Whenever some pundit loosely tosses out the phrase "Texas blues legend," they actually mean "Johnny Clyde Copeland." Maybe not in a direct reference, but Copeland came to embody the ideal blues player: a seasoned performer with an ceaseless hurt in his soul, performing in every dinky roadhouse among the hinterlands of Texarkana, while polishing the licks and riffs personally handed to him by T-Bone Walker. But for a quirk of musical history, Copeland may have remained a secret to but a few in the Lone Star environs.

Houston's R&B circuit was displaced by disco in the mid-'70s, and Copeland found himself without work after fronting the house band at the infamous Shady's Playhouse for 16 years. So, by the time the double-threat guitarist/singer had decided to become a recording artist, he was already in his 40's and a little down on his luck. Since his studio experience had been limited to a few regional singles over the years, including the wonderful "Down On Bended Knee," his trip to the East Coast proved fruitful. His debut album, "Copeland Special" (released in 1981) was noted by blues lovers not only for its raw energy, but for its innovation, featuring a horn section full of jazz alum such as Arthur Blythe and George Adams. It was a spirited recording and one that would influence many of his albums over time.

Before Copeland's death in 1997, the "Texas Tornado" recorded several such fusion works, eventually recording with the virtual cream of the blues world, resulting in the Grammy-winning "Showdown!" disc with Robert Cray and Albert Collins, as well as venturing into the world beat vein with a Congolese ensemble for 1985's "Bringin' It All Back Home," recorded in the Ivory Coast.

Throughout his work, Copeland continued to incorporate brass ensembles, as well as fiery rock bands, and still resolve them with a down-home presence for blues purists. The mid-priced "Honky Tonkin'" compilation features an ample cross-section of Copeland's '80s material for the Rounder label, arguably his most inventive sides in a legacy of creative moves. Moving easily between small combos and big bands, Copeland could withstand a blisterin' frenzy of rock licks, like his duet with Stevie Ray Vaughan here on the show-stopping "Don't Stop By The Creek, Son", settle into a mellow shuffle such as "Make My Home Where I Hang My Hat", or dare musical transformations that have no name, like the bluesy chants of his African union during "Kasavubu," all while staying true to his Texas roots.

Current blues innovators such as Keb Mo' and Alvin Youngblood Hart may have more resources at their disposal, but Copeland was slowly able to break the blues out of its conservatism of style and convention and still remain traditional. "Honky Tonkin'" is a concise way to discover Copeland's significance.