With eclectic-minded Memphis guitarist Lemhouse, the future of rural blues is in good hands.

One of the most heartening things happening slowly but surely in the blues world is a new artist here and there who wants to go back to the music's roots, learning at the knee of some of the old masters.  Recent practitioners include the North Mississippi Allstars and Richard Johnston. Make room for another: Mark Lemhouse.

Lemhouse's influences start with Robert Belfour and move to Calvin Newborn (who played guitar on B.B. King's early recordings), rockabilly star Charlie Feathers and Hammie Nixon. With all these inspirations melded together, Lemhouse put together this 12-song debut. Recorded in Memphis, the album is a throwback to old recording styles — vintage microphones were used, and the songs were recorded to analog tape. The echoes and slight hiss give the disc a comfortable, old-timey feel.

Lemhouse nicely mixes covers and originals, with deft performances on acoustic, electric, lap steel, and National resonator guitars resulting in music that shouldn't sound this good. Hit intricate guitar work is stellar - most noticeable on Fred McDowell's "What's the Matter With Papa's little Angel Child" and Yank Rachell's bouncy "Tappin' That Thing." He does a great job on Tampa Red's "You Can't Get That Stuff No More," Johnny Shines' "Baby Sister Blues," and his own "Electra 225," and a surprising standout is his transformation of the Tom Waits "No One Can Forgive Me But My Baby" into a hard, choogling number with a heavy beat and a lap steel solo.

There's not a single iota of pseudo-blues here. Lemhouse is the real deal, and Big Lonesome Radio should give blues lovers hope for the future of the genre.