Buddy Guy Blues Band – Crystal Palace Bowl (1992)

FrontCover1.jpgGeorge “Buddy” Guy (born July 30, 1936) is an American blues guitarist and singer. He is an exponent of Chicago blues and has influenced eminent guitarists including Eric Clapton, Jimi Hendrix, Jimmy Page, Keith Richards, Stevie Ray Vaughan, Jeff Beck, Gary Clark Jr. and John Mayer. In the 1960s, Guy played with Muddy Waters as a house guitarist at Chess Records and began a musical partnership with the harmonica player Junior Wells.

Guy was ranked 23rd in Rolling Stone magazine’s “100 Greatest Guitarists of All Time”. His song “Stone Crazy” was ranked 78th in the Rolling Stone list of the “100 Greatest Guitar Songs of All Time”. Clapton once described him as “the best guitar player alive”. In 1999, Guy wrote the book Damn Right I’ve Got the Blues, with Donald Wilcock. His autobiography, When I Left Home: My Story, was published in 2012.

BuddyGuy02Guy was born and raised in Lettsworth, Louisiana. His parents were sharecroppers and Guy as a child would pick cotton for $2.50 per 100 pounds. He began learning to play the guitar using a two-string diddley bow he made. Later he was given a Harmony acoustic guitar which, decades later in Guy’s lengthy career, was donated to the Rock and Roll Hall of Fame.

In the early 1950s Guy began performing with bands in Baton Rouge. While living there, he worked as a custodian at Louisiana State University.

Soon after moving to Chicago on September 25, 1957, Guy fell under the influence of Muddy Waters. In 1958, a competition with West Side guitarists Magic Sam and Otis Rush gave Guy a record contract. Soon afterwards he recorded for Cobra Records. During his the Cobra sessions he teamed up with Ike Turner who helped him make his second record, “You Sure Can’t Do” / “This Is The End,” by backing him on guitar and composing the latter. After two releases from Cobra’s subsidiary, Artistic, Guy signed with Chess Records.

Guy’s early career was impeded by conservative business choices made by his record company, Chess Records, his label from 1959 to 1968, which refused to record Guy playing in the novel style of his live shows. Leonard Chess, Chess Records founder, denounced Guy’s playing as “just making noise.” In the early 1960s, Chess tried recording Guy as a solo artist with R&B ballads, jazz instrumentals, soul and novelty dance tunes, but none of these recordings were released as a single. Guy’s only Chess album, I Left My Blues in San Francisco, was released in 1967. Most of the songs belong stylistically to the era’s soul boom, with orchestrations by Gene Barge and Charlie Stepney. Chess used Guy mainly as a session guitarist to back Muddy Waters, Howlin’ Wolf, Little Walter, Sonny Boy Williamson, Koko Taylor and others. As late as 1967, Guy worked as a tow truck driver while playing clubs at night.

BuddyGuy04.jpg

During his tenure with Chess, Guy recorded sessions with Junior Wells for Delmark Records under the pseudonym Friendly Chap in 1965 and 1966. In 1965, he participated in the European tour American Folk Blues Festival.

He appeared onstage at the March 1969 “Supershow” in Staines, England, which also included Eric Clapton, Led Zeppelin, Jack Bruce, Stephen Stills, Buddy Miles, Glenn Campbell, Roland Kirk, Jon Hiseman, and the Misunderstood. In 1972, he established The Checkerboard Lounge, with partner L.C. Thurman.

Guy’s career was revived during the blues revival of the late 1980s and early 1990s. His resurgence was sparked by Clapton’s request that Guy be part of the “24 Nights” all-star blues guitar lineup at London’s Royal Albert Hall. Guy subsequently signed with Silvertone Records.

BuddyGuy05

Guy had a small role in the 2009 crime film In the Electric Mist as Sam “Hogman” Patin.

As of 2019, Guy still performs at least a hundred and thirty nights a year, including a month of shows each January at his Chicago blues club, Buddy Guy’s Legends.

In 2015, Alan Harper, a British blues fan, published the book Waiting for Buddy Guy: Chicago Blues at the Crossroads.

On June 25, 2019, The New York Times Magazine listed Buddy Guy among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire. (by wikipedia)

BuddyGuy01.jpg

And here´s an exciting and explosive concert, recorded live byt he BBC. Buddy Guy plays a lot of Blues, Rock & Soul classics … it´s one of these great shows by Buddy Guy …one of the findest blues musicians ever.

Buddy Guy at it´s best !

BackCover1.jpg

Personnel:
Buddy Guy (guitar vocals)
Scott Wenston Holt (guitar)
John Kattke (keyboards)
Greg Rzab (bass)
Kevin Johnston (drums)

AlternateFrontCover.jpgAlternate frontcover

Tracklist:
01. Introduction 2.00

02. Medley 1 / 40.08
02.1. Mary Had A Little Lamb (Guy)
02.2. Sweet Little Angel (KingJosea/Taub/Bogan/Smith)
02.3. Crazy ‘Bout You (Brooks)
02.4. I Just Wanna Make Love To You (Dixon)
02.5. Walking By Myself (Rodgers)
02.6. Stormy Monday (Walker)
02.7. Someone Else Is Steppin’ in (Slippin’ Out, Slippin’ In) (LaSalle)
02.8. Sweet Home Chicago (Johnson)
02.9. Got My Eyes On You (Dixon/Guy)

03. Medley 2 / 21.09
03.1. Red House (Hendrix)
03.2. What’d I Say (Charles)
03.3. Strange Brew (Clapton/Pappalardi/Collins)
03.4. Cold Shot (Kindred/Clark)
03.5. Hoochie Coochie Man (Dixon)
03.6. Rock Me Baby/Got My Mojo Workin’

04. Medley 3 / 16.44
04.1. Mustang Sally (Rice)
04.2. Knock On Wood (Floyd/Cropper)
04.3. Jam

05. Outro 2.31

CD1.jpg

*
**

BuddyGuy03

Christy Moore – Prosperous (1972)

FrontCover1.jpgChristy, a native of Co. Kildare, started in the music business in the mid-sixties, when his life as a bank clerk was interrupted by a bank strike, and he moved to England. There he became involved in the folk music scene at the time, and spent a few years playing pubs and clubs around the country.

His return to Ireland was marked by the album Prosperous, which proved to be a milestone in the rapprochement of Irish music to the popular mainstream. This album benefited from a collaboration of the leading talents of contemporary folk music, musicians such as Andy Irvine, Donal Lunny and Liam O’Flynn, and this one-off was to lead to the formation of Planxty, a band who were at the leading edge of the revival of Irish traditional music.

Over the following years the musical status of Planxty became legendary both in Ireland, Britain and throughout Europe. However in 1974 the band split up to pursue solo projects. It was during this period that Christy continued to explore new ground as a solo artist recording a number of solo albums including ‘The Iron Behind the Velvet’  which featured Andy Irvine and ‘Live in Dublin’ with Donal Lunny.

ChristyMoore01

PlanxtyThe original Planxty lineup of Christy, Andy, Liam and Donal then reformed in 1979. They recorded two further albums with Tara Records ‘After the Break’ (TARACD3001) and ‘The Woman I Loved So Well’ (TARACD3005). There were several additions and changes to their lineup most notably the addition of Matt Molloy, flautist from the Bothy Band, who later joined The Chieftains and Bill Whelan. In 1981 Planxty performed a Bill Whelan arrangement called ‘Timedance’ as the intermission piece for the Eurovision song contest, held that year in Ireland. Later it was released as a single and is now included on Bill’s CD of ‘The Seville Suite’ released by Tara in 1992.

In the eighties Christy again teamed up with Donal Lunny to form Moving Hearts, another ambitious and innovative Irish band which sought to mix jazz into the folk-rock fusion. Ever the wanderer, Christy was soon breaking out on his own again, and it was in the eighties that he began to establish himself as one of Ireland’s leading solo artists with a string of acclaimed albums and high profile tours. In the mid-ninties Christy decided to take a break from the music for a few years. In the year 2000 Christy return to live performances with a series of Dublin concerts. Over the last few years he has released a number of solo projects including a television series, a live album and a 6 CD boxset.

ChristyMoore02.jpg

In 2004 Christy once again teamed up with Planxty for a series of Irish concerts and a new live CD and DVD, while at the same time performing regularly in his own right with in Ireland and the UK, with Declan Sinnott. (taramusic.com)

As I got over the excitement of having made an album I began to hear what it was that had been recorded. I realised how important it was to work with musicians who could hear the work and empathise with the singer. All these songs have an atmosphere and a definite vibe of their own and that must be respected.†

When Bill Leader agreed to record my work for his Trailer label. I made contact with Donal Lunny, Andy Irvine, Liam O’Flynn and asked them to play on my second album. I’d known Donal since school and followed his music right from the start. He taught me how to play guitar and bowrawn and has always been the most sensitive collaborator and friend.

He also has a great understanding of the other instruments their capabilities and limitations and can write riffs and fills for all occasions. Liam O’Flynn is the first piper I encountered and forty years on is still my favourite. I’d known Andy from his work with Sweeny’s Men and occasional meetings along the trail.

This was a wonderful session of recordings. It was a time of great music and fun. Bill Leader was the most innovative of engineers and got on with his task of getting it down. Considering he was working with a Revox Reel to Reel and two mikes the sounds he recorded are ageing well.

I’ve talked about this album in many interviews. It has been viewed in lots of ways and taken apart, dissected and given all sorts weighty significance these past 30 years. It is flattering and titillating to hear of it’s debate but the truth is it was made primarily for the sheer joy of making music. We did it because we loved to do it. We had a ball and all we sought to do was to record the sounds that we liked. All that followed has been an unexpected and most welcome bonus. (Christy Moore)

ChristyMoore04

The album that started it all, the revival of traditional Irish music (which assumes, of course, that it needed reviving) and most importantly, led to the formation of the great Irish traditional band, Planxty.

A bunch of mates collect in a hotel, how Irish, and record, crudely, a belter of an album. Truly a great album. (prognotfrog.blogspot.com)

BackCover1.jpg

Personnel:
Dave Bland (concertina)
Clive Collins (fiddle, banjo)
Kevin Coneff (bodhrán)
Liam Og O’Flynn (uilleann Pipes, tin whistle)
Andy Irvine (mandolin)
Donal Lunny (bouzouki, guitar)
Christy Moore (vocals, guitar)

ChristyMoore03Tracklist:
01. Raggle Taggle Gypies : Tabhair Dom Do Lamh (Traditional) 4.23
02. The Dark Eyed Sailor (Trad.itional) 3.58
03. I Wish I Was In England (Moore) 2.04
04. Lock Hospital (Traditional) 4.13
05. James Connolly (Traditional) 3.03
06. The Hackler From Grouse Wall (Traditional) 2.28
07. Tribute To Woody (Dylan) 2.15
08. The Ludlow Massacre (Guthrie) 4.13
09. A Letter To Syracuse (Cartwright/Caddick) 2.54
10, Spancil Hill (Traditional) 5.52
11. The Cliffs Of Doneen (Traditional) 3.04
12. Rambling Robin (Traditional) 2.19

LabelB1

*
**

LinerNotes