle, Athens, GA, and Shreveport, LA, to name a few. The latter of which, to be sure, is an unlikely place to find any type of major trend (that is, unless you consider places like the Mall Of America a relevant and major trend in today’s society.) In general, though, most guitarists tend to think of the traditional places like LA, New York or even Austin as the strongholds of good old, guitar-driven, blues-rock.

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Not since the late Stevie Ray Vaughan has anyone burned up the blues like Kenny Wayne Shepherd. The “Tornado” from Shreveport, LA, who has, with his long blonde hair and Stratocaster in tow, rekindled blues in the 90s much like Clapton, Page and Beck did in the late 60s and 70s. With his own band, as well as the additional support of Double Trouble, Kenny Wayne simmers, steams and rocks the blues so as to attract a crowd of serious concert-going fanatics. His unadorned guitar lines alternately caress and blister, easily whipping the unassuming into a mass frenzy. His sophomore album, Trouble Is…, continues the high-octane deluge he started on Ledbetter Heights by echoing the influences of B.B. King and Jimi Hendrix, all the while updating the blues for a new generation of guitar fans.

Over the last 25 years, Aerosmith has definitely enjoyed the fruits of their labors. With over 70 million records sold world-wide, never-ending tours, video arcade games, a CD-ROM adventure game and a ground-breaking collaboration with rappers Run-DMC, the bad boys from Boston demonstrate that they are truly multi-dimensional. At the center of this onslaught are five totally dedicated musicians.

In spite of all their success as a touring band and at Adult Rock Radio, Widespread Panic has been able to maintain a very down-to-earth philosophy: emphasizing heavy rhythms with often inspiring musicianship. Listening to their music, one can’t help but be swept into a musical sanctuary. “Our songs are like musical getaways. They provide a path for the music to take off by itself,” is how guitarist and vocalist John “J.B.” Bell describes it. Renowned for their intense live shows before S.R.O. crowds across the country, as well as a back catalog of albums that continue to sell well, Widespread Panic has earned the respect of fans and fellow musicians alike. Their newest offering, Bombs & Butterflies, captures the raw energy that has helped propel them into being one of America’s most compelling live bands. “The studio is very different from a live show. We’re still trying to capture a sense of power” adds J.B., “but it’s more like a polished poem instead of seeing somebody ranting and raving on the street.”

For over 25 years, ZZ Top has been playing rock & roll with various shades of blues for fans around the world – sometimes, with raw street-corner passion and sometimes with the polished licks that modern technology can provide. Over the years, the only rule has been that there are no rules. Whichever direction the trio heads has been governed by its collective gut, rather than some sort of organized master plan. Drawing from mean rhythms, Rhythmeen is full of tough, funky grooves and gritty electric guitar stylings – music derived from the earthy blues of Elmore James and the forward-thinking adventurous grindings of Jimi Hendrix. Call it modern barroom music; ZZ Top mixes traditional sensibilities with the raw power and energy of a band that is still (or just now?) hitting its stride. It was from these humble beginnings that ZZ Top are able to do what they do best – play their own interpretation of this art form that some cal funk or Texas blues and yet others simply refer to as good ol’ rock & roll. No matter how you classify it, the rough and tumble nature of Rhythmeen is evident from the first guitar blast serving as a useful reminder that this little ol’ band from Texas can still produce a mighty large sound.