Muddy Waters – Can’t Get No Grindin (1973)

FrontCover1.jpgBy the time Muddy Waters reached the 1970s, it seemed as though the fuzzed-out blend of Chicago Blues he pioneered, and the electric British blues he inspired had surpassed him. The 1970s would also see the release of his final albums with Chess Records, and would prove that Waters hadn’t lost step in spite of his age. Fresh off his acclaimed London Sessions, (Which saw the Mississippi native work alongside Steve Winwood of Traffic & Mitch Mitchell of the Jimi Hendrix Experience) 1973 brought Can’t Get No Grindin’ which was a welcome return to the rugged, slide-guitar blues that originally defined the bluesman, after experimenting with psychedelia, brass blow-outs, and other forays.

Can’t Get No Grindin’ is a classic showcase of Waters’ raw power as a musician, and is every bit as sharp and edgy as the primal blues he became famous for in the 1950s. Whether remakes of classics like “Mother’s Bad Luck Child”, newer compositions such as “Love Weapon” or the often-covered “Garbage Man”, or instrumental jams like “After Hours”, Waters dominates each track without resorting to electronic studio gimmickry or celebrity guest appearances. (by undergroundhiphop.com)

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Can’t Get No Grindin’ is, surprisingly, the only Muddy Waters album in the Hall of Fame that was actually recorded as an album, not a compilation of singles and older material. Chess veteran Ralph Bass produced the set in Chicago during the period after the company had been sold to GRT of New York but while the last Chess building and studio still stood at 320 E. 21st Street. Most of Muddy’s working band, joined by alumnus James Cotton on harp, backed him on a quickly recorded session (Bass preferred live spontaneity to perfected multiple takes when producing blues) that found the master and his crew in fine form, delivering the kind of blues that made Muddy famous back in the 1950s. Chess had tried to take him in more contemporary directions on other albums of the ’60s and ’70s but ended up with a classic by just letting Muddy cut a straight-ahead, no-frills, no-rock-stars album. The title track, parenthetically subtitled What’s the Matter With the Meal, is actually a rendition of Memphis Minnie’s What’s the Matter With the Mill. (blues.org)

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Muddy’s next-to-last Chess album, Can’t Get No Grindin’ marked a return to working with a band of his own after several experimental line-ups and recordings — Pinetop Perkins took over the piano spot from the late Otis Spann, with Chess veteran harpist James Cotton aboard, and PeeWee Madison, and Sammy Lawhorn handling the guitars (apart from Muddy’s axe, natch). The music is raw, hard-edged, and sharp (the guitars slash and cut), more like a successor to Muddy’s classic 1950’s sides (he rethinks a bunch ’50s numbers here) than to the London Sessions, Super Blues, brass blow-outs, and psychedelic albums that he’d been doing. It’s also easy to hear Muddy’s heart in this release — he fairly oozes soul out of every note he sings. The title track, “Sad Letter,” and “Mother’s Bad Luck Child” are all killer tracks, and most of the rest isn’t far behind, though “Garbage Man” is the best known of the newer tracks, thanks to subsequent covers. (by Bruce Eder)

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Personnel:
James Cotton (harmonica)
Calvin Jones (bass)
Sam Lawhorn (guitar)
(Pee Wee Madison (guitar)
Pinetop Perkins (piano, harpsichord)
Willie Smith (drums)
Muddy Waters (vocals, guitar)

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Tracklist:
01. Can’t Get No Grindin’ (What’s The Matter With The Meal) (Morganfield) 2.46
02. Mother’s Bad Luck Child (Morganfield) 4.56
03. Funky Butt (McKinley Morganfield) 2.53
04. Sad Letter (Morganfield) 4.15
05. Someday I’m Gonna Ketch You (Morganfield) 3.14
06. Love Weapon (Morganfield) 4.05
07. Garbage Man (Hammond) 2.39
08. After Hours (Parrish/Feyne/Bruce) 3.50
09. Whiskey Ain’t No Good (Morganfield) 4.35
10. Muddy Waters’ Shuffle (Morganfield) 2.20

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Muddy Waters – Hard Again (1977)

FrontCover1.jpgHard Again is the twelfth studio album by American blues singer Muddy Waters. It was recorded by producer Johnny Winter.

Released on January 10, 1977, Hard Again was Muddy’s first album on the Blue Sky label after leaving Chess Records, and was well received by critics.

In August 1975, Chess Records was sold to All Platinum Records and became a reissue label only. It was sometime after this when Muddy Waters left the label and he did not record any new studio material until he signed with Johnny Winter’s Blue Sky label in October 1976.

The sessions for Hard Again were recorded across the space of three days. Producing the session was Johnny Winter and engineering the sessions was Dave Still – who previously engineered Johnny’s brother Edgar, Foghat, and Alan Merrill. For the recordings Muddy used his then current touring band of guitarist Bob Margolin, pianist Pinetop Perkins, and drummer Willie “Big Eyes” Smith. Other backing members during the sessions were harmonicist James Cotton, who performed with Muddy at the Newport Jazz Festival in 1960, and bassist Charles Calmese, who performed with both Johnny Winter and James Cotton in the past.

Three of the songs on the album – “Mannish Boy”, “I Want to Be Loved”, and “I Can’t Be Satisfied” – were re-recordings of songs that were previously recorded for Chess Records. One of the songs recorded, “The Blues Had a Baby and They Named It Rock and Roll, Pt. 2”, was co-written by Brownie McGhee and another song, “Bus Driver”, was co-written by T. Abrahamson.

Hard Again peaked at #143 on the Billboard 200, which was his first appearance on the chart since Fathers and Sons in 1969. The album won the Grammy Award for Best Ethnic or Traditional Folk Recording the year of its release. (by wikipedia)

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After a string of mediocre albums throughout most of the 1970s, Muddy Waters hooked up with Johnny Winter for 1977’s Hard Again, a startling comeback and a gritty demonstration of the master’s powers. Fronting a band that includes such luminaries as James Cotton and “Pine Top” Perkins, Waters is not only at the top of his game, but is having the time of his life while he’s at it. The bits of studio chatter that close “Mannish Boy” and open “Bus Driver” show him to be relaxed and obviously excited about the proceedings. Part of this has to be because the record sounds so good. Winter has gone for an extremely bare production style, clearly aiming to capture Waters in conversation with a band in what sounds like a single studio room. This means that sometimes the songs threaten to explode in chaos as two or three musicians begin soloing simultaneously. Such messiness is actually perfect in keeping with the raw nature of this music; you simply couldn’t have it any other way. There is something so incredibly gratifying about hearing Waters shout out for different soloists, about the band missing hits or messing with the tempos. Hey this isn’t pop music, it’s the blues, and a little dirt never hurt anybody. The unsung star of this session is drummer Willie “Big Eyes” Smith, whose deep grooves make this record come alive. The five-minute, one-chord “Mannish Boy” wouldn’t be nearly as compelling as it is if it weren’t for Smith’s colossal pocket. Great blues from one of the dominant voices of the genre. (by Daniel Gioffre)

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Personnel:
Charles Calmese (bass)
James Cotton (harmonica)
Bob Margolin (guitar)
Pinetop Perkins (piano)
Willie “Big Eyes” Smith (drums)
Muddy Waters (vocals, guitar)
Johnny Winter (guitar, miscellaneous screaming)

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Tracklist:
01. Mannish Boy (Morganfield/McDaniel/London) 5.24
02. Bus Driver (Morganfield/Abrahamson) 7.48
03. I Want To Be Loved (Dixon) 2.21
04. Jealous Hearted Man (Morganfield) 4.25
05. I Can’t Be Satisfied (Morganfield) 3.31
06. The Blues Had A Baby and They Named It Rock And Roll, Pt. 2 (Morganfield/McGhee) 3.36
07. Deep Down In Florida (Morganfield) 5.27
08. Crosseyed Cat (Morganfield) 6.01
09. Little Girl (Morganfield) 7.07

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More Muddy Waters:

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McKinley “Muddy Waters” Morganfield (April 4, 1913 or 1915 – April 30, 1983)

VA – Muddy Waters – All-Star Tribute To A Legend (2011)

FrontCover1A number of Blues artists exerted a huge influence on the development of modern popular music, collectively characterizing the approach to amplified music in the late 1940s and early ’50s.

The single most influential one was undoubtedly Muddy Waters. From 1948 until 1955 he pioneered and guided the way, in style, substance and sound, eloquently defining the aggressive, swaggering, Delta-rooted sound with his declamatory vocals and piercing slide-guitar attack, releasing a great number of groundbreaking and timeless, classic records.

His inspired and fundamental music continues to reverberate as excitingly and forcefully through the music of today as it did 50 years ago. (by spincds.com)

And here´s a real great tribute album:

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Recorded on October 11, 1997 at the John F. Kennedy Center for the Performing Arts, Washington D.C., an impressive All-Star cast of Blues musicians, including Muddy’s own son Bill Morganfield, turned out to pay homage to the Legendary Muddy Waters, the King of Blues. Features special guests, John Hiatt, Peter Wolf, Buddy Guy, Koko Taylor, Charlie Musslewhite, Robert Junior Lockwood, Big Bill Morganfield, Nick Gravenites, Mem Shannon and Phoebe Snow.

What a concert, what a line-up !

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Personnel:
Barry Goldberg (keyboards)
Tom Cosgrove (guitar)
Steve Holley (drums)
Johnnie Johnson (piano)
Bob Margolin (guitar)
Charlie Musselwhite (harmonica, vocals on 04.)
Paul Ossola (bass)
G.E.Smith (guitar)
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Robert Gravenites (vocals on 06.)
Buddy Guy (guitar, vocals on 03.)
John Hiatt (guitar, vocals on 08.)
Keb’ Mo’ (vocals, guitar on 09.)
Big Bill Morganfield (vocals, bass on 12.13.)
Robert Junior Lockwood (vocals on 11.)
Mem Shannon (guitar, vocals on 07.)
Phoebe Snow (vocals on 10.
Koko Taylor (vocals on 01. + 02.)
Peter Wolf (vocals on 05.)

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Tracklist:
01. Koko Taylor: I’m Ready 3.57
02. Koko Taylor: Long Distance Call 3.00
03. Buddy Guy: She’s 19 Years Old 7.49
04. Charlie Musslewhite: I Got A Rich Man’s Woman 4.47
05. Peter Wolf: Rollin’ & Tumblin’ 2.33
06. Robert Gravenites: Forty Days & Forty Nights 3.36
07. Mem Shannon: Gypsy Woman 3.15
08. John Hiatt: The Same Thing 4.44
09. Keb’ Mo‘: I Can’t Be Satisfied 3.44
10. Phoebe Snow: Just To Be With You 4.48
11. Robert Junior Lockwood: Mean Red Spider 4.13
12. Big Bill Morganfield: Hoochie Coochie Man 5.01
13. Big Bill Morganfield: Got My Mojo Working 2.51
14. Muddy Waters: Trouble No More 2.43
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15.Hidden track (musicians talk about Muddy Waters)

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McKinley Morganfield (April 4, 1913 – April 30, 1983)
better known as Muddy Waters

Various Artists – The Many Faces Of The Rolling Stones (2015)

FrontCover1This is a great sampler from Mexico !

The Rolling Stones have become the reincarnation of rock itself, being the representation, both musically and in terms of image and behavior, what rock & roll represents. In The Many Faces Of The Rolling Stones, we will highlight their side-projects, their roots, their favorite songs and even a brand new song, which becomes and event in itself, for all the Stones’ fans around the world. The idea sounds wonderful right?. Well, The Many Faces Of The Rolling Stones will meet the expectations of even the most demanding Stones fan. We have a lost recording by Leslie West (Mountain’s guitarist) with Mick Jagger playing guitar, a duet by Keith Richards with Ian McLagan (Faces’ keyboardist), and also the hard-to-find single versions of Bill Wyman’s solo hits.

Also we have Mick Jagger and Keith Richards all time favorite songs (handpicked by themselves), and an extremely rare track titled Catch As Catch Can, that was released only in a limited edition in France as a 7″ and never previously available on CD single, by musician and producer Robin Millar (Eric Clapton, Peter Gabriel, Sade) recorded in 1973 along with Mick Taylor, Bobby Keys and Mick Jagger!!!.

Finally, we have the originals versions of the best songs the Stones covered during his long and illustrious career. This is a marvelous project that with remastered sound, beautiful cover art extended liner notes is an essential addition to your collection. (promo text)

Yes, yes, yes … a real great and intersting Project … Listen and discover the many faces of The Rolling Stones !
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Tracklist:

CD 1:
The Adventures Of The Stones:
01. Leslie West feat. Mick Jagger:High Roller (Jagger/Richards/Laing/Palmer) 4.13
02. Ron Wood & Ian McLagan: She Stole It (McLagan) 3.45
03. Bill Wyman: Monkey Grip (single edition) (Wyman) 3.17
04. Ian McLagan & Keith Richards: Truly (McLagan) 5.58
05. Toots & The Maytals feat. Keith Richards:- Careless Ethiopians (Hibbert) 3.22
06. Ron Wood & The Jones Gang: Had Me A Real Good Time (Lane/Wood) 4.45
07. Ian McLagan feat. Bobby Keys: Somebody (McLagan) 3.00
08 .British Invasion All-Stars feat. Dick Taylor: Gimme Some Loving (Winwood) 4.15
09. Bill  Wyman: (Si Si) Je Suis Un Rock Star (single edit) (Wyman) 3.23
10. Robin Millar feat. Mick Taylor, Nicky Hopkins & Bobby Keys: Catch As Catch Can (Millar)  3.33
11. John Phillips feat. Mick Jagger, Mick Taylor & Keith Richards:- Zulu Warrior (Phillips/Jagger) 3.30
12. Ron Wood & The Jones Gang: Stay With Me (Wood/Stewart) 5.09
13. Chris Farlowe produced by Mick Jagger: Out Of Time (Jagger/Richards) 3.15
14. Johnny Winter: Jumpin’ Jack Flash (Jagger/Richards) 4.42
CD 2:
Mick & Keith’s Favourite Tracks:
01. Little Walter: I Go To Go (Walter)  2.41
02. Muddy Waters: Forty Days And Forty Nights (Roth) 2.50
03. Robert Johnson: Stones In My Passway (Johnson) 2.28
04. Ray Charles: Lonely Avenue (Pomus) 2.34
05. Z.Z. Hill: Everybody Knows About My Good Thing (Grayson /Horton) 4.57
06. Blind Willie Johnson: Dark Was The Night (Cold Was The Ground) (Johnson) 3.20
07. Howlin’ Wolf: Forty Four (Burnett) 2.48
08. Jesse Fuller: Stagolee (Traditional) 3.44
09. Bill Broonzy: When Did You Leave Heaven (Bullock/Whiting) 3.29
10. Elmore James:- It Hurts Me Too (Red/James/London)  3.19
11. Little Walter: Key To The Highway (Segar) 2.45
12. Erna Franklin: Piece Of My Heart (Ragovoy/Berns) 2.38
13. Chuck Berry: Memphis (Berry) 2.14
14. Robert Johnson: 32-20 Blues (Johnson) 2.52
CD 3:
The  Originals:
01. Chuck Berry: Around And Around (Berry) 2.40
02. Larry Williams: She Said Yeah (Jackson/Williams) 1.50
03. Nat King Cole Trio: Route  66 (Troup) 3.01
04. Muddy Waters:  Just Want To Make Love To You (Dixon) 2.51
05. Howlin’ Wolf: Little Red Rooster (Burnett/Dixon) 2.26
06. Buddy Holly: Not Fade Away (Holly/Petty) 2.23
07. Jimmy  Reed: Honest I Do (Reed/Abner) 2.42
08. Dale Hawkins: Suzie Q (Hawkins/Lewis/Broadwater)  2.19
09. The Coasters: Poison Ivy (Leiber/Stoller) 2.42
10. Jim Harpo: I’m A King Bee (Harpo) 3.04
11. Robertt Johnson: Love In Vain (Johnson) 3.20
12. Bo Diddley: Mona (McDaniel) 3.39
13. Gene Allison: You Can Make It If You Try (Jarrett) 2.09
14. Eric Donaldson: Cherry Oh, Baby (Donaldson) 3.07
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Muddy Waters – Fathers And Sons (1969)

FrontCover1Fathers and Sons is the seventh studio album by American blues musician Muddy Waters, originally released as a double LP by Chess Records in August 1969.

The album features both studio and live recordings recorded in April 1969 with an all-star band including Michael Bloomfield and Paul Butterfield of the Paul Butterfield Blues Band, Donald “Duck” Dunn of Booker T. & the M.G.’s and Sam Lay in Chicago, Illinois.

The album was Muddy’s biggest mainstream success, reaching #70 on the Billboard 200, which was his only appearance in the top half of the chart. Muddy would not make another appearance on the 200 until Hard Again in 1977.

According to Marshall Chess, the idea behind Fathers and Sons came when Mike Bloomfield was at his house and said that he and Paul Butterfield wanted to do an album with Muddy Waters because they would be in Chicago for a charity concert. Chess then rounded up Donald “Duck” Dunn, Otis Spann, and Sam Lay for the studio sessions.

While many blues purists criticized the Waters “psychedelic” album Electric Mud at the time, Fathers and Sons was received more favorably since it avoided psychedelia, instead showcasing the “classic” Waters sound of the 50’s. In many ways, the album anticipated the later, critically acclaimed Waters blues albums produced by Johnny Winter.

The studio disc of the album was recorded in April 21–23, 1969 at Ter Mar Studios. These sides were engineered by Ron Malo and featured rhythm guitarist Paul Asbell, who did not play on the live songs.

The live songs were recorded on April 24, 1969 at the Super Cosmic Joy-Scout Jamboree. These sides were engineered by Reice Hamel. Drummer Buddy Miles played on the second part of “Got My Mojo Working”.

The producer on all sessions was Norman Dayron, who would go on to produce The London Howlin’ Wolf Sessions in 1970, among other items.

The cover illustration for Fathers and Sons was created by Don Wilson and was based on Michelangelo’s design on the Sistine Chapel. The original album’s design was by Daily Planet and was packaged in a foldout sleeve.

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Put blues legends Muddy Waters and Otis Spann together in a recording studio with young upstarts such as Paul Butterfield, Mike Bloomfield, Buddy Miles, amongst others, and hope that the magic will flow. On Fathers and Sons it does, and then some. Originally a two-record  displays the love that these musicians shared for the blues and the care they put into getting that feeling down on tape. Standout cuts include “Can’t Lose What You Ain’t Never Had,” “I’m Ready,” and “Standing ‘Round Cryin’,” which Eric Clapton covered in 1994. The live concert is loose and funky with everyone getting in their licks, especially Muddy Waters, who shines throughout. A fine touchstone for anyone looking into Chicago blues and generally good music. (by James Chrispell)

BackCover1Personnel:
Paul Asbell (guitar)
Michael Bloomfield (guitar)
Paul Butterfield (harmonica)
Donald “Duck” Dunn (bass)
Sam Lay (drums)
Otis Spann (piano)
Muddy Waters (vocals, guitar)
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Jeff Carp (harmonica on 01.)
Buddy Miles – drums on “Got My Mojo Working, Part 2”
Phil Upchurch (bass on 01.)

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Tracklist:

Side A + B:  (in the studio)
01. All Aboard (Morganfield) 2.50
02. Mean Disposition (Morganfield) 5.42
03. Blow Wind Blow (Morganfield) 3.35
04. Can’t Lose What You Ain’t Never Had (Morganfield) 3.03
05. Walkin’ Thru The Park (Morganfield) 3.07
06. Forty Days And Forty Nights (Roth) 3.04
07. Standin’ Round Crying (Morganfield) 4.01
08. I’m Ready (Dixon) 3.33
09. Twenty Four Hours (Boyd) 4.46
10. Sugar Sweet (London) 2.16

Side C + D: ( Live at the Civic Auditorium, Chicago, 1969)
11. Long Distance Call (Morganfield) 6.35
12. Baby, Please Don’t Go (Williams) 3.05
13. Honey Bee (Morganfield) 3.57
14. The Same Thing (Dixon) 6.00
15. Got My Mojo Working, Part 1 (Foster/Morganfield) 3.39
16. Got My Mojo Working, Part 2 (Foster/Morganfield) 5.33

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Muddy Waters – ”Unk” In Funk (1974)

FrontCover1The nine sides on Unk in Funk (1974) are among the last newly recorded material that Muddy Waters (vocals/guitar) would issue during his nearly 30 year association with Chess Records. Backing up the Chicago blues icon is a band he’d carry with him for the remainder of his performing career, including Pinetop Perkins (piano), Luther “Guitar Junior” Johnson (guitar), Bob Margolin (guitar), Calvin “Fuzz” Jones (bass), and Willie “Big Eyes” Smith (drums). They run through a better than average selection of Waters’ classics with newer compositions more or less tossed in, presumably to keep the track list fresh. Although Waters certainly has nothing to prove, he attacks his old catalog with the drive and command of a man putting it all on the line. That same spirit of quality and authenticity shapes his umpteenth overhaul of “Rollin’ and Tumblin’,” as Waters’ guitar — the only time he plays on the whole platter — rekindles his singular sounding fretwork. Demonstrating why they were suitable rhythmic foils for Waters, Jones and Smith’s gritty timekeeping perfectly holds down the slinky methodical groove churning beneath the update of “Just Had to Be with You.” This allows the artist a chance to let loose with some inspired vocal improvisations. The bouncy frolic of “Trouble No More” and the vintage Chicago R&B vibe of “Drive My Blues Away” offer the most authentic presentation of Waters then and now. While the newer songs, “Katie” and “Waterboy, Waterboy,” reveal that the ol’ mule still has a bit of kick in him yet. “Electric Man” is one of two cuts by Amelia Cooper (Waters’ granddaughter) and Terry Abrahamson, typifying the style of self-aggrandizing lyrical plodding over generic blues changes that had marred several of the blues legends’ later efforts. All is not lost, however, thanks to some playful interaction between Waters and harp blower Carey Bell Harrington. Cooper and Abrahamson’s other contribution — “Unk in Funk” — shares its credit along with talent agent Ted Kurland. Again, while the sentiment is well-intended, the playing is marginalized with little to no substantive territory gained. (by Lindsay Planer)

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Personnel:
Carey Bell Harrington (harmonica)
Calvin Jones (bass)
Luther Johnson (guitar)
Bob Margolin (guitar)
“Pine Top” Perkins (piano)
Willie “Big Eyes” Smith (drums)
Muddy Waters (guitar, vocals)
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George Buford (harmonica on 04. + 09)
Paul Oscher (harmonica on 05.)

BackCover1Tracklist:
01. Rollin’ And Tumblin’ (Morganfield) 7.30
02. Just To Be With You (Berney/Roth) 3.56
03. Electric Man (Cooper/Abrahmson) 3.10
04. Trouble No More (Morganfield) 2.40
05. Unk In Funk (Cooper/Abrahmson/Kerland) 3.23
06. Drive My Blues Away (Morganfield) 2.49
07. Katie (Morganfield) 3.06
08. Waterboy Waterboy (Morganfield) 4.00
09. Everything Gonna Be Alright (Jacobs) 3.35

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