REMOVE BORN TO PLAY GUITAR DOWNLOAD

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Remove the Buddy Guy download or RCA will be informed and you will be sued.



Betsie Brown

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betsie@blindraccoon.com

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~ REPRESENTING ~

Anthony Gomes • Breezy Rodio • Buddy Guy

Chris Daniels & The Kings featuring Freddi Gowdy

Clarence “The Blues Man” Turner • Corte’ • D.A. Foster • Delta Moon

Diane Durrett • D’Mar & Gill • Eddie Cotton • Hal Leonard Corporation

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Our Artists’ Accolades 2015



Altered Five Blues Band ~ Cryin’ Mercy

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2015 BMA Nominee “Soul Blues Female Artist”

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2015 BBMA Nominee “Soul Blues”



Vaneese Thomas ~ Blues For My Father

2015 BMA Nominee “Soul Blues Album” & “Soul Blues Female Artist”

5555 - BUDDY GUY - Rhythm & Blues, Disc Two (2013)

BUDDY GUY
''RHYTHM & BLUES, DISC TWO''
JULY 26 2013
80:27

DISC ONE
1 /Best in Town
Richard Fleming / Buddy Guy / Tom Hambridge/feat: Muscle Shoals Horns/4:55
2 /Justifyin'
Buddy Guy / Tom Hambridge/3:23
3 /I Go by Feel
Tom Hambridge / Gary Nicholson/4:15
4 /Messin’ with the Kid
Mel London/feat: Kid Rock/2:33
5 /What's Up with That Woman
Tom Hambridge/feat: Muscle Shoals Horns/4:02
6 /One Day Away
Richard Fleming / Tom Hambridge / Scott Holt/feat: Keith Urban/3:44
7 /Well I Done Got Over It
Guitar Slim/2:55
8 /What You Gonna Do About Me
Tom Hambridge / Gary Nicholson / Lee Roy Parnell/feat: Beth Hart, Muscle Shoals Horns/4:39
9 /The Devil's Daughter
Buddy Guy / Tom Hambridge/5:15
10 /Whiskey Ghost
Tom Hambridge / Gary Nicholson/4:36
11 /Rhythm Inner Groove
Buddy Guy / Tom Hambridge/0:34

DISC TWO
1 /Meet Me in Chicago
Tom Hambridge / Robert Randolph/3:45
2 /Too Damn Bad
Richard Fleming / Tom Hambridge/3:06
3 /Evil Twin
Richard Fleming / Tom Hambridge/feat: Joe Perry, Steven Tyler, Brad Whitford/5:23
4 /I Could Die Happy
Richard Fleming / Tom Hambridge/4:13
5 /Never Gonna Change
David Gogo / Tom Hambridge/3:20
6 /All That Makes Me Happy Is the Blues
Tom Hambridge / Gary Nicholson/feat: Muscle Shoals Horns/4:36
7 /My Mama Loved Me
Richard Fleming / Tom Hambridge/3:33
8 /Blues Don't Care
Richard Fleming / Tom Hambridge/feat: Gary Clark, Jr./3:26
9 /I Came Up Hard
Richard Fleming / Buddy Guy / Tom Hambridge/5:28
10 /Poison Ivy
Mel London/2:50

Herschel Boone/Vocals (Background)
Chris Carmichael/String Arrangements, Strings
Gary Clark, Jr./Guitar, Vocals
Shannon Curfman/Vocals (Background)
David Grissom/Guitar, Guitar (Acoustic)
Buddy Guy/Fender Stratocaster, Guitar, Vocals
Tom Hambridge/Drums, Tambourine, Vocals (Background)
Beth Hart/Vocals
Steven Herrman/Trumpet
Jim Hoke/Horn
Jim Horn/Sax (Baritone)
Kid Rock/Vocals
Tommy Macdonald/Bass
Ann McCrary/Vocals (Background)
Fred McCrary/Vocals (Background)
Frieda McCrary/Vocals (Background)
Regina McCrary/Vocals (Background)
Kevin McKendree/Hammond B3, Piano, Wurlitzer
Rob McNelley/Guitar, Slide Guitar
Wendy Moten/Vocals (Background)
Muscle Shoals Horns
Joe Perry/Guitar
Michael Rhodes/Bass
Charles Rose/Horn Arrangements, Trombone
Harvey Thompson/Sax (Tenor)
Steven Tyler/Vocals
Keith Urban/Guitar, Vocals
Jessica Wagner-Cowan/Vocals (Background)
Reese Wynans/Hammond B3, Piano, Wurlitzer

REVIEW
by Stephen Thomas Erlewine
A great open secret of the last act of Buddy Guy's career is that nearly every album he's made in the new millennium is a concept album of sorts, ranging from the gnarled modern Delta blues of Sweet Tea and the acoustic Blues Singer to the pseudo-autobiography of 2010's Living Proof. Rhythm & Blues trumps them all in size and concept: it's a double-disc set divided into one disc of "Rhythm" (aka soul) and one disc of "Blues" (aka blues of the Chicago variety). Several stars come out to help Guy along, top-lined by three-fifths of Aerosmith on "Evil Twin" and Kid Rock on, naturally, "Messin' with the Kid." The former arrives on "Blues" and the latter on "Rhythm," which suggests how fluid the lines are between the two discs. But it's also generally true that the "Rhythm" disc is big, bold, and brassy in a way Buddy rarely is; often, it's much closer to the late, great Bobby "Blue" Bland, albeit a hyper-charged, over-scaled version of soul-blues. Guy has rarely attempted this kind of horn-driven, soulful blues and it's fun to hear him tackle such sounds as he wrestles the rhythms while spitting out gonzo, gnarly guitar runs. Better still, he finds a place to settle down within the slinky grooves of "I Go By Feel" and the Keith Urban duet "One Day Away," which are not only the two greatest surprises in tone, but also the two songs that sink their hooks in deep. That's not always the case here, at least for the originals, particularly on the "Blues" disc which either trades in pastiche ("Meet Me in Chicago," "All That Makes Me Happy Is the Blues") or function as simple showcases for Guy's guitar. If this package can sometimes feel a little too pat, put the blame on producer Tom Hambridge, who also helmed Skin Deep and Living Proof and now has a track record of pushing Guy just enough to form a narrative but not enough to break him out of the box. Buddy himself remains a bit of a live wire, his voice sounding younger than Steven Tyler's and his guitar continuing to be a muscled monster that steamrollers everything surrounding it. That continued potency is reason enough to give Rhythm & Blues a spin.

BIOGRAPHY
by Mark Deming
Buddy Guy is one of the most celebrated blues guitarists of his generation (and arguably the most celebrated), possessing a sound and style that embodied the traditions of classic Chicago blues while also embracing the fire and flash of rock & roll. Guy spent much of his career as a well-regarded journeymen, cited as a modern master by contemporary blues fans but not breaking through to a larger audience, before he finally caught the brass ring in the 1990s and released a series of albums that made him one of the biggest blues acts of the day, a seasoned veteran with a modern edge. And few guitarists of any genre have enjoyed the respect of their peers as Guy has, with such giants as Eric Clapton, Jimi Hendrix, Jeff Beck, Keith Richards, Stevie Ray Vaughan, and Mark Knopfler all citing him as a personal favorite.
George "Buddy" Guy was born in Lettsworth, Louisiana on July 30, 1936, and is said to have first learned to play on a homemade two-string instrument fashioned from wire and tin cans. Guy graduated to an acoustic guitar, and began soaking up the influences of blues players such as T-Bone Walker, B.B. King, and Lightnin' Hopkins; as his family relocated to Baton Rouge, Guy had the opportunity to see live performances by Lightnin' Slim (aka Otis Hicks) and Guitar Slim, whose raw, forceful sound and over the top showmanship left a serious impression on Guy. Guy started playing professionally when he became a sideman for John "Big Poppa" Tilley, where he learned to work the crowd and overcome early bouts of stage fright. In 1957, Guy cut a demo tape at a local radio station and sent a copy to Chess Records, the label that was home to such giants as Muddy Waters, Howlin' Wolf, and Etta James, shortly before buying a one-way train ticket and moving to Chicago, eager to make music his career.
Guy didn't enjoy immediate success in Chicago, and struggled to find gigs until his fiery guitar work and flashy stage style (which included hopping on top of bars and strutting up and down their length while soloing, thanks to a 100-foot long guitar cable) made him a regular winner in talent night contests at Windy City clubs. Guy struck up friendships with some of the city's best blues artists, including Muddy Waters, Otis Rush, Freddie King, and Magic Sam, and landed a steady gig at the 708 Club, where he became known as a talent to watch. In 1958, Magic Sam arranged for Guy to meet Harold Burrage, the owner of local blues label Cobra Records, and Guy was soon signed to Cobra's sister label Artistic Records. Willie Dixon produced Guy's debut single, "Sit and Cry (The Blues)," as well as the follow-up, "This Is the End," but in 1959, Cobra and Artistic abruptly closed up shop, and like labelmate Otis Rush, Guy found a new record deal at Chess. Guy's first single for Chess, 1960's "First Time I Met the Blues," was an artistic triumph and a modest commercial success that became one of his signature tunes, but it was also the first chapter in what would prove to be a complicated creative relationship between Guy and label co-founder Leonard Chess, who recognized his talent but didn't appreciate the louder and more expressive aspects of his guitar style. While Guy enjoyed minor successes with outstanding Chess singles such as "Stone Crazy" and "When My Left Eye Jumps," much of his work for the label was as a sideman, lending his talents to sessions for Muddy Waters, Koko Taylor, Howlin' Wolf, Little Walter, and many others. And one of Guy's definitive recordings of the '60s wasn't even issued by Chess; Guy had been performing occasionally with blues harpist Junior Wells, and Guy and his band backed up Wells on the 1965 Delmark release Hoodoo Man Blues, a masterful exercise in the Chicago blues style, with Guy credited as "Friendly Chap" on initial pressings in deference to his contract with Chess.
Chess didn't issue an album on Guy until the 1967 release of I Left My Blues in San Francisco, and when his contract with the label ran out, he promptly signed with Vanguard, who put out A Man and the Blues in 1968. As a growing number of rock fans were discovering the blues, Guy was finding his stock rising with both traditional blues enthusiasts and younger white audiences, and his recordings for Vanguard gave him more room for the tougher and more aggressive sound that was the trademark of his live shows. (It didn't hurt that Jimi Hendrix acknowledged Guy as an influence and praised his live show in interviews.) At the same time, Guy hadn't forsaken the more measured approach he used with Junior Wells; Buddy and Wells cut an album that also featured Junior Mance on piano for Blue Thumb called Buddy and the Juniors, and in 1972, Eric Clapton partnered with Ahmet Ertegun and Tom Dowd to produce the album Buddy Guy and Junior Wells Play the Blues. In 1974, Guy and Wells played the Montreux Jazz Festival, with Bill Wyman of the Rolling Stones sitting in on bass; the show was later released as a live album, Drinkin' TNT and Smokin' Dynamite, with Wyman credited as producer.
By the end of the '70s, Guy was without an American record deal, and his career took a hit as a result; while he recorded some material for specialist labels in Europe and Japan, and Alligator issued two collections in 1981, Alone and Acoustic and Stone Crazy, for the most part Guy supported himself in the '80s through extensive touring and live work, often appearing in Europe, where he seemed better respected than in the United States. Despite this, he continued to plug away at the American market, buoyed by interest from guitar buffs who had heard major stars sing his praises; in 1985, Eric Clapton told a reporter for Musician magazine, "Buddy Guy is by far and without a doubt the best guitar player alive...he really changed the course of rock & roll blues," while Vaughan declared, "Without Buddy Guy, there would be no Stevie Ray Vaughan." In 1989, Guy opened his own nightclub in Chicago, Buddy Guy's Legends, where he frequently performed and played host to other top blues acts, and in 1991, after a well-received appearance with Clapton at London's Royal Albert Hall (documented in part on the album 24 Nights), he finally scored an international record deal with the Silvertone label, distributed by BMG. Guy's first album for Silvertone, Damn Right, I've Got the Blues, featured guest appearances by Clapton, Jeff Beck, and Mark Knopfler, and featured fresh versions of several fan favorites as well as a handful of new tunes; it was the Buddy Guy album that finally clicked with record buyers, and became a genuine hit, earning Guy a gold album, as well as a Grammy Award for Best Contemporary Blues Album. Guy wasted no time cutting follow-ups, releasing Feels Like Rain in 1993 and Slippin' In in 1994, both of which racked up solid sales figures and won Guy further Grammy Awards.
In 1993, Guy reunited with Junior Wells on the stage of his Legends club; it would prove to be one of Wells' last live performances, and the show was released in 1998, several months after Wells' passing, on the album Last Time Around: Live at Legends. While most of Guy's work in the late '90s and into the new millennium was the sort of storming Chicago blues that was the basis of his reputation, he also demonstrated he was capable of exploring other avenues, channeling the hypnotic Deep Southern blues of Junior Kimbrough on 2001's Sweet Tea and covering a set of traditional blues classics on acoustic guitar for 2003's Blues Singer. In 2004, Guy won the W.C. Handy Award from the American Blues Foundation for the 23rd time, more than any other artist, while he took home his sixth Grammy Award in 2010 for the album Living Proof. Guy also received the National Medal of the Arts in 2003, and was awarded with Kennedy Center Honors in 2012. He was inducted into the Rock and Roll Hall of Fame in 2005, with both Eric Clapton and B.B. King presenting him with his award, and in 2012 he performed a special concert at the White House, where he persuaded President Barack Obama to join him at the vocal mike for a few choruses of "Sweet Home Chicago." Guy continued his late-career revival with the 2012 memoir When I Left Home: My Story and the summer 2013 release of the ambitious, guest star-laden double album Rhythm & Blues.
DoWnLoAd

5554 - BUDDY GUY - Rhythm & Blues, Disc One (2013)

BUDDY GUY
''RHYTHM & BLUES, DISC ONE''
JULY 26 2013
80:27

DISC ONE
1 /Best in Town
Richard Fleming / Buddy Guy / Tom Hambridge/feat: Muscle Shoals Horns/4:55
2 /Justifyin'
Buddy Guy / Tom Hambridge/3:23
3 /I Go by Feel
Tom Hambridge / Gary Nicholson/4:15
4 /Messin’ with the Kid
Mel London/feat: Kid Rock/2:33
5 /What's Up with That Woman
Tom Hambridge/feat: Muscle Shoals Horns/4:02
6 /One Day Away
Richard Fleming / Tom Hambridge / Scott Holt/feat: Keith Urban/3:44
7 /Well I Done Got Over It
Guitar Slim/2:55
8 /What You Gonna Do About Me
Tom Hambridge / Gary Nicholson / Lee Roy Parnell/feat: Beth Hart, Muscle Shoals Horns/4:39
9 /The Devil's Daughter
Buddy Guy / Tom Hambridge/5:15
10 /Whiskey Ghost
Tom Hambridge / Gary Nicholson/4:36
11 /Rhythm Inner Groove
Buddy Guy / Tom Hambridge/0:34

DISC TWO
1 /Meet Me in Chicago
Tom Hambridge / Robert Randolph/3:45
2 /Too Damn Bad
Richard Fleming / Tom Hambridge/3:06
3 /Evil Twin
Richard Fleming / Tom Hambridge/feat: Joe Perry, Steven Tyler, Brad Whitford/5:23
4 /I Could Die Happy
Richard Fleming / Tom Hambridge/4:13
5 /Never Gonna Change
David Gogo / Tom Hambridge/3:20
6 /All That Makes Me Happy Is the Blues
Tom Hambridge / Gary Nicholson/feat: Muscle Shoals Horns/4:36
7 /My Mama Loved Me
Richard Fleming / Tom Hambridge/3:33
8 /Blues Don't Care
Richard Fleming / Tom Hambridge/feat: Gary Clark, Jr./3:26
9 /I Came Up Hard
Richard Fleming / Buddy Guy / Tom Hambridge/5:28
10 /Poison Ivy
Mel London/2:50

Herschel Boone/Vocals (Background)
Chris Carmichael/String Arrangements, Strings
Gary Clark, Jr./Guitar, Vocals
Shannon Curfman/Vocals (Background)
David Grissom/Guitar, Guitar (Acoustic)
Buddy Guy/Fender Stratocaster, Guitar, Vocals
Tom Hambridge/Drums, Tambourine, Vocals (Background)
Beth Hart/Vocals
Steven Herrman/Trumpet
Jim Hoke/Horn
Jim Horn/Sax (Baritone)
Kid Rock/Vocals
Tommy Macdonald/Bass
Ann McCrary/Vocals (Background)
Fred McCrary/Vocals (Background)
Frieda McCrary/Vocals (Background)
Regina McCrary/Vocals (Background)
Kevin McKendree/Hammond B3, Piano, Wurlitzer
Rob McNelley/Guitar, Slide Guitar
Wendy Moten/Vocals (Background)
Muscle Shoals Horns
Joe Perry/Guitar
Michael Rhodes/Bass
Charles Rose/Horn Arrangements, Trombone
Harvey Thompson/Sax (Tenor)
Steven Tyler/Vocals
Keith Urban/Guitar, Vocals
Jessica Wagner-Cowan/Vocals (Background)
Reese Wynans/Hammond B3, Piano, Wurlitzer

REVIEW
by Stephen Thomas Erlewine
A great open secret of the last act of Buddy Guy's career is that nearly every album he's made in the new millennium is a concept album of sorts, ranging from the gnarled modern Delta blues of Sweet Tea and the acoustic Blues Singer to the pseudo-autobiography of 2010's Living Proof. Rhythm & Blues trumps them all in size and concept: it's a double-disc set divided into one disc of "Rhythm" (aka soul) and one disc of "Blues" (aka blues of the Chicago variety). Several stars come out to help Guy along, top-lined by three-fifths of Aerosmith on "Evil Twin" and Kid Rock on, naturally, "Messin' with the Kid." The former arrives on "Blues" and the latter on "Rhythm," which suggests how fluid the lines are between the two discs. But it's also generally true that the "Rhythm" disc is big, bold, and brassy in a way Buddy rarely is; often, it's much closer to the late, great Bobby "Blue" Bland, albeit a hyper-charged, over-scaled version of soul-blues. Guy has rarely attempted this kind of horn-driven, soulful blues and it's fun to hear him tackle such sounds as he wrestles the rhythms while spitting out gonzo, gnarly guitar runs. Better still, he finds a place to settle down within the slinky grooves of "I Go By Feel" and the Keith Urban duet "One Day Away," which are not only the two greatest surprises in tone, but also the two songs that sink their hooks in deep. That's not always the case here, at least for the originals, particularly on the "Blues" disc which either trades in pastiche ("Meet Me in Chicago," "All That Makes Me Happy Is the Blues") or function as simple showcases for Guy's guitar. If this package can sometimes feel a little too pat, put the blame on producer Tom Hambridge, who also helmed Skin Deep and Living Proof and now has a track record of pushing Guy just enough to form a narrative but not enough to break him out of the box. Buddy himself remains a bit of a live wire, his voice sounding younger than Steven Tyler's and his guitar continuing to be a muscled monster that steamrollers everything surrounding it. That continued potency is reason enough to give Rhythm & Blues a spin.

BIOGRAPHY
by Mark Deming
Buddy Guy is one of the most celebrated blues guitarists of his generation (and arguably the most celebrated), possessing a sound and style that embodied the traditions of classic Chicago blues while also embracing the fire and flash of rock & roll. Guy spent much of his career as a well-regarded journeymen, cited as a modern master by contemporary blues fans but not breaking through to a larger audience, before he finally caught the brass ring in the 1990s and released a series of albums that made him one of the biggest blues acts of the day, a seasoned veteran with a modern edge. And few guitarists of any genre have enjoyed the respect of their peers as Guy has, with such giants as Eric Clapton, Jimi Hendrix, Jeff Beck, Keith Richards, Stevie Ray Vaughan, and Mark Knopfler all citing him as a personal favorite.
George "Buddy" Guy was born in Lettsworth, Louisiana on July 30, 1936, and is said to have first learned to play on a homemade two-string instrument fashioned from wire and tin cans. Guy graduated to an acoustic guitar, and began soaking up the influences of blues players such as T-Bone Walker, B.B. King, and Lightnin' Hopkins; as his family relocated to Baton Rouge, Guy had the opportunity to see live performances by Lightnin' Slim (aka Otis Hicks) and Guitar Slim, whose raw, forceful sound and over the top showmanship left a serious impression on Guy. Guy started playing professionally when he became a sideman for John "Big Poppa" Tilley, where he learned to work the crowd and overcome early bouts of stage fright. In 1957, Guy cut a demo tape at a local radio station and sent a copy to Chess Records, the label that was home to such giants as Muddy Waters, Howlin' Wolf, and Etta James, shortly before buying a one-way train ticket and moving to Chicago, eager to make music his career.
Guy didn't enjoy immediate success in Chicago, and struggled to find gigs until his fiery guitar work and flashy stage style (which included hopping on top of bars and strutting up and down their length while soloing, thanks to a 100-foot long guitar cable) made him a regular winner in talent night contests at Windy City clubs. Guy struck up friendships with some of the city's best blues artists, including Muddy Waters, Otis Rush, Freddie King, and Magic Sam, and landed a steady gig at the 708 Club, where he became known as a talent to watch. In 1958, Magic Sam arranged for Guy to meet Harold Burrage, the owner of local blues label Cobra Records, and Guy was soon signed to Cobra's sister label Artistic Records. Willie Dixon produced Guy's debut single, "Sit and Cry (The Blues)," as well as the follow-up, "This Is the End," but in 1959, Cobra and Artistic abruptly closed up shop, and like labelmate Otis Rush, Guy found a new record deal at Chess. Guy's first single for Chess, 1960's "First Time I Met the Blues," was an artistic triumph and a modest commercial success that became one of his signature tunes, but it was also the first chapter in what would prove to be a complicated creative relationship between Guy and label co-founder Leonard Chess, who recognized his talent but didn't appreciate the louder and more expressive aspects of his guitar style. While Guy enjoyed minor successes with outstanding Chess singles such as "Stone Crazy" and "When My Left Eye Jumps," much of his work for the label was as a sideman, lending his talents to sessions for Muddy Waters, Koko Taylor, Howlin' Wolf, Little Walter, and many others. And one of Guy's definitive recordings of the '60s wasn't even issued by Chess; Guy had been performing occasionally with blues harpist Junior Wells, and Guy and his band backed up Wells on the 1965 Delmark release Hoodoo Man Blues, a masterful exercise in the Chicago blues style, with Guy credited as "Friendly Chap" on initial pressings in deference to his contract with Chess.
Chess didn't issue an album on Guy until the 1967 release of I Left My Blues in San Francisco, and when his contract with the label ran out, he promptly signed with Vanguard, who put out A Man and the Blues in 1968. As a growing number of rock fans were discovering the blues, Guy was finding his stock rising with both traditional blues enthusiasts and younger white audiences, and his recordings for Vanguard gave him more room for the tougher and more aggressive sound that was the trademark of his live shows. (It didn't hurt that Jimi Hendrix acknowledged Guy as an influence and praised his live show in interviews.) At the same time, Guy hadn't forsaken the more measured approach he used with Junior Wells; Buddy and Wells cut an album that also featured Junior Mance on piano for Blue Thumb called Buddy and the Juniors, and in 1972, Eric Clapton partnered with Ahmet Ertegun and Tom Dowd to produce the album Buddy Guy and Junior Wells Play the Blues. In 1974, Guy and Wells played the Montreux Jazz Festival, with Bill Wyman of the Rolling Stones sitting in on bass; the show was later released as a live album, Drinkin' TNT and Smokin' Dynamite, with Wyman credited as producer.
By the end of the '70s, Guy was without an American record deal, and his career took a hit as a result; while he recorded some material for specialist labels in Europe and Japan, and Alligator issued two collections in 1981, Alone and Acoustic and Stone Crazy, for the most part Guy supported himself in the '80s through extensive touring and live work, often appearing in Europe, where he seemed better respected than in the United States. Despite this, he continued to plug away at the American market, buoyed by interest from guitar buffs who had heard major stars sing his praises; in 1985, Eric Clapton told a reporter for Musician magazine, "Buddy Guy is by far and without a doubt the best guitar player alive...he really changed the course of rock & roll blues," while Vaughan declared, "Without Buddy Guy, there would be no Stevie Ray Vaughan." In 1989, Guy opened his own nightclub in Chicago, Buddy Guy's Legends, where he frequently performed and played host to other top blues acts, and in 1991, after a well-received appearance with Clapton at London's Royal Albert Hall (documented in part on the album 24 Nights), he finally scored an international record deal with the Silvertone label, distributed by BMG. Guy's first album for Silvertone, Damn Right, I've Got the Blues, featured guest appearances by Clapton, Jeff Beck, and Mark Knopfler, and featured fresh versions of several fan favorites as well as a handful of new tunes; it was the Buddy Guy album that finally clicked with record buyers, and became a genuine hit, earning Guy a gold album, as well as a Grammy Award for Best Contemporary Blues Album. Guy wasted no time cutting follow-ups, releasing Feels Like Rain in 1993 and Slippin' In in 1994, both of which racked up solid sales figures and won Guy further Grammy Awards.
In 1993, Guy reunited with Junior Wells on the stage of his Legends club; it would prove to be one of Wells' last live performances, and the show was released in 1998, several months after Wells' passing, on the album Last Time Around: Live at Legends. While most of Guy's work in the late '90s and into the new millennium was the sort of storming Chicago blues that was the basis of his reputation, he also demonstrated he was capable of exploring other avenues, channeling the hypnotic Deep Southern blues of Junior Kimbrough on 2001's Sweet Tea and covering a set of traditional blues classics on acoustic guitar for 2003's Blues Singer. In 2004, Guy won the W.C. Handy Award from the American Blues Foundation for the 23rd time, more than any other artist, while he took home his sixth Grammy Award in 2010 for the album Living Proof. Guy also received the National Medal of the Arts in 2003, and was awarded with Kennedy Center Honors in 2012. He was inducted into the Rock and Roll Hall of Fame in 2005, with both Eric Clapton and B.B. King presenting him with his award, and in 2012 he performed a special concert at the White House, where he persuaded President Barack Obama to join him at the vocal mike for a few choruses of "Sweet Home Chicago." Guy continued his late-career revival with the 2012 memoir When I Left Home: My Story and the summer 2013 release of the ambitious, guest star-laden double album Rhythm & Blues.
DoWnLoAd

4887 - BUDDY GUY - The Complete Chess Studio Recordings, Disc Two (1992)

BUDDY GUY
''THE COMPLETE CHESS STUDIO SESSIONS, DISC TWO''
1992
136:59

DISC ONE
1/First Time I Met the Blues [1960 Single Version]
Eurreal Montgomery/2:17
2/Slop Around
Willie Dixon / Buddy Guy / Eurreal Montgomery/2:05
3/I Got My Eyes On You
Willie Dixon / Buddy Guy/2:18
4/Broken Hearted Blues
Willie Dixon/3:17
5/Let Me Love You Baby [Single Version]
Willie Dixon/2:53
6/I Got a Strange Feeling
Willie Dixon / Al Perkins/3:05
7/Gully Hully
Eurreal Montgomery/3:04
8/Ten Years Ago
Buddy Guy/2:36
9/Watch Yourself
Buddy Guy/4:02
10/Stone Crazy
Buddy Guy/7:11
11/Skippin'
Buddy Guy/3:22
12/I Found a True Love
Buddy Guy/6:15
13/Hard But It's Fair
Willie Dixon/2:21
14/Baby (Baby, Baby, Baby)
Buddy Guy/2:08
15/When My Left Eye Jumps
Willie Dixon / Al Perkins/3:53
16/That's It
Chuck Calhoun / Buddy Guy/2:38
17/The The Treasure Untold
Buddy Guy/2:00
18/American Bandstand
Willie Dixon / Buddy Guy/2:01
19/No Lie
Billy "The Kid" Emerson / Buddy Guy/2:28
20/$100 Bill
Janie Bradford / Buddy Guy/2:10
21/My Love is Real
Buddy Guy/2:35
22/Buddy's Boogie
Buddy Guy/2:37

DISC TWO
1/Worried Mind (a/K/a Stick Around)
Buddy Guy/3:58
2/Untitled Instrumental
Buddy Guy/1:45
3/Moanin'
Jon Hendricks / Bobby Timmons/3:37
4/I Dig Your Wig
Willie Dixon / Buddy Guy/2:27
5/My Time After Awhile [Single Version]
Ron Badger / Ronald Dean Badger / Sheldon Feinberg / Robert Geddins/3:00
6/Night Flight
Buddy Guy/3:19
7/Crazy Love (Crazy Music) [Single Version]
Willie Dixon/2:42
8/Every Girl I See
Willie Dixon / Michael Murphy/3:39
9/Too Many Ways
Willie Dixon/2:13
10/Leave My Girl Alone
Buddy Guy/3:25
11/Got To Use Your Head
Buddy Guy/2:11
12/Keep It To Myself
Sonny Boy Williamson I/2:44
13/My Mother
Buddy Guy/2:33
14/She Suits Me To a Tee
Buddy Guy/2:15
15/Mother-In-Law Blues
Gene Barge/2:43
16/Buddy's Groove [Single Version]
Gene Barge/3:44
17/Going to School
Buddy Guy/3:06
18/I Cry and Sing the Blues [Single Version]
Willie Dixon/3:14
19/Goin' Home
Willie Dixon/2:40
20/I Suffer With the Blues
Buddy Guy/2:46
21/Lip Lap Louie
Buddy Guy/2:21
22/My Time After Awhile [Alternate Vocal & Mix]
Ron Badger / Ronald Dean Badger / Sheldon Feinberg / Robert Geddins/3:16
23/Too Many Ways [Alternate With Background Vocal]
Willie Dixon/2:13
24/Keep It To Myself [Alternate With Organ Overdub]
Gene Barge / Sonny Boy Williamson I/2:27
25/I Didn't Know My Mother Had a Son Like Me [She Suits Me To a Tee Alternate]
Buddy Guy/2:26

Gene Barge /Sax (Tenor)
Lefty Bates /Guitar
Fred Below /Drums
Milton Bland /Sax (Tenor)
Reggie Boyd /Bass
Leonard Caston /Organ, Piano
Al Duncan /Drums
Jarrett Gibson /Baritone (Vocal), Sax (Tenor)
Lacy Gibson /Guitar
Buddy Guy /Guitar, Vocals
Donald Hankins /Sax (Baritone), Sax (Tenor)
Clifton James /Drums
Lafayette Leake /Organ, Piano
Jack Meyers /Bass
Little Brother Montgomery /Piano
Matt "Guitar" Murphy /Guitar
Jack Myers /Bass
Bob Neely /Sax (Tenor)
Robert Nighthawk /Guitar
A.C. Reed /Sax (Tenor)
Otis Spann /Piano
Charles Stepney /Drums
Leroy Stewart /Bass
Phil Thomas /Drums
Sonny Turner /Trumpet
Phil Upchurch /Bass
Murray Watson /Trumpet
Junior Wells /Guest Artist, Harmonica
Sonny Boy Williamson II /Guest Artist, Harmonica

REVIEW
by Bill Dahl
Here's everything that fleet-fingered Buddy Guy waxed for Chess from 1960 to 1966, including numerous unissued-at-the-time masters, offering the most in-depth peek at his formative years imaginable. Stone Chicago blues classics ("Ten Years Ago," "My Time After Awhile," "Let Me Love You Baby," "Stone Crazy"), rockin' oddities ("American Bandstand," "$100 Bill," "Slop Around"), even a cut that features guitarist Lacy Gibson's vocal rather than Guy's ("My Love Is Real") -- some 47 sizzling songs in all.

BIOGRAPHY
by Mark Deming
Buddy Guy is one of the most celebrated blues guitarists of his generation (and arguably the most celebrated), possessing a sound and style that embodied the traditions of classic Chicago Blues while also embracing the fire and flash of rock & roll. Guy spent much of his career as a well-regarded journeymen, cited as a modern master by contemporary blues fans but not breaking through to a larger audience, before he finally caught the brass ring in the 1990s and released a series of albums that made him one of the biggest blues acts of the day, a seasoned veteran with a modern edge. And few guitarists of any genre have enjoyed the respect of their peers as Guy has, with such giants as Eric Clapton, Jimi Hendrix, Jeff Beck, Keith Richards, Stevie Ray Vaughan, and Mark Knopfler all citing him as a personal favorite.
George "Buddy" Guy was born in Lettsworth, Louisiana on July 30, 1936, and is said to have first learned to play on a homemade two-string instrument fashioned from wire and tin cans. Guy graduated to an acoustic guitar, and began soaking up the influences of blues players such as T-Bone Walker, B.B. King, and Lightnin' Hopkins; as his family relocated to Baton Rouge, Guy had the opportunity to see live performances by Lightnin' Slim (aka Otis Hicks) and Guitar Slim, whose raw, forceful sound and over-the-top showmanship left a serious impression on Guy. Guy started playing professionally when he became a sideman for John "Big Poppa" Tilley, where he learned to work the crowd and overcome early bouts of stage fright. In 1957, Guy cut a demo tape at a local radio station and sent a copy to Chess Records, the label that was home to such giants as Muddy Waters, Howlin' Wolf, and Etta James, shortly before buying a one-way train ticket and moving to Chicago, eager to make music his career.
Guy didn't enjoy immediate success in Chicago, and struggled to find gigs until his fiery guitar work and flashy stage style (which included hopping on top of bars and strutting up and down their length while soloing, thanks to a 100-foot long guitar cable) made him a regular winner in talent night contests at Windy City clubs. Guy struck up friendships with some of the city's best blues artists, including Muddy Waters, Otis Rush, Freddie King, and Magic Sam, and landed a steady gig at the 708 Club, where he became known as a talent to watch. In 1958, Magic Sam arranged for Guy to meet Harold Burrage, the owner of local blues label Cobra Records, and Guy was soon signed to Cobra's sister label Artistic Records. Willie Dixon produced Guy's debut single, "Sit and Cry (The Blues)," as well as the follow-up, "This Is the End," but in 1959, Cobra and Artistic abruptly closed up shop, and like labelmate Otis Rush, Guy found a new record deal at Chess. Guy's first single for Chess, 1960's "First Time I Met the Blues," was an artistic triumph and a modest commercial success that became one of his signature tunes, but it was also the first chapter in what would prove to be a complicated creative relationship between Guy and label co-founder Leonard Chess, who recognized his talent but didn't appreciate the louder and more expressive aspects of his guitar style. While Guy enjoyed minor successes with outstanding Chess singles such as "Stone Crazy" and "When My Left Eye Jumps," much of his work for the label was as a sideman, lending his talents to sessions for Muddy Waters, Koko Taylor, Howlin' Wolf, Little Walter, and many others. And one of Guy's definitive recordings of the '60s wasn't even issued by Chess; Guy had been performing occasionally with blues harpist Junior Wells, and Guy and his band backed up Wells on the 1965 Delmark release Hoodoo Man Blues, a masterful exercise in the Chicago Blues style, with Guy credited as "Friendly Chap" on initial pressings in deference to his contract with Chess.
Chess didn't issue an album on Guy until the 1967 release of I Left My Blues in San Francisco, and when his contract with the label ran out, he promptly signed with Vanguard, who put out A Man and the Blues in 1968. As a growing number of rock fans were discovering the blues, Guy was finding his stock rising with both traditional blues enthusiasts and younger white audiences, and his recordings for Vanguard gave him more room for the tougher and more aggressive sound that was the trademark of his live shows. (It didn't hurt that Jimi Hendrix acknowledged Guy as an influence and praised his live show in interviews.) At the same time, Guy hadn't forsaken the more measured approach he used with Junior Wells; Buddy and Wells cut an album that also featured Junior Mance on piano for Blue Thumb called Buddy and the Juniors, and in 1972, Eric Clapton partnered with Ahmet Ertegun and Tom Dowd to produce the album Buddy Guy and Junior Wells Play the Blues. In 1974, Guy and Wells played the Montreux Jazz Festival, with Bill Wyman of the Rolling Stones sitting in on bass; the show was later released as a live album, Drinkin' TNT and Smokin' Dynamite, with Wyman credited as producer.
By the end of the '70s, Guy was without an American record deal, and his career took a hit as a result; while he recorded some material for specialist labels in Europe and Japan, and Alligator issued two collections in 1981, Alone and Acoustic and Stone Crazy, for the most part Guy supported himself in the '80s through extensive touring and live work, often appearing in Europe where he seemed better respected than in the United States. Despite this, he continued to plug away at the American market, buoyed by interest from guitar buffs who had heard major stars sing his praises; in 1985, Eric Clapton told a reporter for Musician Magazine, "Buddy Guy is by far and without a doubt the best guitar player alive … he really changed the course of rock and roll blues," while Vaughan declared, "Without Buddy Guy, there would be no Stevie Ray Vaughan." In 1989, Guy opened his own nightclub in Chicago, Buddy Guy's Legends, where he frequently performed and played host to other top blues acts, and in 1991, after a well-received appearance with Clapton at London's Royal Albert Hall (documented in part on the album 24 Nights), he finally scored an international record deal with the Silvertone label, distributed by BMG. Guy's first album for Silvertone, Damn Right, I've Got the Blues, featured guest appearances by Clapton, Jeff Beck, and Mark Knopfler, and featured fresh versions of several fan favorites as well as a handful of new tunes; it was the Buddy Guy album that finally clicked with record buyers, and became a genuine hit, earning Guy a gold album, as well as a Grammy Award for Best Contemporary Blues Album. Guy wasted no time cutting follow-ups, releasing Feels Like Rain in 1993 and Slippin' In in 1994, both of which racked up solid sales figures and won Guy further Grammy Awards.
In 1993, Guy reunited with Junior Wells on the stage of his Legends club; it would prove to be one of Wells' last live performances, and the show was released in 1998, several months after Wells' passing, on the album Last Time Around: Live at Legends. While most of Guy's work in the late '90s and into the new millennium was the sort of storming Chicago blues that was the basis of his reputation, he also demonstrated he was capable of exploring other avenues, channeling the hypnotic Deep Southern blues of Junior Kimbrough on 2001's Sweet Tea and covering a set of traditional blues classics on acoustic guitar for 2003's Blues Singer. In 2004, Guy won the W.C. Handy Award from the American Blues Foundation for the 23rd time, more than any other artist, while he took home his sixth Grammy award in 2010 for the album Living Proof. Guy has also received the National Medal of the Arts in 2003, and was awarded with the Kennedy Center Honors in 2012. He was inducted into the Rock & Roll Hall of Fame in 2005, with both Eric Clapton and B.B. King presenting him with his award, and in 2012 he performed a special concert at the White House, where he persuaded President Barack Obama to join him at the vocal mike for a few choruses of "Sweet Home Chicago."
DoWnLoAd

4886 - BUDDY GUY - The Complete Chess Studio Recordings, Disc One (1992)

BUDDY GUY
''THE COMPLETE CHESS STUDIO SESSIONS, DISC ONE''
1992
136:59

DISC ONE
1/First Time I Met the Blues [1960 Single Version]
Eurreal Montgomery/2:17
2/Slop Around
Willie Dixon / Buddy Guy / Eurreal Montgomery/2:05
3/I Got My Eyes On You
Willie Dixon / Buddy Guy/2:18
4/Broken Hearted Blues
Willie Dixon/3:17
5/Let Me Love You Baby [Single Version]
Willie Dixon/2:53
6/I Got a Strange Feeling
Willie Dixon / Al Perkins/3:05
7/Gully Hully
Eurreal Montgomery/3:04
8/Ten Years Ago
Buddy Guy/2:36
9/Watch Yourself
Buddy Guy/4:02
10/Stone Crazy
Buddy Guy/7:11
11/Skippin'
Buddy Guy/3:22
12/I Found a True Love
Buddy Guy/6:15
13/Hard But It's Fair
Willie Dixon/2:21
14/Baby (Baby, Baby, Baby)
Buddy Guy/2:08
15/When My Left Eye Jumps
Willie Dixon / Al Perkins/3:53
16/That's It
Chuck Calhoun / Buddy Guy/2:38
17/The The Treasure Untold
Buddy Guy/2:00
18/American Bandstand
Willie Dixon / Buddy Guy/2:01
19/No Lie
Billy "The Kid" Emerson / Buddy Guy/2:28
20/$100 Bill
Janie Bradford / Buddy Guy/2:10
21/My Love is Real
Buddy Guy/2:35
22/Buddy's Boogie
Buddy Guy/2:37

DISC TWO
1/Worried Mind (a/K/a Stick Around)
Buddy Guy/3:58
2/Untitled Instrumental
Buddy Guy/1:45
3/Moanin'
Jon Hendricks / Bobby Timmons/3:37
4/I Dig Your Wig
Willie Dixon / Buddy Guy/2:27
5/My Time After Awhile [Single Version]
Ron Badger / Ronald Dean Badger / Sheldon Feinberg / Robert Geddins/3:00
6/Night Flight
Buddy Guy/3:19
7/Crazy Love (Crazy Music) [Single Version]
Willie Dixon/2:42
8/Every Girl I See
Willie Dixon / Michael Murphy/3:39
9/Too Many Ways
Willie Dixon/2:13
10/Leave My Girl Alone
Buddy Guy/3:25
11/Got To Use Your Head
Buddy Guy/2:11
12/Keep It To Myself
Sonny Boy Williamson I/2:44
13/My Mother
Buddy Guy/2:33
14/She Suits Me To a Tee
Buddy Guy/2:15
15/Mother-In-Law Blues
Gene Barge/2:43
16/Buddy's Groove [Single Version]
Gene Barge/3:44
17/Going to School
Buddy Guy/3:06
18/I Cry and Sing the Blues [Single Version]
Willie Dixon/3:14
19/Goin' Home
Willie Dixon/2:40
20/I Suffer With the Blues
Buddy Guy/2:46
21/Lip Lap Louie
Buddy Guy/2:21
22/My Time After Awhile [Alternate Vocal & Mix]
Ron Badger / Ronald Dean Badger / Sheldon Feinberg / Robert Geddins/3:16
23/Too Many Ways [Alternate With Background Vocal]
Willie Dixon/2:13
24/Keep It To Myself [Alternate With Organ Overdub]
Gene Barge / Sonny Boy Williamson I/2:27
25/I Didn't Know My Mother Had a Son Like Me [She Suits Me To a Tee Alternate]
Buddy Guy/2:26

Gene Barge /Sax (Tenor)
Lefty Bates /Guitar
Fred Below /Drums
Milton Bland /Sax (Tenor)
Reggie Boyd /Bass
Leonard Caston /Organ, Piano
Al Duncan /Drums
Jarrett Gibson /Baritone (Vocal), Sax (Tenor)
Lacy Gibson /Guitar
Buddy Guy /Guitar, Vocals
Donald Hankins /Sax (Baritone), Sax (Tenor)
Clifton James /Drums
Lafayette Leake /Organ, Piano
Jack Meyers /Bass
Little Brother Montgomery /Piano
Matt "Guitar" Murphy /Guitar
Jack Myers /Bass
Bob Neely /Sax (Tenor)
Robert Nighthawk /Guitar
A.C. Reed /Sax (Tenor)
Otis Spann /Piano
Charles Stepney /Drums
Leroy Stewart /Bass
Phil Thomas /Drums
Sonny Turner /Trumpet
Phil Upchurch /Bass
Murray Watson /Trumpet
Junior Wells /Guest Artist, Harmonica
Sonny Boy Williamson II /Guest Artist, Harmonica

REVIEW
by Bill Dahl
Here's everything that fleet-fingered Buddy Guy waxed for Chess from 1960 to 1966, including numerous unissued-at-the-time masters, offering the most in-depth peek at his formative years imaginable. Stone Chicago blues classics ("Ten Years Ago," "My Time After Awhile," "Let Me Love You Baby," "Stone Crazy"), rockin' oddities ("American Bandstand," "$100 Bill," "Slop Around"), even a cut that features guitarist Lacy Gibson's vocal rather than Guy's ("My Love Is Real") -- some 47 sizzling songs in all.

BIOGRAPHY
by Mark Deming
Buddy Guy is one of the most celebrated blues guitarists of his generation (and arguably the most celebrated), possessing a sound and style that embodied the traditions of classic Chicago Blues while also embracing the fire and flash of rock & roll. Guy spent much of his career as a well-regarded journeymen, cited as a modern master by contemporary blues fans but not breaking through to a larger audience, before he finally caught the brass ring in the 1990s and released a series of albums that made him one of the biggest blues acts of the day, a seasoned veteran with a modern edge. And few guitarists of any genre have enjoyed the respect of their peers as Guy has, with such giants as Eric Clapton, Jimi Hendrix, Jeff Beck, Keith Richards, Stevie Ray Vaughan, and Mark Knopfler all citing him as a personal favorite.
George "Buddy" Guy was born in Lettsworth, Louisiana on July 30, 1936, and is said to have first learned to play on a homemade two-string instrument fashioned from wire and tin cans. Guy graduated to an acoustic guitar, and began soaking up the influences of blues players such as T-Bone Walker, B.B. King, and Lightnin' Hopkins; as his family relocated to Baton Rouge, Guy had the opportunity to see live performances by Lightnin' Slim (aka Otis Hicks) and Guitar Slim, whose raw, forceful sound and over-the-top showmanship left a serious impression on Guy. Guy started playing professionally when he became a sideman for John "Big Poppa" Tilley, where he learned to work the crowd and overcome early bouts of stage fright. In 1957, Guy cut a demo tape at a local radio station and sent a copy to Chess Records, the label that was home to such giants as Muddy Waters, Howlin' Wolf, and Etta James, shortly before buying a one-way train ticket and moving to Chicago, eager to make music his career.
Guy didn't enjoy immediate success in Chicago, and struggled to find gigs until his fiery guitar work and flashy stage style (which included hopping on top of bars and strutting up and down their length while soloing, thanks to a 100-foot long guitar cable) made him a regular winner in talent night contests at Windy City clubs. Guy struck up friendships with some of the city's best blues artists, including Muddy Waters, Otis Rush, Freddie King, and Magic Sam, and landed a steady gig at the 708 Club, where he became known as a talent to watch. In 1958, Magic Sam arranged for Guy to meet Harold Burrage, the owner of local blues label Cobra Records, and Guy was soon signed to Cobra's sister label Artistic Records. Willie Dixon produced Guy's debut single, "Sit and Cry (The Blues)," as well as the follow-up, "This Is the End," but in 1959, Cobra and Artistic abruptly closed up shop, and like labelmate Otis Rush, Guy found a new record deal at Chess. Guy's first single for Chess, 1960's "First Time I Met the Blues," was an artistic triumph and a modest commercial success that became one of his signature tunes, but it was also the first chapter in what would prove to be a complicated creative relationship between Guy and label co-founder Leonard Chess, who recognized his talent but didn't appreciate the louder and more expressive aspects of his guitar style. While Guy enjoyed minor successes with outstanding Chess singles such as "Stone Crazy" and "When My Left Eye Jumps," much of his work for the label was as a sideman, lending his talents to sessions for Muddy Waters, Koko Taylor, Howlin' Wolf, Little Walter, and many others. And one of Guy's definitive recordings of the '60s wasn't even issued by Chess; Guy had been performing occasionally with blues harpist Junior Wells, and Guy and his band backed up Wells on the 1965 Delmark release Hoodoo Man Blues, a masterful exercise in the Chicago Blues style, with Guy credited as "Friendly Chap" on initial pressings in deference to his contract with Chess.
Chess didn't issue an album on Guy until the 1967 release of I Left My Blues in San Francisco, and when his contract with the label ran out, he promptly signed with Vanguard, who put out A Man and the Blues in 1968. As a growing number of rock fans were discovering the blues, Guy was finding his stock rising with both traditional blues enthusiasts and younger white audiences, and his recordings for Vanguard gave him more room for the tougher and more aggressive sound that was the trademark of his live shows. (It didn't hurt that Jimi Hendrix acknowledged Guy as an influence and praised his live show in interviews.) At the same time, Guy hadn't forsaken the more measured approach he used with Junior Wells; Buddy and Wells cut an album that also featured Junior Mance on piano for Blue Thumb called Buddy and the Juniors, and in 1972, Eric Clapton partnered with Ahmet Ertegun and Tom Dowd to produce the album Buddy Guy and Junior Wells Play the Blues. In 1974, Guy and Wells played the Montreux Jazz Festival, with Bill Wyman of the Rolling Stones sitting in on bass; the show was later released as a live album, Drinkin' TNT and Smokin' Dynamite, with Wyman credited as producer.
By the end of the '70s, Guy was without an American record deal, and his career took a hit as a result; while he recorded some material for specialist labels in Europe and Japan, and Alligator issued two collections in 1981, Alone and Acoustic and Stone Crazy, for the most part Guy supported himself in the '80s through extensive touring and live work, often appearing in Europe where he seemed better respected than in the United States. Despite this, he continued to plug away at the American market, buoyed by interest from guitar buffs who had heard major stars sing his praises; in 1985, Eric Clapton told a reporter for Musician Magazine, "Buddy Guy is by far and without a doubt the best guitar player alive … he really changed the course of rock and roll blues," while Vaughan declared, "Without Buddy Guy, there would be no Stevie Ray Vaughan." In 1989, Guy opened his own nightclub in Chicago, Buddy Guy's Legends, where he frequently performed and played host to other top blues acts, and in 1991, after a well-received appearance with Clapton at London's Royal Albert Hall (documented in part on the album 24 Nights), he finally scored an international record deal with the Silvertone label, distributed by BMG. Guy's first album for Silvertone, Damn Right, I've Got the Blues, featured guest appearances by Clapton, Jeff Beck, and Mark Knopfler, and featured fresh versions of several fan favorites as well as a handful of new tunes; it was the Buddy Guy album that finally clicked with record buyers, and became a genuine hit, earning Guy a gold album, as well as a Grammy Award for Best Contemporary Blues Album. Guy wasted no time cutting follow-ups, releasing Feels Like Rain in 1993 and Slippin' In in 1994, both of which racked up solid sales figures and won Guy further Grammy Awards.
In 1993, Guy reunited with Junior Wells on the stage of his Legends club; it would prove to be one of Wells' last live performances, and the show was released in 1998, several months after Wells' passing, on the album Last Time Around: Live at Legends. While most of Guy's work in the late '90s and into the new millennium was the sort of storming Chicago blues that was the basis of his reputation, he also demonstrated he was capable of exploring other avenues, channeling the hypnotic Deep Southern blues of Junior Kimbrough on 2001's Sweet Tea and covering a set of traditional blues classics on acoustic guitar for 2003's Blues Singer. In 2004, Guy won the W.C. Handy Award from the American Blues Foundation for the 23rd time, more than any other artist, while he took home his sixth Grammy award in 2010 for the album Living Proof. Guy has also received the National Medal of the Arts in 2003, and was awarded with the Kennedy Center Honors in 2012. He was inducted into the Rock & Roll Hall of Fame in 2005, with both Eric Clapton and B.B. King presenting him with his award, and in 2012 he performed a special concert at the White House, where he persuaded President Barack Obama to join him at the vocal mike for a few choruses of "Sweet Home Chicago."
DoWnLoAd

4691 - BUDDY GUY - Sweet Tea (2001)

BUDDY GUY
''SWEET TEA''
MAY 15 2001
54:20

1/Done Got Old
Junior Kimbrough/3:23
2/Baby Please Don't Leave Me
Junior Kimbrough/7:24
3/Look What All You Got
James Ford/4:45
4/Stay all Night
Junior Kimbrough/4:10
5/Tramp
Lowell Fulson / Jimmy McCracklin / Susan L. Yasinski/6:47
6/She Got the Devil in Her
CeDell Davis/5:10
7/I Gotta Try You Girl
Junior Kimbrough/12:09
8/Who's Been Foolin' You
Robert Cage/4:55
9/It's a Jungle Out There
Buddy Guy/5:37

Sam Carr /Drums
Davey Faragher /Bass
Buddy Guy /Guitar, Vocals
Craig Krampf /Percussion
Jimbo Mathus /Guitar
Pete Thomas /Drums
Bobby Whitlock /Guest Artist, Piano

REVIEW
by Stephen Thomas Erlewine
Apparently somebody took the criticisms of Buddy Guy's late-'90s Silvertone recordings to heart. They were alternately criticized for being too similar to Damn Right I Got the Blues or, as 1998's Heavy Love, too blatant in its bid for a crossover rock audience. So, after a bit of a break, Guy returned in 2001 with Sweet Tea, an utter anomaly in his catalog. Recorded at the studio of the same name in deep Mississippi, this is a bold attempt to make a raw, pure blues album -- little reliance on familiar covers or bands, no crossover material, lots of extended jamming and spare production. That's not to say that it's without its gimmicks. In a sense, the very idea behind this record is a little gimmicky -- let's get Buddy back to the basics -- even if it's a welcome one, but that's not the problem. The problem is that the production is a bit too self-conscious in its stylized authenticity. There's too much separation, too much echo, a strangely hollow center -- it may sound rougher than nearly all contemporary blues albums, but it doesn't sound gritty, which it should. Despite this, Sweet Tea is still a welcome addition to Buddy Guy's catalog because, even with its affected production, it basically works. Playing in such an unrestricted setting loosens Buddy up, not just letting him burn on guitar, but allows him to act his age without embarrassment (check the chilling acoustic opener, "Done Got Old"). This may not showcase the showman of the artist live, the way Damn Right did, but it does something equally noteworthy -- it illustrates that the master bluesman still can sound vital and can still surprise.

BIOGRAPHY
by Mark Deming
Buddy Guy is one of the most celebrated blues guitarists of his generation (and arguably the most celebrated), possessing a sound and style that embodied the traditions of classic Chicago Blues while also embracing the fire and flash of rock & roll. Guy spent much of his career as a well-regarded journeymen, cited as a modern master by contemporary blues fans but not breaking through to a larger audience, before he finally caught the brass ring in the 1990s and released a series of albums that made him one of the biggest blues acts of the day, a seasoned veteran with a modern edge. And few guitarists of any genre have enjoyed the respect of their peers as Guy has, with such giants as Eric Clapton, Jimi Hendrix, Jeff Beck, Keith Richards, Stevie Ray Vaughan, and Mark Knopfler all citing him as a personal favorite.
George "Buddy" Guy was born in Lettsworth, Louisiana on July 30, 1936, and is said to have first learned to play on a homemade two-string instrument fashioned from wire and tin cans. Guy graduated to an acoustic guitar, and began soaking up the influences of blues players such as T-Bone Walker, B.B. King, and Lightnin' Hopkins; as his family relocated to Baton Rouge, Guy had the opportunity to see live performances by Lightnin' Slim (aka Otis Hicks) and Guitar Slim, whose raw, forceful sound and over-the-top showmanship left a serious impression on Guy. Guy started playing professionally when he became a sideman for John "Big Poppa" Tilley, where he learned to work the crowd and overcome early bouts of stage fright. In 1957, Guy cut a demo tape at a local radio station and sent a copy to Chess Records, the label that was home to such giants as Muddy Waters, Howlin' Wolf, and Etta James, shortly before buying a one-way train ticket and moving to Chicago, eager to make music his career.
Guy didn't enjoy immediate success in Chicago, and struggled to find gigs until his fiery guitar work and flashy stage style (which included hopping on top of bars and strutting up and down their length while soloing, thanks to a 100-foot long guitar cable) made him a regular winner in talent night contests at Windy City clubs. Guy struck up friendships with some of the city's best blues artists, including Muddy Waters, Otis Rush, Freddie King, and Magic Sam, and landed a steady gig at the 708 Club, where he became known as a talent to watch. In 1958, Magic Sam arranged for Guy to meet Harold Burrage, the owner of local blues label Cobra Records, and Guy was soon signed to Cobra's sister label Artistic Records. Willie Dixon produced Guy's debut single, "Sit and Cry (The Blues)," as well as the follow-up, "This Is the End," but in 1959, Cobra and Artistic abruptly closed up shop, and like labelmate Otis Rush, Guy found a new record deal at Chess. Guy's first single for Chess, 1960's "First Time I Met the Blues," was an artistic triumph and a modest commercial success that became one of his signature tunes, but it was also the first chapter in what would prove to be a complicated creative relationship between Guy and label co-founder Leonard Chess, who recognized his talent but didn't appreciate the louder and more expressive aspects of his guitar style. While Guy enjoyed minor successes with outstanding Chess singles such as "Stone Crazy" and "When My Left Eye Jumps," much of his work for the label was as a sideman, lending his talents to sessions for Muddy Waters, Koko Taylor, Howlin' Wolf, Little Walter, and many others. And one of Guy's definitive recordings of the '60s wasn't even issued by Chess; Guy had been performing occasionally with blues harpist Junior Wells, and Guy and his band backed up Wells on the 1965 Delmark release Hoodoo Man Blues, a masterful exercise in the Chicago Blues style, with Guy credited as "Friendly Chap" on initial pressings in deference to his contract with Chess.
Chess didn't issue an album on Guy until the 1967 release of I Left My Blues in San Francisco, and when his contract with the label ran out, he promptly signed with Vanguard, who put out A Man and the Blues in 1968. As a growing number of rock fans were discovering the blues, Guy was finding his stock rising with both traditional blues enthusiasts and younger white audiences, and his recordings for Vanguard gave him more room for the tougher and more aggressive sound that was the trademark of his live shows. (It didn't hurt that Jimi Hendrix acknowledged Guy as an influence and praised his live show in interviews.) At the same time, Guy hadn't forsaken the more measured approach he used with Junior Wells; Buddy and Wells cut an album that also featured Junior Mance on piano for Blue Thumb called Buddy and the Juniors, and in 1972, Eric Clapton partnered with Ahmet Ertegun and Tom Dowd to produce the album Buddy Guy and Junior Wells Play the Blues. In 1974, Guy and Wells played the Montreux Jazz Festival, with Bill Wyman of the Rolling Stones sitting in on bass; the show was later released as a live album, Drinkin' TNT and Smokin' Dynamite, with Wyman credited as producer.
By the end of the '70s, Guy was without an American record deal, and his career took a hit as a result; while he recorded some material for specialist labels in Europe and Japan, and Alligator issued two collections in 1981, Alone and Acoustic and Stone Crazy, for the most part Guy supported himself in the '80s through extensive touring and live work, often appearing in Europe where he seemed better respected than in the United States. Despite this, he continued to plug away at the American market, buoyed by interest from guitar buffs who had heard major stars sing his praises; in 1985, Eric Clapton told a reporter for Musician Magazine, "Buddy Guy is by far and without a doubt the best guitar player alive … he really changed the course of rock and roll blues," while Vaughan declared, "Without Buddy Guy, there would be no Stevie Ray Vaughan." In 1989, Guy opened his own nightclub in Chicago, Buddy Guy's Legends, where he frequently performed and played host to other top blues acts, and in 1991, after a well-received appearance with Clapton at London's Royal Albert Hall (documented in part on the album 24 Nights), he finally scored an international record deal with the Silvertone label, distributed by BMG. Guy's first album for Silvertone, Damn Right, I've Got the Blues, featured guest appearances by Clapton, Jeff Beck, and Mark Knopfler, and featured fresh versions of several fan favorites as well as a handful of new tunes; it was the Buddy Guy album that finally clicked with record buyers, and became a genuine hit, earning Guy a gold album, as well as a Grammy Award for Best Contemporary Blues Album. Guy wasted no time cutting follow-ups, releasing Feels Like Rain in 1993 and Slippin' In in 1994, both of which racked up solid sales figures and won Guy further Grammy Awards.
In 1993, Guy reunited with Junior Wells on the stage of his Legends club; it would prove to be one of Wells' last live performances, and the show was released in 1998, several months after Wells' passing, on the album Last Time Around: Live at Legends. While most of Guy's work in the late '90s and into the new millennium was the sort of storming Chicago blues that was the basis of his reputation, he also demonstrated he was capable of exploring other avenues, channeling the hypnotic Deep Southern blues of Junior Kimbrough on 2001's Sweet Tea and covering a set of traditional blues classics on acoustic guitar for 2003's Blues Singer. In 2004, Guy won the W.C. Handy Award from the American Blues Foundation for the 23rd time, more than any other artist, while he took home his sixth Grammy award in 2010 for the album Living Proof. Guy has also received the National Medal of the Arts in 2003, and was awarded with the Kennedy Center Honors in 2012. He was inducted into the Rock & Roll Hall of Fame in 2005, with both Eric Clapton and B.B. King presenting him with his award, and in 2012 he performed a special concert at the White House, where he persuaded President Barack Obama to join him at the vocal mike for a few choruses of "Sweet Home Chicago."
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4635 - BUDDY GUY - Bring 'Em In (2005)

BUDDY GUY
''BRING 'EM IN''
SEPTEMBER 27 2005
62:29

1/Now You're Gone
Curtis Mayfield/5:03
2/Ninety Nine and One Half
Wilson Pickett/3:47
3/What Kind of Woman Is This
Buddy Guy/5:17
4/Somebody's Sleeping in My Bed/6:24
5/I Put a Spell on You feat. Carlos Santana
Jalacy Hawkins/4:04
6/On a Saturday Night/3:17
7/Ain't No Sunshine feat. Tracy Chapman
Bill Withers/3:24
8/I've Got Dreams to Remember feat. John Mayer
Otis Redding / Zelma Redding / Joe Rock/4:56
9/Lay Lady Lay feat. Anthony Hamilton, Robert Randolph
Bob Dylan/4:35
10/Cheaper to Keep Her/Blues in the Night/6:17
11/Cut You Loose
Mel London/7:38
12/The Price You Gotta Pay feat. Keith Richards
Keb' Mo'/3:40
13/Do Your Thing/4:07

Ben Cauley /Trumpet
Tracy Chapman /Vocals, Vocals (Background)
Luis Conte /Percussion
Myron Dove /Bass
Buddy Guy /Guitar, Vocals
Jack Hale /Trombone
Anthony Hamilton /Vocals, Vocals (Background)
Jim Horn /Flute, Horn Arrangements, Sax (Baritone)
Steve Jordan /Drums, Optigan, Vocals (Background)
Keb' Mo' /Guitar
Danny Kortchmar /Guitar
Andrew Love /Sax (Tenor)
John Mayer /Guitar, Vocals, Vocals (Background)
Lannie McMIllian /Sax (Tenor)
Willie Mitchell /Horn Arrangements
Ivan Neville /Keyboards, Vocals (Background)
Robert Randolph /Pedal Steel
Keith Richards /Guitar
Carlos Santana /Guitar, Guitar (Rhythm)
Lester Snell /Horn Arrangements
Chester Thompson /Keyboards
Willie Weeks /Bass
Bernie Worrell /Keyboards

REVIEW
by Sean Westergaard
Buddy Guy's career and discography have been marked by inconsistency. Especially since his high-profile comeback in the early '90s, it seems he's been all too willing to turn over creative control on his albums, both for better and worse. Even just looking at the covers of those albums bears this out: 1991's Damn Right I've Got the Blues has him dressed in your basic '90s casual dress, but the next album has him wearing overalls! Anyone who saw Guy live any number of times before that album was released would realize that he never wore overalls. Then fast forward to the neo-psychedelic look of Heavy Love. The productions themselves have been similarly schizophrenic: big glossy guest star-laden albums to a heavy blues-rock sound to deep modal electric blues to acoustic albums. Well, this time out, drummer/session man Steve Jordan is in the producer's chair, and it seems that he wanted to give Guy a more contemporary sound. To that end, the songs are mostly lifted from the soul/R&B world: tracks written by Curtis Mayfield, Isaac Hayes, Otis Redding, and Steve Cropper. All the members of the assembled core band -- Jordan on drums, Danny Kortchmar on guitar, Willie Weeks on bass, and Bernie Worrell on keys (mostly Fender Rhodes) -- are solid players. There's a reason they've got probably thousands of credits between them, but the backing often comes off as professional rather than passionate. That can't be said of Guy, who always seems to bring plenty of passion to the proceedings, but for everything here that works, there's some kind of misstep. The Rhodes often adds a nice touch (as does the Optigan on "What Kind of Woman Is This"), but the slick backing vocals on "Now You're Gone" and "I've Got Dreams to Remember" really don't fit. Guest star du jour John Mayer adds nothing to "I've Got Dreams to Remember," and neo-soulster Anthony Hamilton pretty much takes over "Lay Lady Lay." Carlos Santana is producer for a thoroughly Santana-fied version of Screamin' Jay Hawkins' "I Put a Spell on You" (right down to the "Oye Como Va" keyboard lick) that might have fit on a Santana album but really doesn't fit here. Robert Randolph and Keith Richards' contributions fare better, with each fitting into the song nicely. "Somebody's Sleeping in My Bed" has some pretty hot guitar from Guy, but perhaps the album highlight is "Cut You Loose" because, well, he just cuts loose. Overall, Bring 'Em In is a mixed bag. Folks who liked Damn Right I've Got the Blues and Feels Like Rain will surely find a lot to like here. Guy's performances are solid, but the settings don't always suit him as well as they could. In fact, it almost seems like all the photos of Guy's "blues" jewelry are there to remind listeners that this is supposed to be a blues album. Won't somebody please get him in a recording situation where he can just be himself, with his working band?

BIOGRAPHY
by Mark Deming
Buddy Guy is one of the most celebrated blues guitarists of his generation (and arguably the most celebrated), possessing a sound and style that embodied the traditions of classic Chicago Blues while also embracing the fire and flash of rock & roll. Guy spent much of his career as a well-regarded journeymen, cited as a modern master by contemporary blues fans but not breaking through to a larger audience, before he finally caught the brass ring in the 1990s and released a series of albums that made him one of the biggest blues acts of the day, a seasoned veteran with a modern edge. And few guitarists of any genre have enjoyed the respect of their peers as Guy has, with such giants as Eric Clapton, Jimi Hendrix, Jeff Beck, Keith Richards, Stevie Ray Vaughan, and Mark Knopfler all citing him as a personal favorite.
George "Buddy" Guy was born in Lettsworth, Louisiana on July 30, 1936, and is said to have first learned to play on a homemade two-string instrument fashioned from wire and tin cans. Guy graduated to an acoustic guitar, and began soaking up the influences of blues players such as T-Bone Walker, B.B. King, and Lightnin' Hopkins; as his family relocated to Baton Rouge, Guy had the opportunity to see live performances by Lightnin' Slim (aka Otis Hicks) and Guitar Slim, whose raw, forceful sound and over-the-top showmanship left a serious impression on Guy. Guy started playing professionally when he became a sideman for John "Big Poppa" Tilley, where he learned to work the crowd and overcome early bouts of stage fright. In 1957, Guy cut a demo tape at a local radio station and sent a copy to Chess Records, the label that was home to such giants as Muddy Waters, Howlin' Wolf, and Etta James, shortly before buying a one-way train ticket and moving to Chicago, eager to make music his career.
Guy didn't enjoy immediate success in Chicago, and struggled to find gigs until his fiery guitar work and flashy stage style (which included hopping on top of bars and strutting up and down their length while soloing, thanks to a 100-foot long guitar cable) made him a regular winner in talent night contests at Windy City clubs. Guy struck up friendships with some of the city's best blues artists, including Muddy Waters, Otis Rush, Freddie King, and Magic Sam, and landed a steady gig at the 708 Club, where he became known as a talent to watch. In 1958, Magic Sam arranged for Guy to meet Harold Burrage, the owner of local blues label Cobra Records, and Guy was soon signed to Cobra's sister label Artistic Records. Willie Dixon produced Guy's debut single, "Sit and Cry (The Blues)," as well as the follow-up, "This Is the End," but in 1959, Cobra and Artistic abruptly closed up shop, and like labelmate Otis Rush, Guy found a new record deal at Chess. Guy's first single for Chess, 1960's "First Time I Met the Blues," was an artistic triumph and a modest commercial success that became one of his signature tunes, but it was also the first chapter in what would prove to be a complicated creative relationship between Guy and label co-founder Leonard Chess, who recognized his talent but didn't appreciate the louder and more expressive aspects of his guitar style. While Guy enjoyed minor successes with outstanding Chess singles such as "Stone Crazy" and "When My Left Eye Jumps," much of his work for the label was as a sideman, lending his talents to sessions for Muddy Waters, Koko Taylor, Howlin' Wolf, Little Walter, and many others. And one of Guy's definitive recordings of the '60s wasn't even issued by Chess; Guy had been performing occasionally with blues harpist Junior Wells, and Guy and his band backed up Wells on the 1965 Delmark release Hoodoo Man Blues, a masterful exercise in the Chicago Blues style, with Guy credited as "Friendly Chap" on initial pressings in deference to his contract with Chess.
Chess didn't issue an album on Guy until the 1967 release of I Left My Blues in San Francisco, and when his contract with the label ran out, he promptly signed with Vanguard, who put out A Man and the Blues in 1968. As a growing number of rock fans were discovering the blues, Guy was finding his stock rising with both traditional blues enthusiasts and younger white audiences, and his recordings for Vanguard gave him more room for the tougher and more aggressive sound that was the trademark of his live shows. (It didn't hurt that Jimi Hendrix acknowledged Guy as an influence and praised his live show in interviews.) At the same time, Guy hadn't forsaken the more measured approach he used with Junior Wells; Buddy and Wells cut an album that also featured Junior Mance on piano for Blue Thumb called Buddy and the Juniors, and in 1972, Eric Clapton partnered with Ahmet Ertegun and Tom Dowd to produce the album Buddy Guy and Junior Wells Play the Blues. In 1974, Guy and Wells played the Montreux Jazz Festival, with Bill Wyman of the Rolling Stones sitting in on bass; the show was later released as a live album, Drinkin' TNT and Smokin' Dynamite, with Wyman credited as producer.
By the end of the '70s, Guy was without an American record deal, and his career took a hit as a result; while he recorded some material for specialist labels in Europe and Japan, and Alligator issued two collections in 1981, Alone and Acoustic and Stone Crazy, for the most part Guy supported himself in the '80s through extensive touring and live work, often appearing in Europe where he seemed better respected than in the United States. Despite this, he continued to plug away at the American market, buoyed by interest from guitar buffs who had heard major stars sing his praises; in 1985, Eric Clapton told a reporter for Musician Magazine, "Buddy Guy is by far and without a doubt the best guitar player alive … he really changed the course of rock and roll blues," while Vaughan declared, "Without Buddy Guy, there would be no Stevie Ray Vaughan." In 1989, Guy opened his own nightclub in Chicago, Buddy Guy's Legends, where he frequently performed and played host to other top blues acts, and in 1991, after a well-received appearance with Clapton at London's Royal Albert Hall (documented in part on the album 24 Nights), he finally scored an international record deal with the Silvertone label, distributed by BMG. Guy's first album for Silvertone, Damn Right, I've Got the Blues, featured guest appearances by Clapton, Jeff Beck, and Mark Knopfler, and featured fresh versions of several fan favorites as well as a handful of new tunes; it was the Buddy Guy album that finally clicked with record buyers, and became a genuine hit, earning Guy a gold album, as well as a Grammy Award for Best Contemporary Blues Album. Guy wasted no time cutting follow-ups, releasing Feels Like Rain in 1993 and Slippin' In in 1994, both of which racked up solid sales figures and won Guy further Grammy Awards.
In 1993, Guy reunited with Junior Wells on the stage of his Legends club; it would prove to be one of Wells' last live performances, and the show was released in 1998, several months after Wells' passing, on the album Last Time Around: Live at Legends. While most of Guy's work in the late '90s and into the new millennium was the sort of storming Chicago blues that was the basis of his reputation, he also demonstrated he was capable of exploring other avenues, channeling the hypnotic Deep Southern blues of Junior Kimbrough on 2001's Sweet Tea and covering a set of traditional blues classics on acoustic guitar for 2003's Blues Singer. In 2004, Guy won the W.C. Handy Award from the American Blues Foundation for the 23rd time, more than any other artist, while he took home his sixth Grammy award in 2010 for the album Living Proof. Guy has also received the National Medal of the Arts in 2003, and was awarded with the Kennedy Center Honors in 2012. He was inducted into the Rock & Roll Hall of Fame in 2005, with both Eric Clapton and B.B. King presenting him with his award, and in 2012 he performed a special concert at the White House, where he persuaded President Barack Obama to join him at the vocal mike for a few choruses of "Sweet Home Chicago."
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4526 - CARLOS SANTANA Plays Blues At Montreux 2004 Part Two (2008)

CARLOS SANTANA
''PLAYS BLUES AT MONTREUX 2004 PART TWO''
APRIL 1 2008
93:13

PART ONE (46:34)
1 - I've got my Mojo working (with Clarence Gatemouth Brown)/7:30
2 - The drifter (with Clarence Gatemouth Brown)/15:35
3 - Grape jelly (with Clarence Gatemouth Brown)/07:43
4 - Okie dokie stomp (with Clarence Gatemouth Brown)/8:19
5 - Chill out (with Bobby Parker)/7:14

PART TWO (46:39)
1 - Mellow down easy (with Bobby Parker)/5:24
2 - Watch your step (with Bobby Parker)/7:33
3 - Stormy monday (with Buddy Guy)/7:36
4 - Jam session 1 (with Buddy Guy)/11:51
5 - So many roads so many trains (with Buddy Guy)/4:27
6 - Jam session 2 (with Buddy Guy)/9:34

BOBBY PARKER Line-Up:
Bobby Parker/Guitar, Lead Vocal
Ken Wenzel/Saxophone
Dane Paul Russel/Harmonica
Steve Cecil/Keyboards
Andrew Padula/Bass
Dion Clay/Drums
Special Guest Artists:
Carlos Santana/Guitar
Chester Thompson/Keyboards
Andy Vargas/Vocals
CLARENCE ''GATEMOUTH'' BROWN Line-Up:
Clarence "Gatemouth" Brown/Guitar, Violin, Vocals
Eric Demmer/Saxophone
Joe Krown/Keyboards
Harold Floyd/Bass
David Peters/Drums
Special Guests Artists:
Carlos Santana/Guitar
Jeff Cressman/Trombone
Buddy Guy/Guitar
Nile Rodgers/Guitar
Myron Dove/Bass
Barbara Morrison/Vocals
BUDDY GUY Line-Up:
Buddy Guy/Vocals, Guitar
Jason Moynihan/Saxophone
Marty Sammon/Keyboards
Ric Hall/Guitar
Orlando Wright/Bass
Tim Austin/Drums
Special Guests Artists:
Carlos Santana/Guitar
Bobby Parker/Guitar
Nile Rodgers/Guitar
Eric Demmer/Saxophone
Barbara Morrison/Vocals

On a magical night in Montreux in 2004, Carlos Santana invited three of his favourite bluesmen: Buddy Guy, Clarence 'Gatemouth' Brown and Bobby Parker for a concert of outstanding blues music. Each artist performed a full length concert and was joined on stage by Carlos Santana and other guests including Nile Rodgers and Barbara Morrison. Eagle Vision have previously released a 3 DVD set of the whole night but now we present a single disc version which features all the Carlos Santana performances from the event, over 90 minutes of great blues music.

Carlos Santana is known for his collaborations with lauded musicians, and this concert recording from 2004 is a great example. The talented guitarist welcomes a string of special guests on stage as he plays some of the songs from the highlights of his career. This presentation is a condensed 90-minute version of the full-length BLUES AT MONTREUX set that was released in 2004, and presents viewers with the opportunity to see Santana laying down some heady riffs alongside Buddy Guy, Nile Rodgers, Clarence "Gatemouth" Brown, and many others.
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4525 - CARLOS SANTANA Plays Blues At Montreux 2004 Part One (2008)

CARLOS SANTANA
''PLAYS BLUES AT MONTREUX 2004 PART ONE''
APRIL 1 2008
93:13

PART ONE (46:34)
1 - I've got my Mojo working (with Clarence Gatemouth Brown)/7:30
2 - The drifter (with Clarence Gatemouth Brown)/15:35
3 - Grape jelly (with Clarence Gatemouth Brown)/07:43
4 - Okie dokie stomp (with Clarence Gatemouth Brown)/8:19
5 - Chill out (with Bobby Parker)/7:14

PART TWO (46:39)
1 - Mellow down easy (with Bobby Parker)/5:24
2 - Watch your step (with Bobby Parker)/7:33
3 - Stormy monday (with Buddy Guy)/7:36
4 - Jam session 1 (with Buddy Guy)/11:51
5 - So many roads so many trains (with Buddy Guy)/4:27
6 - Jam session 2 (with Buddy Guy)/9:34

BOBBY PARKER Line-Up:
Bobby Parker/Guitar, Lead Vocal
Ken Wenzel/Saxophone
Dane Paul Russel/Harmonica
Steve Cecil/Keyboards
Andrew Padula/Bass
Dion Clay/Drums
Special Guest Artists:
Carlos Santana/Guitar
Chester Thompson/Keyboards
Andy Vargas/Vocals
CLARENCE ''GATEMOUTH'' BROWN Line-Up:
Clarence "Gatemouth" Brown/Guitar, Violin, Vocals
Eric Demmer/Saxophone
Joe Krown/Keyboards
Harold Floyd/Bass
David Peters/Drums
Special Guests Artists:
Carlos Santana/Guitar
Jeff Cressman/Trombone
Buddy Guy/Guitar
Nile Rodgers/Guitar
Myron Dove/Bass
Barbara Morrison/Vocals
BUDDY GUY Line-Up:
Buddy Guy/Vocals, Guitar
Jason Moynihan/Saxophone
Marty Sammon/Keyboards
Ric Hall/Guitar
Orlando Wright/Bass
Tim Austin/Drums
Special Guests Artists:
Carlos Santana/Guitar
Bobby Parker/Guitar
Nile Rodgers/Guitar
Eric Demmer/Saxophone
Barbara Morrison/Vocals

On a magical night in Montreux in 2004, Carlos Santana invited three of his favourite bluesmen: Buddy Guy, Clarence 'Gatemouth' Brown and Bobby Parker for a concert of outstanding blues music. Each artist performed a full length concert and was joined on stage by Carlos Santana and other guests including Nile Rodgers and Barbara Morrison. Eagle Vision have previously released a 3 DVD set of the whole night but now we present a single disc version which features all the Carlos Santana performances from the event, over 90 minutes of great blues music.

Carlos Santana is known for his collaborations with lauded musicians, and this concert recording from 2004 is a great example. The talented guitarist welcomes a string of special guests on stage as he plays some of the songs from the highlights of his career. This presentation is a condensed 90-minute version of the full-length BLUES AT MONTREUX set that was released in 2004, and presents viewers with the opportunity to see Santana laying down some heady riffs alongside Buddy Guy, Nile Rodgers, Clarence "Gatemouth" Brown, and many others.
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4524 - CARLOS SANTANA Presents Blues At Montreux 2004, Disc Four: Buddy Guy Part Two (2006)

CARLOS SANTANA PRESENTS BLUES AT MONTREUX 2004
WITH BUDDY GUY, CLARENCE ''GATEMOUTH'' BROWN AND BOBBY PARKER - DISC FOUR
2006
237:41

DISC ONE (70:20) - BOBBY PARKER
1 - Straight Up No Chaser/6:48
2 - Break It Up/3:27
3 - Breaking Up Somebody's Home/5:15
4 - Nothing But The Blues/5:36
5 - So Glad I Found You/8:42
6 - I Ain't Superstitious/5:40
7 - It's Unfair/6:26
8 - Going Down Slow/7:44
9 - Chill Out (Feat. Carlos Santana)/7:18
10 - Mellow Down Easy (Feat. Carlos Santana)/5:25
11 - Watch Your Step (Feat. Carlos Santana)/7:32

DISC TWO (71:09) - CLARENCE ''GATEMOUTH'' BROWN
1 - Bits And Pieces/6:33
2 - Strange Things Happen/7:12
3 - I'm Beginning To See The Light/3:31
4 - Sunlight Cajun Style/5:33
5 - Honey Boy/4:20
6 - Further On Up The Road/4:17
7 - I've Got My Mojo Working/7:30
8 - Drifter (Feat. Carlos Santana)/15:37
9 - Grape Jelly (Feat. Carlos Santana)/7:50
10 - Okie Dokie Stomp (Feat. Carlos Santana)/8:19

DISC THREE (44:19) - BUDDY GUY PART ONE
1 - Good Morning Little Schoolgirl/4:54
2 - Louise McGhee/3:21
3 - Done Got Old/4:15
4 - Hoochie Coochie Man/22:57
5 - Fever/8:41

DISC FOUR (51:53) - BUDDY GUY PART TWO
1 - Drowning In Dry Land/17:37
2 - Stormy Monday (Feat. Carlos Santana)/8:14
3 - Jam Session 1 (Feat. Carlos Santana & Bobby Parker)/11:49
4 - So Many Roads So Many Trains (Feat. Carlos Santana)/4:27
5 - Jam Session 2 (Feat. Carlos Santana)/9:34

BOBBY PARKER Line-Up:
Bobby Parker/Guitar, Lead Vocal
Ken Wenzel/Saxophone
Dane Paul Russel/Harmonica
Steve Cecil/Keyboards
Andrew Padula/Bass
Dion Clay/Drums
Special Guest Artists:
Carlos Santana/Guitar
Chester Thompson/Keyboards
Andy Vargas/Vocals
CLARENCE ''GATEMOUTH'' BROWN Line-Up:
Clarence "Gatemouth" Brown/Guitar, Violin, Vocals
Eric Demmer/Saxophone
Joe Krown/Keyboards
Harold Floyd/Bass
David Peters/Drums
Special Guests Artists:
Carlos Santana/Guitar
Jeff Cressman/Trombone
Buddy Guy/Guitar
Nile Rodgers/Guitar
Myron Dove/Bass
Barbara Morrison/Vocals
BUDDY GUY Line-Up:
Buddy Guy/Vocals, Guitar
Jason Moynihan/Saxophone
Marty Sammon/Keyboards
Ric Hall/Guitar
Orlando Wright/Bass
Tim Austin/Drums
Special Guests Artists:
Carlos Santana/Guitar
Bobby Parker/Guitar
Nile Rodgers/Guitar
Eric Demmer/Saxophone
Barbara Morrison/Vocals

On a magical night in Montreux in 2004, Carlos Santana invited three of his favourite bluesmen: Buddy Guy, Clarence 'Gatemouth' Brown and Bobby Parker for a concert of outstanding blues music. Each artist performed a full length concert and was joined on stage by Carlos Santana and other guests including Nile Rodgers and Barbara Morrison. Eagle Vision have previously released a 3 DVD set of the whole night but now we present a single disc version which features all the Carlos Santana performances from the event, over 90 minutes of great blues music.

Carlos Santana is known for his collaborations with lauded musicians, and this concert recording from 2004 is a great example. The talented guitarist welcomes a string of special guests on stage as he plays some of the songs from the highlights of his career. This presentation is a condensed 90-minute version of the full-length BLUES AT MONTREUX set that was released in 2004, and presents viewers with the opportunity to see Santana laying down some heady riffs alongside Buddy Guy, Nile Rodgers, Clarence "Gatemouth" Brown, and many others.
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