George Guy
b. July 30th, 1936 in Lettsworth (Louisiana)
TUFF ENUFF
Westside
May 1957
Fils des métayers Sam et Isabel Guy, il s'intéresse à la musique dès l'enfance. Buddy travaille d'abord comme concierge à la Louisiana State University et consacre le reste de son temps à la guitare. Dans la seconde moitié des années 50, il obtient son premier engagement derrière l'harmoniciste John "Big Poppa" Tilley pendant un an et demi. Buddy sera, par la suite, le guitariste de Raful Neal. Il est principalement influencé par Guitar Slim et, dans une moindre mesure, par B.B. King. Il enregistre une démo de deux titres pour Ace en mai 1957 dans une station radiophonique de Baton Rouge ("The way you been treating me", "Baby don't you wanna come home").
Son of sharecroppers Sam and Isabel Guy, he became interested in music since childhood. Buddy first worked as a janitor at Louisiana State University and spends the rest of his time to the guitar. In the second half of the 50's, he got his first engagement behind the harmonica player John "Big Poppa" Tilley for a year and half. Buddy will be, thereafter, the guitarist of Raful Neal. He is mainly influenced by Guitar Slim and, to a lesser extent, by B.B. King. He recorded a demo of two songs for Ace in may 1957 in a radio station in Baton Rouge ("The way you been treating me", "Baby do not you wanna come home").
SOUTHERN BLUES
Paula
May 1957 - August 1958
CHICAGO BOSS GUITARS
Paula
THIS IS THE BEGINNING
P-Vine
Fuel 2000
August 1958
En septembre 1957, il rejoint Chicago et fait les rencontres déterminantes d'Otis Rush et de Magic Sam. Les trois jeunes guitaristes, aux styles très originaux pour l'époque, posent les bases du West Side Sound chacun de leur côté : chant passionné, guitare cinglante constamment au premier plan, atmosphère intense et dramatique. Buddy rencontre également Muddy Waters qui aura sur le jeune homme une grande influence. A l'instar de Rush et Sam, il grave ses premiers morceaux pour Cobra (label Artistic) en aout 1958 : "Sit and cry the blues", "Try to quit you baby", "You sure can't do" (simple démarquage du "Things that I used to do" de Guitar Slim) accompagné d'un groupe de rêve composé de Jackie Brenston, Harold Burrage, Ike Turner, Willie Dixon, Odie Payne. L'année suivante, Cobra ferme ses portes et Buddy se marie avec Joan. A noter que "I hope you come back home" gravé à Crowley en 1957 est inclus dans "Southern blues". Ce titre a parfois été attribué à Buddy Guy. Mais celui-ci a toujours nié l'avoir enregistré. Ces trois recueils ajoutent également une séance d'avril 1963 derrière Jesse Fortune pour le label USA (aux côtés de Big Walter Horton, Lafayette Leake parmi d'autres).
In september 1957, he joined Chicago and made the decisive encounters of Otis Rush and Magic Sam. The three young guitarists, with their very original styles for the time, laid the foundations of the West Side Sound independently of each other : passionate vocals, stinging guitar constantly in the foreground and intense dramatic atmosphere. Buddy also met Muddy Waters that will have a great influence on the young man. Like Rush and Sam, he cut his first tracks for Cobra (Artistic label) in august 1958 : "Sit and cry the blues", "Try to quit you baby", "You sure can't do" (mere transformation of Guitar Slim's "Things that I used to do") with a dream band composed of Jackie Brenston, Harold Burrage, Ike Turner, Willie Dixon, Odie Payne. The following year, Cobra closes his doors and Buddy married Joan. Note that "I hope you come back home" recorded in Crowley in 1957 is included in "Southern blues". This title has sometimes been attributed to Buddy Guy. But, he has always denied having recorded it. These three collections also adds an april 1963 session behind Jesse Fortune for the USA label (along with Big Walter Horton, Lafayette Leake among others).
I WAS WALKING THROUGH THE WOODS
Chess
THE COMPLETE CHESS RECORDINGS
MCA - Chess
March 1960 - June 1964
Dès mars 1960, il débute une fructueuse collaboration avec la firme Chess. Il y montre sa grande versatilité, à l'aise dans de nombreux styles mais aussi tributaire des choix commerciaux de Chess qui restreignent parfois son talent. Quoi qu'il en soit, dans ses premières séances pour Chess, on retrouve ses morceaux ses chefs d'oeuvre les plus blues : "First time I met the blues", "Broken hearted blues", "Let me love you baby", "My time after awhile" et les versions étendues de "Stone crazy" et "I found a true love" (inédites jusqu'en 1970 à cause de leurs longueurs inhabituelles). Son jeu de guitare intense et flamboyant et sa voix expressive brillent sur l'ensemble des pistes. Derrière lui, des musiciens de premier plan sont présents comme Junior Wells, Little Brother Montgomery, Otis Spann, Jack Meyers, Fred Below, Donald Hankins, Jarrett Gibson, Bobby Neely.
In march 1960, he began a fruitful collaboration with Chess imprint. He showed his great versatility, comfortable in many styles but also dependent on Chess commercial choices sometimes restricting his talent. Anyway, in his early Chess sessions, we can find his most blues masterpieces : "First time I met the blues", "Broken hearted blues", "Let me love you baby", "My time after awhile" and extended versions of "Stone crazy" and "I found a true love" (unissued until 1970 because of their unusual length). His intense and flamboyant guitar playing and his expressive voice shine on all tracks. Behind him, top-notch musicians are present like Junior Wells, Little Brother Montgomery, Otis Spann, Jack Meyers, Fred Below, Donald Hankins, Jarrett Gibson, Bobby Neely.
GOT TO USE YOUR HEAD
Blues Ball
THE COMPLETE CHESS RECORDINGS
MCA - Chess
March 1960 - August 1966
Sous la supervision de divers producteurs-arrangeurs comme Willie Dixon, Gene Barge, Charlie Stepney, Buddy mêle à son Blues des éléments de Soul, Rhythm & Blues et Jazz. Dans ce recueil proposé par Blues Ball, on trouve les immenses "Got my eyes on you", "Stick around", l'intense "My mother", l'instrumental jazzy "Buddy's blues", "Moanin'" (avec solo de basse et de batterie). D'autres titres plus arrangés Rhythm & Blues - Soul, avec section cuivres et choristes, s'avèrent moins percutants que les premiers. Malgré cette petite réserve, l'ensemble reste quand même d'un excellent niveau général.
Under the supervision of various producers-arrangers like Willie Dixon, Gene Barge, Charlie Stepney, Buddy mixes his Blues with Soul, Rhythm & Blues and Jazz elements. In this collection proposed by Blues Ball, we find the tremendous "Got my eyes on you", "Stick around", the intense "My mother", the jazzy instrumental "Buddy's blues", "Moanin'" (with bass and drums solo). Other title are more Rhythm & Blues - Soul arranged songs, with horn section and backup singers, are less impactful than the first. Despite this small reserve, the whole is still generally excellent.
LEFT MY BLUES IN SAN FRANCISCO
Chess
Bellaphon
THE COMPLETE CHESS RECORDINGS
MCA - Chess
August 1962 - July 1967
Pendant longtemps, il s'agira du seul microsillon recueillant sa production pour Chess. Son Blues est parfois teinté d'une forte influence Rhythm & Blues - Soul (apportée par Gene Barge et Charles Stepney). Plusieurs superbes moments émaillent cet excellent disque : "Crazy love", "I suffer with the blues", "Buddy's groove", "Leave my girl alone", "When my left eye jumps". Encore une fois, il est supporté par la crème des musiciens : Gene Barge, Matt "Guitar" Murphy, A.C. Reed, Phil Upchurch. En parrallèle de son activité en tant que leader, Buddy accompagne Muddy Waters sur son fameux "Folk singer" en septembre 1963. Il est aussi le fidèle guitariste de son ami Junior Wells sur plusieurs albums de premier plan : "Hoodoo man blues", "It's my life baby", "Coming at you", "Southside blues jam".
For a long time, it will be the only LP collecting his production for Chess. His Blues is sometimes tinged with a strong influence Rhythm & Blues - Soul (brought by Gene Barge and Charles Stepney). Several superb moments punctuate this excellent album : "Crazy love", "I suffer with the blues", "Buddy's groove", "Leave my girl alone", "When my left eye jumps". Again, he is supported by the cream of musicians : Gene Barge, Matt "Guitar" Murphy, A.C. Reed, Phil Upchurch. In parallel with his activity as a leader, Buddy accompanies Muddy Waters on his famous "Folk singer" in september 1963. He is also the faithful guitarist of his friend Junior Wells on several first-rate albums : "Hoodoo man blues", "It's my life baby", "Coming at you", "Southside blues jam".
FOLK FESTIVAL OF THE BLUES
Argo
Pye
Chess
P-Vine
BLUES FROM BIG BILL'S COPACABANA
Chess
July - August 1963
Dans ce LP publié par Argo (une des marques appartenant à Chess), il y a deux titres interprétés par Buddy Guy : un morceau studio "Worried mind" (plus tard publié sous le titre "Stick around" dans le LP "Got to use your head") et un morceau en concert (au Copacabana Club de Chicago) "Don't know which way to go" avec une prise de son relativement faible.
In this LP released by Argo (one of the Chess label), there are two songs by Buddy Guy : a studio track "Worried mind" (later issued as "Stick around" in "Got to use your head" LP) and a live track (at the Copacabana Club of Chicago) "Don't know which way to go" with a relatively poor sound quality.
AMERICAN FOLK BLUES FESTIVAL '65
Fontana
L+R
October 1965
Buddy Guy fait partie des artistes invités pour cette mythique édition de l'American Folk Blues Festival de 1965. Le groupe est remarquable : Eddie Boyd (piano), Jimmy Lee Robinson (basse), Fred Below (batterie). Buddy interprète une sublime version de son séminal "First time I met the blues". Pendant la tournée, Buddy accompagne aussi Big Mama Thornton sur son album "In Europe" et Eddie Boyd sur "Five long years". Deux superbes opus qui ont la particularité d'avoir été enregistré le même jour.
Buddy Guy is one of the artists invited in this legendary edition of the American Folk Blues Festival in 1965. The band is remarkable : Eddie Boyd (piano), Jimmy Lee Robinson (bass), Fred Below (drums). Buddy interprets a sublime version of his seminal "First time I met the blues". During the tour, Buddy also accompanied Big Mama Thornton on his album "In Europe" and Eddie Boyd on "Five long years". Two superb opus which have the particularity of having been recorded on the same day.
THE LOST BLUES TAPES vol.1
ACT
October 1965
Ce CD recueille un inédit de l'American Folk Blues Festival 1965 : le superbe instrumental syncopé "South side jump".
This CD collects an unissued track from the American Folk Blues Festival 1965 : the superb syncopated instrumental "South side jump".
THE ORIGINAL BLUES BROTHERS
Quicksilver
Magnum
Blue Moon
EVERYDAY I HAVE THE BLUES
Purple Pyramid
LIVE AT THE MYSTERY CLUB
Quicksilver
THE REAL BLUES
Columbia
CHICAGO BLUES FESTIVAL
Music Avenue
May 1966
Ce concert chicagoan a été publié sous de multiples habillages. On trouve dans certaines éditions des dates fantaisistes (1964 ou 1965). En réalité, d'après la discographie officielle, ce concert est capté en mai 1966 et réunit Junior Wells et Buddy Guy. Malheureusement, la prise de son laisse franchement à désirer : partie instrumentale juste correcte, partie vocale très mauvaise. Au final, il s'agit d'un enregistrement parfaitement dispensable d'autant qu'il existe plusieurs albums live de Junior & Buddy largement supérieurs à celui-ci.
This Chicagoan concert was issued under multiple packagings. In some of them, there are untrue dates (1964 and 1965). In fact, according the official discography, this concert is captured in may 1966 and gathers Junior Wells and Buddy Guy. Unfortunately, the sound quality is clearly flawed : just decent instrumental part, very bad vocals. In the end, this is a perfectly dispensable recording as there are several live albums of Junior & Buddy much better to this one.
A MAN AND THE BLUES
Vanguard
THE BLUES TODAY
Vanguard
September 1967
En passant chez Vanguard, Buddy Guy va trouver toute la liberté artistique nécessaire à l'épanouissement de sa musique. Sous la supervision du producteur Sam Charters, il est accompagné par Otis Spann, Wayne Bennett, Jack Meyers, Fred Below et les souffleurs Donald Hankins, A.C. Reed, Bobby Fields. Avec cet accompagnement précis et plein de feeling, Buddy est au zénith de ses capacités aussi bien au chant qu'à la guitare : chant expressif et tendu, guitare incisive et précise. Les pépites sont nombreuses : "A man and the blues", "I can't quit the blues", "Just playing my axe", "Worry worry" et les reprises impeccables du "One room country shack" de Mercy Dee Walton et de "Sweet little angel" de B.B. King. Cet album a marqué tous les amateurs de Blues et a influencé plusieurs générations de guitaristes.
Passing at Vanguard, Buddy Guy will find all the necessary artistic freedom for the development of his music. Under the supervision of producer Sam Charters, he is accompanied by Otis Spann, Wayne Bennett, Jack Meyers, Fred Below and blowers Donald Hankins, A.C. Reed, Bobby Fields. With this accurate and full of feeling accompaniment, Buddy is at the zenith of his abilities for both vocal and guitar : expressive and taut singing, incisive and precise guitar. The gems are numerous : "A man and the blues", "I can't quit the blues", "Just playing my axe", "Worry worry" and impeccable covers of Mercy Dee Walton's "One room country shack" and B.B. King's "Sweet little angel". This album marked all Blues fans and has influenced generations of guitarists.
AS GOOD AS IT GETS
Vanguard
September 1967 / July 1968
Sur cette compilation des faces Vanguard, on peut trouver quatre morceaux inédits : trois d'entre eux provenant des séances de "A man and the blues" (dont l'excellent "The dream") et un autre provenant des concerts de "This is Buddy Guy" ("Slow blues" un long instrumental dans lequel Buddy est impérial à la guitare).
On this compilation of Vanguard sides, we can find four unreleased tracks, three of them from "A man and the blues" sessions (whose excellent "The dream") and another from the "This is Buddy Guy" concert ("Slow blues" a long instrumental in which Buddy is imperial on guitar).
BERLIN GUITAR FESTIVAL WORKSHOP
MPS
Saba
November 1967
Lors de ce concert, Buddy est accompagné de jazzmen (Jack Lesberg et Don Lamond). Il interprète des versions honorables de "First time I met the blues" et "Drinking muddy water".
In this concert, Buddy is accompanied by jazz musicians (Jack Lesberg and Don Lamond). He interprets honorable versions of "First time I met the blues" and "Drinking muddy water".
PARIS GUITAR JAZZ FESTIVAL LIVE
Blu Jazz
November 1967
THIS IS BUDDY GUY
Vanguard
July 1968
Dans ce concert capté à Berkeley (Californie) en juillet 1968, l'influence Rhythm & Blues - Soul est très présente : performance vocale évoquant James Brown, section cuivres puissante, reprise des standards du genre ("Knock on wood", "Fever"). Mais, le Blues est tout de même représenté par "I had a dream last night", "You were wrong" ou "I got my eyes on you". Un disque qui montre parfaitement la présence et la flamme de Buddy sur scène.
In this concert captured in Berkeley (California) in july 1968, the Rhythm & Blues - Soul influence is very present : vocal performance reminiscent of James Brown, powerful horn section, standards covers ("Knock on wood", "Fever"). But, the Blues is still represented by "I had a dream last night", "You were wrong" or "I got my eyes on you". An album that shows perfectly Buddy's presence and flame on stage.
THE COMPLETE VANGUARD RECORDINGS
Vanguard
July 1968
Dans ce coffret reprenant toutes les faces Vanguard, il y a deux titres inédits dignes d'interêt provenant des concerts de "This is Buddy Guy" : "Watermelon man" et "Crazy 'bout you".
In this box-set including all the Vanguard sides, there are two unissued titles worthy of interest from the concert "This is Buddy Guy" : "Watermelon man" and "Crazy 'bout you".
HOLD THAT PLANE
Vanguard
November 1969
Pour ce troisième et dernier disque chez Vanguard, Buddy opte pour un son plus posé et calme que sur les opus précédents. Sa guitare reste constamment brillante : "Hold that plane", "My time after awhile" et de belles reprises de "You don't love me" et "I'm ready". Co-produit par Buddy et Michael Cuscuna (futur fondateur de Mosaic Records), on note aussi la présence sur cet album de Phil Guy (petit frère de Buddy) à la guitare et de Junior Mance au piano.
In this third and final album at Vanguard, Buddy opts for a more calm sound that in the previous opus. His guitar is constantly brilliant : "Hold that plane", "My time after awhile" and beautiful covers of "You don't love me" and "I'm ready". Co-produced by Buddy and Michael Cuscuna (future founder of Mosaic Records), there is also the presence on this album of Phil Guy (Buddy's little brother) on guitar and Junior Mance on piano.
BUDDY AND THE JUNIORS
Blue Thumb
Harvest
BGO
MCA
EL CAMINO DEL BLUES vol.14
ABC
December 1969
Buddy Guy et Junior Wells se sont connus quand ils étaient chez Chess. Il s'agit ici du premier album dans lequel ils sont associés, premier d'une longue liste. Dès 1969-70, Guy & Wells tournent régulièrement ensemble, faisant en particulier la première partie des Rolling Stones. Sous la supervision de Michael Cuscuna et Bob Krasnow (qui dirige le label Blue Thumb), cette réunion acoustique new-yorkaise rassemble donc Buddy Guy, Junior Wells et le pianiste de jazz Junior Mance. Superbes interactions musicales et vocales entre Buddy et Junior sur "Talkin' 'bout women obviously", "Buddy's blues" et une très jolie reprise du "Hoochie coochie man" de Willie Dixon.
Buddy Guy and Junior Wells first met when they were at Chess. This is the first album - first of a long list - in which they are associated. From 1969 to 1970, Guy & Wells regularly tour together, especially being the opening act of the Rolling Stones. Under the supervision of Michael Cuscuna and Bob Krasnow (who runs the Blue Thumb label), this New York acoustic session brings together Buddy Guy, Junior Wells and jazz pianist Junior Mance. Superb musical and vocal interactions between Buddy and Junior on "Talkin' 'bout women obviously", "Buddy's blues" and a beautiful cover of "Hoochie coochie man" by Willie Dixon.
CHICAGO BLUES : 19 TRACKS FROM THE FILM
Red Lightnin'
April - May 1970
Il s'agit de la bande-son originale du film documentaire "Chicago blues" réalisé par Harley Cokliss. Buddy Guy figure en bonne place, interprétant six titres en leader ainsi que trois titres dans lesquels il accompagne Muddy Waters. On peut apprécier notamment une version cinglante de "First time I met the blues" même si la qualité sonore n'est pas parfaite.
This is the original soundtrack of the documentary film "Chicago blues" directed by Harley Cokliss. Buddy Guy features prominently, performing six songs as a leader and three tracks in which he accompanies Muddy Waters. We can enjoy a blistering version of "First time I met the blues" even if the sound quality is not perfect.
BUDDY GUY & JUNIOR WELLS PLAY THE BLUES
Atlantic
Rhino Handmade
BUDDY GUY WITH JUNIOR WELLS AND ERIC CLAPTON
Atlantic
October 1970 / March 1972
A l'origine, il s'agit d'un projet initié par Eric Clapton : placer Buddy Guy et Junior Wells en leader d'un groupe comprenant Clapton lui-même, Dr John et la section rythmique de Derek & The Dominoes (Carl Radle et Jim Gordon). D'autres musiciens furent également recrutés et les séances furent produites par Clapton, Ahmet Ertegun et Tom Dowd. Mais, celles-ci restèrent inédites avant qu'un autre producteur, Michael Cuscuna, n'y ajoute d'autres morceaux dans lesquels Buddy Guy est accompagné par le J. Geils Band. Malgré cette histoire chaotique, il s'agit d'un album majeur : Buddy et Junior - très en forme - se complètent merveilleusement et sont tous les deux brillants. Plusieurs très beaux moments : "A man of many words", "Come on in this house / Have mercy baby", "T-Bone shuffle", "This old fool", "Bad bad whiskey".
Originally, this is a project initiated by Eric Clapton : place Buddy Guy and Junior Wells as leaders of a band including Clapton himself, Dr John and the rhythm section of Derek & The Dominoes (Carl Radle and Jim Gordon). Other musicians were also recruited and sessions were produced by Clapton, Ahmet Ertegun and Tom Dowd. But they remained unpublished until another producer, Michael Cuscuna, adds other tracks in which Buddy Guy is accompanied by The J. Geils Band. Despite this chaotic history, this is a major album : Buddy and Junior - in fine form - complement each other wonderfully and are both brilliant. Many beautiful moments : "A man of many words", "Come on in this house / Have mercy baby", "T-Bone shuffle", "This old fool", "Bad bad whiskey".
DRINKIN' TNT 'N SMOKIN' DYNAMITE
Red Lightnin'
Blind Pig
Sequel
MESSIN' WITH THE KIDS
Castle
June 1974
Alors qu'il est clairement au creux de la vague, il fait son premier passage au festival de Montreux en compagnie de Junior Wells en 1974. Supporté par un groupe un peu raide (Pinetop Perkins, Bill Wyman, Terry & Dallas Taylor), la performance manque un peu de flamme et souffre de quelques longueurs. De bons moments tout de même : "Ah'w baby", "How can one woman be so mean", "Hoodoo man blues".
While he is clearly at the low point, he made his first appearance at the Montreux Festival alongside Junior Wells in 1974. Supported by a small band sometimes stiff (Pinetop Perkins, Bill Wyman, Terry & Dallas Taylor), the performance lacks a little flame and suffers from a few lengths. Some good moments : "Ah'w baby", "How can one woman be so mean", "Hoodoo man blues".
LIVE RECORDING AT YUHBIN CHOKIN HALL
Bourbon
March 1975
Disque mythique auprès des collectionneurs du fait de sa rareté et de sa quality. Attention, pour une fois, la version CD est moins complète que le double-LP (six morceaux de moins). Buddy Guy et Junior Wells sont entourés de Phil Guy, A.C. Reed, Earnest Johnson, Roosevelt Shaw. La qualité sonore est parfaite. On trouve notamment des lectures puissantes de "First time I met the blues", "Stone crazy", "Don't go no further", "Snatch it back and hold it". Probablement le meilleur disque en public de Buddy Guy & Junior Wells. On note aussi, qu'en cette année 1975, Buddy s'est marié avec Jennifer.
Mythical disc for collectors because of its rarity and quality. Be careful, for once, the CD version is less complete than the double LP (six tracks less). Buddy Guy and Junior Wells are surrounded by Phil Guy, A.C. Reed, Earnest Johnson, Roosevelt Shaw. The sound quality is perfect. We find especially powerful readings of "First time I met the blues", "Stone crazy", "Don't go no further", "Snatch it back and hold it". Probably the best live record of Buddy Guy & Junior Wells. We also note that in this 1975 year, Buddy married Jennifer.
DOLDINGER JUBILEE '75
Atlantic
August 1975
Invité à un concert du jazzman allemand Klaus Doldinger et de son groupe Passport, Buddy donne une version médiocre (quoiqu'inattendue) de "I just want to make love to you" (une version jazz-fusion).
Invited to a german concert of jazz musician Klaus Doldinger and his Passport band, Buddy gives a poor release (albeit unexpected) of "I just want to make love to you" (A jazz-fusion version).
LIVE IN MONTREUX
Black & Blue
Evidence
EVERYTHING GONNA BE ALRIGHT
Black & Blue
July 1978
Alors que Buddy n'a plus remis les pieds dans un studio depuis de nombreuses années, il trouve tout de même l'opportunité de figurer une seconde fois au prestigieux festival de Montreux. Parfaitement supporté par son vieil ami Junior Wells mais aussi par Jimmy Johnson, Dave Myers et Odie Payne, il délivre une prestation classique mais convaincante ("One room country shack", "Messin' with the kids").
While Buddy has not set a foot in a studio for many years, he still finds opportunity to be featured again at the prestigious Montreux Festival. Perfectly supported by his old friend Junior Wells but also by Jimmy Johnson, Dave Myers and Odie Payne, he delivers a classical but convincing performance ("One room country shack", "Messin' with the kids").
PEAK TO PEAK
RRC
July 1978 / July 1983 / July 1992
Ce CD reprend ses trois prestations au festival de Montreux en 1978, 1983 et 1992. Comme souvent dans ce genre de recueil, il y a quelques longueurs dans le programme. Cependant, on trouve aussi de nombreux bons moments ("Don't start me to talking", une version funky de "Mellow down easy", "While you was slippin' out", "Damn right I got the blues").
This CD resumes his three performances at the Montreux Festival in 1978, 1983 and 1992. As often in this kind of collection, there are some lengths in the program. However, there are also many good moments ("Don't start me to talking", a funky version of "Mellow down easy", "While you were slippin' out", "Damn right I got the blues").
THE DOLLAR DONE FELL
JSP
LIVE AT THE CHECKERBOARD LOUNGE
JSP
October 1979
Cet album public est enregistré à son propre club - le Checkerboard Lounge (qu'il a acquis en 1972) - par Ken Rasek pour le label anglais JSP. Le son est brut et puissant. Le jeu de guitare de Buddy devient plus explosif, rageur et un peu moins précis. Malgré quelques longueurs, cet enregistrement reste d'un bon niveau et symbolise le début d'un nouveau style pour Buddy Guy. Attention, le contenu du microsillon et du CD ne sont pas tout à fait les mêmes.
This public album was recorded at his own club - the Checkerboard Lounge (acquired in 1972) - by Ken Rasek for the english label JSP. The sound is raw and powerful. Buddy's guitar playing is more explosive, angry and a little less accurate. Despite a few lengths, this record remains at a good level and symbolizes the beginning of a new Buddy Guy style. Please note, the contents of LP and CD are not quite the same.
THE BLUES GIANT
Isabel
STONE CRAZY
Alligator
P-Vine
October 1979
Cet album est produit par le français Didier Tricard qui s'occupait des tournées du duo Buddy Guy & Junior Wells à l'époque. Tricard laisse Buddy totalement libre pendant la séance. D'une intensité rarement atteinte jusque là, l'album est composé de six morceaux superbes parmi lesquels le furieux "I smell a rat" puis "Are you losing your mind", "She's out there somewhere" et le slow blues "When I left home". Le groupe est exceptionnellement compact : Phil Guy (guitare), J.W. Williams (basse), Ray "Killer" Allison (batterie). Impressionné par le niveau de cette réalisation, Bruce Iglauer le réédite sur son label Alligator.
This album is produced by the french Didier Tricard who handled touring of Buddy Guy & Junior Wells duo at the time. Tricard let Buddy completely free during the session. With an intensity rarely reached so far, the album contents six superb songs including the furious "I smell a rat" and "Are you losing your mind", "She's out there somewhere" and the slow blues "When I left home". The backing band is exceptionally compact : Phil Guy (guitar), J.W. Williams (bass), Ray "Killer" Allison (drums). Impressed by the level of this achievement, Bruce Iglauer republishes it on his Alligator label.
BUDDY & PHIL
JSP
October 1979 / September 1980
BREAKING OUT
JSP
September 1980
Le nouveau style puissant et électrique de Buddy Guy est poussé ici à son paroxysme : son distordu et saturé de sa guitare peu agréable pour les oreilles (écouter l'inaudible "Me and my guitar" pour s'en convaincre), rythmique lourde. Il s'agit, d'ailleurs, de choix personnel puisqu'il est son propre producteur ici. Quand son blues se fait trop lourd et distordu, les morceaux semblent confus, bruyants même. Seul titre plus posé, plus calme, plus maitrisé : "She winked her eye".
The new powerful and electric style of Buddy Guy is pushed here to its paroxysm : saturated and distorted sound of his guitar unpleasant to the ears (listen to the inaudible "Me and my guitar" to be convinced), heavy rhythm. It is, moreover, his personal choices since he is his own producer here. When his blues is too heavy and distorted, the tracks seem confusing, even noisy. Only title a little bit calm, quieter, mastered : "She winked her eye".
BUDDY'S BLUES : THE BEST OF THE JSP SESSIONS
JSP
September 1980
GOING BACK
Isabel
GOING BACK TO ACOUSTIC
Pure Pleasure
ALONE AND ACOUSTIC
Alligator
May 1981
Une douzaine d'années après l'excellent album acoustique "Buddy & The Juniors", Buddy Guy et Junior Wells sont à nouveau réunis en studio pour rééditer l'expérience acoustique. Appliquée et intimiste, cette séance parisienne mérite une écoute attentive : "Buddy and Junior's thing", "Don't leave me", "I'm in the mood" ainsi que le medley "Baby what you want me to do / That's allright". Produite par Didier Tricard, la set-list fut notablement enrichie par Alligator sous le titre "Alone and acoustic".
A dozen years after the excellent acoustic album "Buddy & The Juniors", Buddy Guy and Junior Wells met again in the studio to repeat the acoustic experience. Applied and intimate, this Parisian session deserves careful listening : "Buddy and Junior's thing", "Don't leave me", "I'm in the mood" and the medley "Baby what you want me to do / That's allright". Produced by Didier Tricard, the set list was significantly enhanced by Alligator under the title "Alone and acoustic".
DJ PLAY MY BLUES
JSP
TEN BLUE FINGERS
JSP
December 1981
Après les expérimentations électriques de "Breaking out", ce nouvel album pour JSP confirme la nouvelle direction prise par Buddy. Hormis "Girl you're nice and clean", "Dedication to the late T-Bone Walker" (un beau blues lent en hommage au célèbre bluesman) et "Good news", la set-list apparait peu inspirée. Notons que Buddy laisse le chant à son frère Phil Guy sur le sympathique "Garbage man blues".
After the electrical experiments of "Breaking out", this new album for JSP confirms this new direction taken by Buddy. Apart from "Girl you're nice and clean", "Dedication to the late T-Bone Walker" (a beautiful slow blues tribute to the famous bluesman) and "Good news", the set list appears uninspired. Note that Buddy leaves the singing duties to his brother Phil Guy on the nice "Garbage man blues".
SIX STRING FRENZY
Blue Knight
November 1982 / 1985
TENTH ANNIVERSARY ANTHOLOGY
Antone's
July 1985
Pour l'anniversaire du label texan Antone's, Buddy interprète deux morceaux : "Look on yonders wall" et "Things I used to do".
For Texas label Antone's anniversary, Buddy interprets two songs : "Look on yonders wall" and "Things I used to do".
BUDDY GUY & FRIENDS
Castle
April 1987
LIVE IN CHICAGO '88
Klondike
June 1988
Le disque est partagé équitablement entre Otis Rush et Buddy Guy. Ces performances furent captées lors du Chicago Blues Festival en juin 1988 par la radio WBEZ. Par conséquent, la qualité sonore s'avère plutôt correcte même si la musique reste relativement conventionnelle.
The disc is shared equally between Otis Rush and Buddy Guy. These performances were captured at the Chicago Blues Festival in june 1988 by WBEZ radio. Consequently, the sound quality is rather correct even if the music is relatively conventional.
IT'S STILL CALLED THE BLUES
Swingin' Pig
July 1989
Après avoir perdu le Checkerboard Lounge (à priori, il lui fut racheté alors que Buddy était en tournée), il acquiert le Buddy Guy's Legends au début du mois de juin 1989. Pour son 56ème anniversaire, il monte sur scène en compagnie de Stevie Ray Vaughan pour une jam-session restée célèbre. Malgré quelques longueurs, cet enregistrement (probablement un album pirate) possède plusieurs bons moments intenses et puissants.
After losing the Checkerboard Lounge (apparently it was bought to him while Buddy was on tour), he acquires the Buddy Guy's Legends in early june 1989. For his 56th birthday, he goes on stage with Stevie Ray Vaughan for a remained famous jam session. Despite a few lengths, this recording (probably a bootleg album) has several good intense and powerful moments.
THE 2ND BURNLEY NATIONAL BLUES FESTIVAL
JSP
April 1990
Concert anglais dans lequel Buddy est notamment entouré de la famille Bell (Lurrie à la guitare, Tyson à la basse et James à la batterie). Il propose deux longues versions de "All your love" et "When the sun goes down".
English concert in which Buddy is especially surrounded by the Bell family (Lurrie on guitar, Tyson on bass and James on drums). He gives two long versions of "All your love" and "When the sun goes down".
ANTONE'S 10TH ANNIVERSARY ANTHOLOGY vol.2
Antone's
July 1991
Sur cette anthologie, Buddy interprète "Everything is gonna be alright".
In this anthology, Buddy interprets "Everything is gonna be alright".
MUSIC FROM THE FILM : RUSH
Reprise
1991
Une très belle version de "Don't know which way to go" aux côtés d'Eric Clapton pour la bande-son du film "Rush" réalisé par L.F. Zanuck.
A beautiful version of "Don't know which way to go" with Eric Clapton for the soundtrack of the film "Rush" directed by L. F. Zanuck.
DAMN RIGHT I'VE GOT THE BLUES
Silvertone
1991
Quand le label anglais Silvertone propose à Buddy de graver un nouvel album, il n'a quasiment plus rien enregistré en studio depuis dix ans. Grâce à son bassiste Greg Rzab, il s'entoure du producteur John Porter et des musiciens Mick Weaver, Pete Wingfield, Richie Hayward. On note aussi les participations des Memphis Horns, d'Eric Clapton, Mark Knopfler et Jeff Beck. Buddy se montre en grande forme aussi bien vocalement qu'à la guitare. Il retrouve en partie la fougue et la flamme de ses meilleurs enregistrements. Sa chanson-titre est une réussite puissante et excitante. Ses propres compositions figurent parmi les meilleurs pistes du CD : "Too broke to spend the night", "Rememberin' Stevie" (en hommage à Stevie Ray Vaughan décédé accidentellement en aout 1990). Des reprises parfaitement exécutées méritent également l'écoute comme "Where is the next one coming from" (composé par John Hiatt) ou "Let me love you baby". Véritable album de retour, il apporte un véritable regain de notoriété à Buddy. Il existe une version allongée avec deux morceaux supplémentaires ("Doin' what I like best").
When the english label Silvertone offers Buddy to make a new album, he has practically recorded nothing in the studio for ten years. With his bassist Greg Rzab, he surrounds himself with producer John Porter and musicians Mick Weaver, Pete Wingfield, Richie Hayward. There is also the participation of the Memphis Horns, Eric Clapton, Mark Knopfler and Jeff Beck. Buddy shows himself in great form vocally as well as on guitar. He finds in part the fire and the flame of his best recordings. His title track is a powerful and exciting track. His own compositions are among the best tracks of the CD : "Too broke to spend the night", "Rememberin' Stevie" (in tribute to Stevie Ray Vaughan died accidentally in august 1990). Covers perfectly executed are also worth listening as "Where is the next one coming from" (composed by John Hiatt) or "Let me love you baby". A true comeback album, he brings a real boost of success to Buddy. There is an extended version with two additional sides ("Doin' what I like best").
BLUES ALIVE
Swingin' Pig
July 1992
CD pirate reprenant la prestation de Buddy Guy - en pleine forme - au festival de Montreux en juillet 1992. Une performance puissante et convaincante qui mérite l'écoute malgré quelques longueurs et une qualité sonore parfois moyenne.
Bootleg CD compiling Buddy Guy appearance - in top form - at the Montreux festival in july 1992. A powerful and convincing performance that deserves listening despite some lengths and sometimes average sound quality.
LAST TIME AROUND : LIVE AT LEGENDS
Silvertone
March 1993
Ce disque fut publié par Silvertone en 1998 après le décès de Junior Wells. Mais, il reprend une prestation antérieure sur la scène du Legends en mars 1993. En configuration acoustique, les deux amis font preuve d'une entente parfaite et privilégient des reprises soignées de classiques du blues ("Still a fool", "Hoochie coochie man").
This record was released by Silvertone in 1998 after the death of Junior Wells. But, he resumed an earlier performance on stage at Legends in march 1993. In acoustic configuration, the two friends show a perfect understanding and favor blues classics polished covers ("Still a fool", "Hoochie coochie man").
FEELS LIKE RAIN
Silvertone
1993
Second album pour Silvertone moins puissant et enflammé que "Damn right I've got the blues". Même producteur (John Porter), mêmes musiciens (Greg Rzab, Richie Hayward), les apparitions de quelques invités comme Bonnie Raitt, Paul Rodgers et Travis Tritt, ce "Feels like rain" est pourtant construit selon la même recette. On peut mentionner une excellente reprise du "I go crazy" des Moody Blues, des inflexions Rhythm & Blues intéressantes avec "Some kind of wonderful" et "Sufferin' mind" (une reprise de Guitar Slim), une bonne relecture de "She's nineteen years old" de Muddy Waters et un bon duo très blues avec John Mayall ("I could cry").
Second album for Silvertone less powerful and burning than "Damn right I've got the blues". Same producer (John Porter), same musicians (Greg Rzab, Richie Hayward), appearances of a few guests like Bonnie Raitt, Paul Rodgers and Travis Tritt, this "Feels like rain" is built according to the same recipe. There may be mentioned the excellent cover of Moody Blues' "I go crazy", some interesting Rhythm & Blues inflections on "Some kind of wonderful" and "Sufferin' mind" (a cover of Guitar Slim), a good reading of Muddy Waters' "She's nineteen years old" and a very good blues duet with John Mayall ("I could cry").
STONE FREE : A TRIBUTE TO JIMI HENDRIX
Reprise
1993
LIVE THE REAL DEAL
Silvertone
May 1994
Pour ce concert, le label Silvertone associe Buddy au groupe de l'émission "Saturday night live". De ce fait, la cohésion musicale n'est pas aussi bonne qu'avec son propre groupe. Ceci dit, le disque recèle d'excellentes pistes comme "I've got my eyes on you", "My time after awhile", "Damn right I've got the blues".
For this concert, the Silvertone label combines Buddy with the "Saturday Night Live" house band. Thus, the musical cohesion is not as good as with his own group. That said, the album contains excellent tracks like "I've got my eyes on you", "My time after awhile", "Damn right I've got the blues".
SLIPPIN' IN
Silvertone
1994
Une moitié de l'album avec la section rythmique du défunt Stevie Ray Vaughan (Chris Layton et Tommy Shannon), l'autre avec ses musiciens de Chicago (Greg Rzab, Ray Allison). La production d'Eddie Kramer donne un son blues-rock puissant à l'ensemble du disque. "7-11", "Someone else is steppin' in", "Don't tell me about the blues" figurent parmi les meilleurs titres.
Half of the album with the rhythm section of the late Stevie Ray Vaughan (Chris Layton and Tommy Shannon), the other with his musicians in Chicago (Greg Rzab, Ray Allison). Eddie Kramer's production gives a powerful blues-rock sound to the entire disc. "7-11", "Someone else is steppin' in", "Don't tell me about the blues" are among the best titles.
YOU'RE GONNA MISS ME (WHEN I'M DEAD AND GONE)
Telarc
December 1994
Une belle version de "Clouds in my heart" sur cet album hommage à Muddy Waters.
A nice version of "Clouds in my heart" on this tribute album to Muddy Waters.
A TRIBUTE TO STEVIE RAY VAUGHAN
Epic
May 1995
ANTONE'S 20TH ANNIVERSARY
Antone's
July 1995
Buddy interprète le classique "The things that I used to do" pour l'anniversaire du label Antone's. Il est accompagné d'un superbe groupe : Sarah Brown, Derek O'Brien, Mel Brown, Mark "Kaz" Kazanoff parmi d'autres.
Buddy plays the classic "The things that I used to do" for the Antone's label anniversary. He is accompanied by a superb backing band : Sarah Brown, Derek O'Brien, Mel Brown, Mark "Kaz" Kazanoff among others.
MUDDY WATERS : ALL-STAR TRIBUTE TO A LEGEND
Music Avenue
October 1997
HEAVY LOVE
Silvertone
1998
Avec le producteur David Z, le son de Buddy Guy se situe désormais coincé dans une sorte de blues-rock lourd et électrique. Une concession commerciale qui lui fait abandonner progressivement le blues dans lequel il excelle. Le répertoire est parfois improbable (une reprise de Z.Z. Top, une lecture inepte du classique "I just want to make love to you") et ses propres compositions globalement ennuyeuses ("Let me show you"). Un album très décevant.
With producer David Z, the sound of Buddy Guy is now stuck in a sort of heavy electric blues-rock. A commercial concession that phase him out of the Blues in which he excels. The repertoire is sometimes improbable (a cover of Z.Z. Top, an inept reading of the classic "I just want to make love to you") and his own compositions generally boring ("Let me show you"). A very disappointing album.
BLUES POWER : SONGS OF ERIC CLAPTON
House of Blues
1999
Dans cet hommage à Eric Clapton, Buddy donne une version peu convaincante de "Strange brew".
In this tribute to Eric Clapton, Buddy gives a not very convincing version of "Strange brew".
SWEET TEA
Silvertone
2001
L'idée de cet album était de confronter Buddy Guy avec la tradition du Hill Country Blues : enregistré à Oxford (Mississippi), produit par Dennis Herring avec les participations de Jimbo "Hambone" Mathus, Spam (ancien batteur de T-Model Ford), nombreuses reprises de Junior Kimbrough, T-Model Ford, Cedell Davis. Les guitares et les basses sont souvent trop lourdes et électrifiées pour séduire tout à fait. Du blues brut et sale qui pourra plaire aux amateurs du genre.
The idea for this album was to confront Buddy Guy with the tradition of the Hill Country Blues : recorded in Oxford (Mississippi), produced by Dennis Herring with the participations of Jimbo "Hambone" Mathus, Spam (former drummer of T-Model Ford), many covers of Junior Kimbrough, T-Model Ford, Cedell Davis. The guitars and bass are often too heavy and electrified to seduce altogether. Crude and dirty blues that will please fans of the genre.
BLUES SINGER
Silvertone
Jive
2003
De nouveau gravé à Oxford (Mississippi) avec le producteur Dennis Herring, "Blues singer" est - à l'inverse de "Sweet tea" - un projet acoustique épuré. Accompagné avec subtilité par Jimbo "Hambone" Mathus (guitare), Tony Garnier (basse) et Jim Keltner (batterie), Buddy interprète ses blues avec feeling et sérénité. Un disque très consistant composé uniquement de reprises souvent superbement rendues : "Hard time killing floor", "Crawlin' kingsnake", "Louise Mc Ghee", "Moanin' and groanin'", "Bad life blues".
Cut again in Oxford (Mississippi) with producer Dennis Herring, "Blues singer" is - in contrast to "Sweet tea" - a minimalist acoustic project. Accompanied subtly by Jimbo "Hambone" Mathus (guitar), Tony Garnier (bass) and Jim Keltner (drums), Buddy performs his blues with feeling and serenity. A very consistent record composed solely of covers often beautifully rendered : "Hard time killing floor", "Crawlin' kingsnake", "Louise Mc Ghee", "Moanin' and groanin'", "Bad life blues".
BRING 'EM IN
Silvertone
Jive
2005
Produit par Steve Jordan (tenant également le poste de batteur), ce CD possède un style soul-blues contemporain. La production et les arrangements sont équilibrés mais semblent parfois trop lisses. Malgré cela, on peut apprécier de bons titres comme "Someone's sleeping in my bed", "What kind of woman is this", "Cut you loose". Buddy se montre en forme vocalement, précis et inspiré à la guitare. Plusieurs invités viennent jouer (avec des fortunes diverses) : Carlos Santana (une version inapropriée de "I put a spell on you"), Tracy Chapman, Keith Richards, Anthony Hamilton.
Produced by Steve Jordan (also taking drummer position), this CD has a contemporary soul-blues style. The production and arrangements are balanced but sometimes seem too smooth. Despite this, we can appreciate good songs like "Someone's sleeping in my bed", "What kind of woman is this", "Cut you loose". Buddy shows himself in fine form vocally, precise and inspired on guitar. Many guests come to play (with varying success) : Carlos Santana (an unadequate version of "I put a spell on you"), Tracy Chapman, Keith Richards, Anthony Hamilton.
SKIN DEEP
Silvertone
Jive
2008
On observe ici un retour du son blues-rock avec les guitares mixées en avant. Avec une production lourde et chargée de Tom Hambridge, l'album parait peu inspiré et sans saveur. Hambridge est aussi le compositeur de la plupart des morceaux (parfois avec Buddy). Certaines faces méritent, tout de même, l'écoute : "Show me the money", "Out in the woods" (avec la slide-guitare de Robert Randolph), "Hammer and a nail".
We observe here a return of his blues-rock sound with guitars mixed ahead. With Tom Hambridge heavy and charged production, the album seems uninspired and without flavor. Hambridge is also the composer of most songs (sometimes with Buddy). Some sides deserve, nonetheless, listening : "Show me the money", "Out in the woods" (with Robert Randolph on slide-guitar), "Hammer and a nail".
LIVE AT LEGENDS
Silvertone
RCA
January - March 2010
Concert de janvier 2010 édité en CD en 2013 par Silvertone agrémenté de trois titres studio inédits issus des sessions de "Living proof". La set-list accumule les reprises de classiques attendus et parfois bâclés. Les trois titres studio en fin d'album sont, en revanche, plus intéressants.
January 2010 concert issued on CD in 2013 by Silvertone enhanced with three unreleased tracks from "Living proof" studio sessions. The set-list accumulates covers of expected and sometimes sloppy classics. The three studio tracks at the end of the album are, however, more interesting.
LIVING PROOF
Silvertone
Jive
2010
Second album de Buddy Guy avec le producteur Tom Hambridge. Même si Buddy se montre parfois imprécis dans ses solos de guitare et que les arrangements semblent parfois trop calibrés, on peut ressortir quelques titres comme l'autobiographique "74 years young" ou "Living proof". Un peu meilleur que "Skin deep" mais encore décevant.
Second album of Buddy Guy with producer Tom Hambridge. Although Buddy sometimes shows inaccurate in his guitar solos and arrangements that sometimes seem too calibrated, we can highlight some titles like the autobiographical "74 years young" or "Living proof". A little better than "Skin deep" but still disappointing.
CHICAGO BLUES : A LIVING HISTORY - THE (R)EVOLUTION CONTINUES
Raisin' Music
2011
Invité dans la seconde livraison de "Chicago blues : a living history", Buddy propose une remarquable version de son "First time I met the blues". Dommage qu'il ne sonne que rarement comme cela dans ses récents albums.
Guests in the second installment of "Chicago blues : a living history", Buddy offers a remarkable version of his "First time I met the blues". Too bad that he rarely sounds like this in his recent albums.
THE MAHINDRA BLUES FESTIVAL
Mahindra
2012
Deux morceaux de Buddy Guy au festival Mahindra de Mumbai en Inde. Mais, la qualité sonore est vraiment mauvaise.
Two tracks of Buddy Guy at the Mahindra festival in Mumbai, India. But, the sound quality is really bad.
CROSSROADS
Rhino - Warner
April 2013
RHYTHM AND BLUES
RCA
2013
A 77 ans, Buddy Guy propose ici un double-album distinctement coupé en deux parties : une Rhythm et l'autre Blues. Dans la première partie, on apprécie notamment "I go by feel", "What's up with that woman", "Well I done got over", "What you gonna do about me" (en duo avec Beth Hart). Dans la seconde partie, "I could die happy", "All that makes me happy is the blues" et la reprise de "Poison ivy" figurent parmi les meilleurs moments. Un album inégal mais varié.
At 77, Buddy Guy offers here a double album distinctly cut in two parts : a Rhythm part and a Blues part. In the first part, we particularly appreciate "I go by feel", "What's up with that woman", "Well I done got over", "What you gonna do about me" (duet with Beth Hart). In the second part, "I could die happy", "All that makes me happy is the blues" and the cover of "Poison ivy" are among the highlights. Uneven but varied album.
BORN TO PLAY GUITAR
RCA
Silvertone
2015
Dans la lignée de "Rhythm & Blues", cet opus est encore inégal mais contient quelques beaux morceaux de blues assez prenants : "Born to play guitar", "Back up mama", "Kiss me quick", "Crying out of one eye", "Thick like Mississippi mud" et "Too late" (avec un apport convaincant de Kim Wilson). De plus, Buddy rend hommage à deux maitres : B.B. King ("Flesh & bone") et Muddy Waters (le superbe "Come back Muddy").
In the continuation of "Rhythm & Blues", this album is still patchy but contains some beautiful catchy pieces of blues : "Born to play guitar", "Back up mama", "Kiss me quick", "Crying out of one eye", "Thick like Mississippi mud" and "Too late" (with a convincing contribution of Kim Wilson). Moreover, Buddy honors two masters : B.B. King ("Flesh & bone") and Muddy Waters (the superb "Come back Muddy").
CHICAGO PLAYS THE STONES
Raisin' Music
2018
Hommage des bluesmen de Chicago aux chansons des Rolling Stones produit par Larry Skoller dans laquelle Buddy Guy et Mick Jagger donnent une curieuse version de "Doo Doo Doo Doo (Heartbreaker)".
Tribute from the Chicago bluesmen to the songs of the Rolling Stones produced by Larry Skoller in which Buddy Guy and Mick Jagger give a curious version of "Doo Doo Doo Doo (Heartbreaker)".
THE BLUES IS ALIVE AND WELL
RCA
Silvertone
2018
Produit par Tom Hambridge qui compose également la plupart des morceaux, cet album montre que Buddy - 82 ans - n'a rien perdu de ses qualités : son chant reste souple et expressif et son jeu de guitare plutôt convaincant. Le programme semble peut être un peu long mais recèle quelques beaux moments : "A few good years", "Cognac" (avec Keith Richards et Jeff Beck), "Blue no more" (avec James Bay), "You did the crime" (avec Mick Jagger à l'harmonica), "Old fashioned", "End of the line".
Produced by Tom Hambridge who also composes most of the tracks, this album shows that Buddy - 82 years old - has not lost any of his qualities : his singing remains supple and expressive and his guitar playing rather convincing. The program may seem a little long but has some nice moments : "A few good years", "Cognac" (with Keith Richards and Jeff Beck), "Blue no more" (with James Bay), "You did the crime" (with Mick Jagger on harmonica), "Old fashioned", "End of the line".
Thanks to Xavier M. from Bopping