Like a lot of stateside improvisational jazz artists who have discovered more open-minded audiences overseas, American bluesman "Walter Trout" finds himself in a perplexing paradox. Virtually unknown in the States, with only smattering of available recordings, he is hailed in Europe as one of the finest fretmen of the decade.

Although he spent most of his formative career touring the Americas (five years apiece with Canned Heat and John Mayall's Bluesbreakers), it took a couple of Scandinavian and Dutch labels to finally break his solo albums. Now closing in on a half-million worldwide sales, Trout has become the toast of the Euro blues community, with audiences that remain in awe of his scorching, fluid guitar style. In fact, Trout finished sixth in a '93 BBC poll of the Top 20 guitarists of all time, just a mere couple votes shy of passing up Jimmy Page.

So what do those Brits know that you don't? First off, Trout's extraordinary handiwork features a flashy dexterity (a la Gary Moore) married with a sure-fingered twang (derived from ZZ Top's Billy Gibbons) in a high-powered attack that never seems to lack for rock or blues fans. But more directly, Trout's soulful singing and superlative songwriting are rarities, even among the most experienced bluesmen, in their ability to connect with a mainstream audience that's mostly unfamiliar with the history and culture of the blues.

Trout's dilemma would almost seem to be too good to be true for any domestic label looking for a potential blues superstar. Almost. Trout's '98 self-titled American debut was a continuation of his European-formula, radio-ready blues pop, with a pair of latent hits, "Tender Heart" and "Got A Broken Heart" that, unfortunately, sank without a trace. Learning from his error, "Livin' Every Day" roughens the mix up a bit for the hard-bitten blues fan, offering a bulk of blisterin' leads and forcing a little gravel to seep into his already-expressive voice.

The title track is Stevie Ray Vaughan-inspired monster boogie that blows the roof off, with his guitar tone set to slow phase and razor-tinged distortion. Over the course of the album's ample 14 tracks are big band workouts like the Paul Butterfield-like shuffle of "Let Me Know," where the crafty guitarist works in his best Mike Bloomfield licks, emotionally-charged instrumentals, such as "Through The Eyes Of Love," that owes a debt to Eric Johnson's quick-shifting modals, and raunchy, down 'n' dirty workouts, like the autobiographical "Nothin' But The Blues," that illustrate Trout's ease and agility with every facet.

There just doesn't seem to be any groove that Trout and his band, "The Free Radicals" (with Hammond B-3 grinder Paul Kallestad, bassist James Trapp, and drummer Bernard Pershey) cannot nail, including a delightful countrified "Apparitions," a poke at other peoples' demons that updates Charlie Daniels' "The Devil Went Down To Georgia."

Those lifelong blues followers who are skeptical of such a readymade artist are welcome to bring all of their hesitancy to the table. Just be prepared to fork over your bucks for those pricey import copies of his other albums.