Blues The best music site on the web there is where you can read about and listen to blues, jazz, classical music and much more. This is your ultimate music resource. Tons of albums can be found within. Thu, 18 Aug 2022 18:43:03 +0000 Joomla! 1.5 - Open Source Content Management en-gb Omar Dykes ‎– Runnin' With The Wolf (2013) Omar Dykes ‎– Runnin' With The Wolf (2013)

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1 	Runnin' With The Wolf 	
2 	Killin' Floor 	
3 	The Red Rooster 	
4 	Howlin' For My Baby 	
5 	Spoonful 	
6 	Ooh Baby, Hold Me 	
7 	Riding In The Moonlight 	
8 	Who's Been Talkin' 	
9 	Back Door Man 	
10 	Worried All The Time 	
11 	Smokestack Lightning 	
12 	Do The Do 	
13 	I'm Leavin' You 	
14 	Tell Me What I've Done 	
15 	Wang Dang Doodle

Mike Buck -	Claves, Cowbell, Drums, Maracas, Tambourine
Nick Connolly -	Organ
Omar Dykes - Guitar, Mixing, Producer, Vocals
Les Izmore - Sax (Baritone)
Ronnie James - Bass (Acoustic), Bass (Electric)
Bruce Jones - Bass (Electric)
Mark "Kaz" Kazanoff - Sax (Tenor)
Eve Monsees - Guitar
Derek O'Brien - Guitar
Casper Rawls - Guitar
Ted Roddy - Harmonica
Wes Starr - Drums 


Omar Dykes, of Omar & the Howlers, pays tribute to blues icon Howlin' Wolf on Runnin' with the Wolf. All of the tracks on this disc were written by either Wolf or Willie Dixon except for the Omar original "Runnin' with the Wolf." Dykes stays close to the original versions of these songs, which most listeners have heard in some form or other: "The Red Rooster," "Back Door Man," "Smokestack Lightning," "Wang Dang Doodle," and "Killin' Floor." That doesn't mean these are straight covers. The passion in the performances is undeniable, but so is the fun these musicians are obviously having. Dykes has the perfect voice for this project and is complemented by Derek O'Brien on guitar, Ronnie James on bass, Ted Roddy on harp, and Wes Starr on drums along with Mark Kazanoff and Les Izmore on saxophones, Nick Connolly on organ, and Mike Buck on percussion. ---Al Campbell, AllMusic Review


Bluesmen loom large in the aura that is Texas. Lonnie Mack, The Vaughan brothers, Kim Wilson, Derek O’Brien, Red Volkaert, and Malford Milligan are counted among Texas’ favorite sons. There is yet another member of this group that has been a staple of the music scene in Texas for over 30 years; Omar Dykes. Dykes has been bringing his music to Texas and the rest of the world from the “Music Capitol of The World,” Austin, Texas, since 1976. Primarily known for his voice, Dykes is quite capable as a guitarist too. If you have ever have the pleasure of seeing him live, it will leave you spent, and wanting more. When Dykes issues an album, it truly is an event.

Dykes has given us a new solo album, Runnin’ With The Wolf, issued on Provogue Records. With the exception of “Runnin’ With The Wolf,” all songs on this album are written by Howlin’ Wolf and Willie Dixon. Essentially, this is a tribute album. While Dykes is respectful to these masters, he definitely puts a Texas twist on these performances. He also uses varying lineups of players on the songs throughout, but a huge plus for listeners is Derek O’Brien on guitar. O’Brien is legendary in Texas, and for good reason; he is simply amazing. The album is very well produced and mixed, with great sound quality.

Standout tracks here include “Killing Floor,” with its easy going steady beat, Texas barroom flavor, and Dykes’ guitar rifting. On Howlin’ Wolf’s “Howling For My Baby,” Eve Monsees delivers some some fine Texas style guitar, and Dykes, whose vocals here are best described as a cross between Wolfman Jack and Howlin’ Wolf himself, lays down a marvelous vocal. On Willie Dixon’s “Oh Baby, Hold Me,” Dykes’ back alley growl, the relaxed easy beat, and great guitar from Dykes and O’Brien come together for a raw version of this classic tune. “Who’s Been Talkin’,” simmers with fine playing from Eve Monsees on guitar, strong backing from the rest of the band, and another lively, growling vocal from Dykes. The effect is akin to trying to keep a pot that’s reaching a boil from actually boiling over. Very nice.

What we really liked about this album is the fact that Dykes pays tribute without ripping off the originals or reproducing them note-for-note. (And why should he?) The album is lively, raw, and definitely has that Texas garage jam feel, and tone. The players do a fine job of keeping you right on the edge of explosion, without betraying the raw elegance of the music. This is an exceptional album! ---Barry Kerzner,

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]]> (bluesever) Omar Kent Dykes Wed, 07 Mar 2018 10:33:29 +0000
Omar Kent Dykes & Jimmie Vaughan – On The Jimmy Reed Highway (2007) Omar Kent Dykes & Jimmie Vaughan – On The Jimmy Reed Highway (2007)

1. Jimmy Reed Highway 
2. Baby What You Want Me To Do/ Bright Lights Big City 
3. Big Boss Man 
4. Good Lover 
5. Caress Me Baby 
6. Aw Shucks, Hush Your Mouth 
7. You Upset My Mind 
8. I'll Change My Style 
9. Bad Boy 
10. Baby, What's Wrong 
11. Hush Hush 
12. You Made Me Laugh

Lou Ann Barton - Vocals
Barry Bihm - Bass
James Cotton - Harmonica
Omar Dykes - Composer, Vocals
Ronnie James - Bass
Delbert McClinton - Harmonica, Vocals
Derek O'Brien - Guitar
Gary Primich - Harmonica
George Rains - Drums
Wes Starr - Drums
Jimmie Vaughan - Guitar, Vocals
Kim Wilson - Harmonica 


Some tribute projects to earlier greats seek to modernize and update their music. This project, co-led by singer Omar Kent Dykes and guitarist Jimmie Vaughan, instead focuses on revitalizing the music of Jimmy Reed in traditional settings. While not closely copying the original recordings, these new renditions are very much "in the tradition." With his deep and low voice, Dykes does justice to the lyrics and feelings in the music; Vaughan has plenty of fine guitar solos; and the guest spots of singer Lou Ann Barton and either Kim Wilson, James Cotton, Gary Primich, or Delbert McClinton on harmonica add to both the variety and the power of the music. As with the best tribute projects, this one will send listeners back to Jimmy Reed's original records while also standing by itself as a heartfelt and relevant homage to the great bluesman. ---Scott Yanow. Rovi


The momentous revelation on that day was the discovery that flamenco, in the way that I presented it – that is without pretence, but simply as I honestly believe the music to be, the way I had received it from my tradition – resonated with the audience. ---Paco Peña,

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]]> (bluesever) Omar Kent Dykes Thu, 29 Oct 2009 15:51:24 +0000