Anyone who has spent time listening to Canada-born, Austin-based guitar slinger knows "Pinky" is her signature paisley-print pink Fender Telecaster. is her second offering for . and her band -- bassist , drummer (of fame), and Hammond B-3 organist, producer -- got together with engineer over three days in a San Marcos, Texas studio and cut these 12 tracks live on the floor. 's focus is the Texas blues and the artists who embody them in a set of covers and originals. She captures the Lone Star blues styles with raw energy, passion, and stellar musicianship. penned the title-track instrumental, a sweet, swinging, slow blues with stinging leads and lyric phrasing. It's followed by "Two Bit Texas Town," one of two tunes by . It's a swamp blues shout-out that name-checks blues heroes. When sings "Back when radio/Could turn your life around/I know what it did to me ..." she's singing its truth as her own, adding snarling fills and a cracking snare shuffle. 's riff in "Dallas Man" is equal parts , , and . She shifts gears on 's glorious "Say It Ain't So." Over the band's sweet, simmering, vintage R&B groove, 's delivers the lyrics with aching tenderness. Her guitar accents, fills, and solo are melodic and committed. On 's "Stop These Teardrops," 's voice rides the lyric into the guitar boogie as 's organ fills paint the margins. "Boogie Real Low" is a revised reading of ' 1957 roadhouse jump blues "She Likes to Boogie." rocks it up with blazing lead breaks, a sexy vocal, and a fingerpopping vamp. She reveals her love of vintage Texas R&B again in 's 1962 hit "Think it Over." Guided by 's B-3, summons all the pathos and desperation in the original and injects it with a gritty underbelly that heightens the emotional tumult. 's seminal "Okie Dokie Stomp" finds 's fat, sweeping chord boogie meeting the rhythm section head and nearly burns the joint down. The original "Hurricane Girl" features guest on rhythm guitar. Inspired by ' signature slide boogie, celebrates her musical and character bona fides as a force of nature. Two tracks are only available on CD and via the LP's download card, including a Texas-sized version of 's "When the Cat Is Gone, The Mice Play," (written for in 1965; it copies the vamp from the Chicago singer's 1960 hit "Messin' with the Kid"). The band digs deep into its slippery, bubbling groove and brings the record home. is unruly, wooly, joyful, and unprocessed. Its looseness is possible because enlisted musicians who know the tradition and trust one another to deliver it with unvarnished intensity, without artifice. ~ Thom Jurek