Администрация сайта не несёт ответственности за содержимое архивов, а так же за соблюдением авторами постов - авторских прав! Все материаллы публикуются исключительно в ознакомительных целях!



Buddy Guy - Slippin' In - 1994

Автор : PHAN
Оцените пост!

Голосов :(0)

Buddy Guy - Slippin' In - 1994

Buddy Guy - Slippin' In - 1994

Origin: U.S.A.
Genre: Blues
Quality: WavPack (Img + Cue + Log + Audio Identifier Report Included): 331 Mb | EAC Secure Mode Rip | Mp3 (Fraunhofer IIS - 320 kbps): 129 Mb | HQ Scans | Rar Files (3% Recovery)

Informations: Audio CD (October 25, 1994) - Number of Discs: 1 - Label: Silvertone Records - Catalog Number: 01241-41542-2

Buddy Guy - Slippin' In - 1994
Biography: After decades of paying dues, Buddy Guy has emerged as the most heralded bluesman of his generation, a hugely influential guitarist and passionate, dynamic live performer. But Buddy started as a sideman, and toiled in the Chicago clubs for a decade before beginning his march to worldwide fame. Buddy began as a sideman in Baton Rouge, playing primarily with the late Raful Neal (father of bluesman Kenny Neal and an excellent bluesman in his own right). Seeking a record deal, Buddy came/ to Chicago in 1957 at the age of 21. He was “adopted” by Muddy Waters, who encouraged the young bluesman when gigs weren’t immediately forthcoming. Buddy’s first step forward was winning a legendary guitar contest at the Blue Flame on the South Side, when his combination of great playing and showmanship (his 100-foot guitar cord allowing him to wander through the audience and down the street). He quickly won a local reputation for his wild live shows, in the style of his first big influence, Guitar Slim. Later Buddy absorbed the smoother sounds of B.B. King, but Buddy’s tortured, high-pitched, gospel-influenced vocal style put him in a different category; he simply couldn’t (and wouldn’t) control the frenzy of his music. He found his first recording contract with Eli Toscano’s Artistic label (Eli also owned the Cobra label, which broke Magic Sam and Otis Rush as major league blues stars in the 1950s). His two singles for Artistic were produced by Willie Dixon, but they failed to dent the charts. When Cobra folded, Buddy was signed by Chess where he continued his association with Dixon. His Chess singles like “The First Time I Met The Blues,” “Let Me Love You, Baby,” “My Time After Awhile” and “Stone Crazy” are now considered classics that first exhibited Buddy’s mature style, with his stuttering guitar work and on-the-edge singing. But again, Buddy didn’t receive the R&B radio play of his contemporaries, and he continued to work the South Side clubs as well as doing session work for Chess with Muddy Waters, Koko Taylor and others. When the folk music boom of the 1960s began turning its attention to electric blues, Buddy finally found his audience. Pairing with his friend, harpist Junior Wells (with whom he had played for many years at Theresa’s Lounge), he recorded first on Junior’s classic HOODOO MAN BLUES album on Delmark and then on Vanguard’s CHICAGO/THE BLUES/TODAY series, which was one of the first blues recordings aimed at the young folk audience. Buddy won a contract with Vanguard, cutting his famed A MAN AND THE BLUES album. He hit the road, appearing with both Junior and on his own, electrifying folk and rock venues and touring the U.S., Europe and Africa (including a tour with the Rolling Stones). Eric Clapton named Buddy as his favorite guitarist. But even with all this fame and hundreds of live shows, Buddy couldn’t secure a major label contract during the ‘70s and ‘80s. He recorded extensively for English and European labels, both in the studio and live. His brilliant electric and acoustic (with Junior Wells) albums for the French Isabel label were issued in the U.S. by Alligator under the titles STONE CRAZY! and ALONE & ACOUSTIC. Finally, in the 1990s, Buddy got the break he was looking for. He was signed to the Silvertone label (distributed by the multinational BMG) and his fans Eric Clapton and Jeff Beck joined him for his DAMN RIGHT I’VE GOT THE BLUES CD. The album along with the accompanying video launched Buddy as a headliner, playing not only blues festivals but also major rock venues. He hasn’t looked back since then, cutting album after album of passionate, hard-edged blues and rock tunes, often with guest appearances by rockers. More recently, he’s recorded stripped-down CDs that have taken him back to his Deep South roots. When not on the road, Buddy spends most of his time at his famous Buddy Guy’s Legends club, easily the top blues spot in Chicago, if not the world.

Product Description: Having made the obligatory star-studded blues albums with a generous sampling of his more famous children, Buddy Guy's record company apparently felt secure enough in the guitarist's new-found celebrity to trust him to carry an entire session on his own formidable shoulders. Certainly the elder bluesman's previous two albums were none too shabby. DAMNED RIGHT, I GOT THE BLUES was a best-selling media event, and FEELS LIKE RAIN won a Grammy for "Best Contemporary Blues Album," but SLIPPIN' IN ranks with the best work Guy's ever done. It focuses attention on Guy's soaring, over-driven guitar and quivering vocals. Guy's near-lunatic intensity on "Please Don't Drive Me Away" and Lowell Fulson's "Love Her With A Feeling" should prove instructive to young guitarists who seem to think Eric Clapton, Jimi Hendrix and Stevie Ray Vaughn emerged full-blown from the foam. But Buddy Guy has too much range and sensitivity to simply up and go wild, as on a playful cover of "Shame, Shame, Shame" where he reprises the good time boogie of Jimmy Reed. On "7-11" his tone is sweet and caressing as he forgives (least way, he tries) his baby for going wild, while on his own "Cities Need Help," Guy patiently generates intensity as tender pleadings become bellowing gusts of frustration and rage. And on his poignant rendition of Charles Brown's "Trouble Blues," Guy and the legendary pianist Johnnie Johnson evoke a smoky blue aura of longing and regret.

Recording information: Arlyn Studios, Austin, TX; Chicago recording Company. SLIPPIN' IN won a 1996 Grammy Award for Best Contemporary Blues Album.

Buddy Guy - Slippin' In - 1994
Review: First let me start by saying that Buddy Guy is from a different planet! This can be the only explanation for his six string talent that he displays so well on this gem of a recording. If I had to look for one flaw it would only be that he had switched the order of tracks 1 & 2. How's that for nit-picking? The only reason I say this is because I think "Please Don't Drive Me Away"

may very well be one of his best all-time cuts. The guitar work seems so connected to his vocals that it sounds like interplay that can only come from the soul. This track rocks! The next track,"7-11" goes in the totally opposite direction as a laid back Blues lament that shows Buddy is equally adept at rocking Blues, or slow burners. The oft covered "Shame,Shame,Shame" is probably my least favorite track on the album,with Buddy seemingly going through the motions vocally, but even this grows on you after a while. From there on the album alternates between slow, soulful Buddy treatments and uptempo Blues rockers. Some songs benefit from the rhythm section provided by the somewhat legendary Double Trouble gang. Johnnie Johnson also gets his moments in the sun on the piano. Buddy seems to click with just about everybody he plays with..as usual.. and his guitar has never sounded more powerful, tender and bluesy on one recording.

Other standout tracks include the Lowell Fulson penned "Love Her With A Feeling" where Buddy shows the great interplay of soft, pleading vocals and tender string picking. "Little-Dab-A-Doo" is a humorous original tune about a man's desire to "get a little" and the famous Fred Flintstone call before the final guitar solo is a humorous touch. "Someone Else Is Steppin' In" is a raucous party tune about two-timing on both ends that uses slightly off-tempo, gang background vocals to give the cut a raw, live feel. This is a staple of many fans and I enjoy it a little more each time I hear it. "Man Of Many Words" is an oldy, but goody with strong drum work by Chris "Whipper" Layton to drive the vocals along during instrument breaks. As usual, Buddy is killer with the guitar work. "Don't Tell Me About The Blues" sounds like a very personal song to Buddy Guy. He obviously has lived the Blues and his vocals are top notch and from deep down. The way he alternates between a slightly crackling falsetto and then, without notice changing to shouting, powerful vocals is a trademark that sets Buddy apart from most of his contemporaries. The finale, "Cities Need Help", is a change of pace Buddy Guy original about The decay of urban America and even family values. This shuffle has great rhythm provided by a piano, snare combination and it cuts loose at the end...a fine ending!

If you love Buddy Guy this album must be included in your collection. If you are looking for a place to start your Buddy Guy collection, look no further. Though it doesn't receive the attention or acclaim of "Damn Right...", it is without question a Blues masterpiece and one of, if not THE, best Buddy Guy albums available. Ok, you can return to the mothership Buddy...just come back once in a while and leave a gem like this one! ~ Amazon Customer”

Buddy Guy - Slippin' In - 1994

Buddy Guy - Slippin' In - 1994
Track Listing:

01 - I Smell Trouble - 3:16

02 - Please Don't Drive Me Away - 3:55

03 - 7-11 - 6:59

04 - Shame, Shame, Shame - 3:33

05 - Love Her With A Feeling - 4:28

06 - Little Dab-A-Doo - 5:13

07 - Someone Else Is Steppin' In (Slippin' Out, Slippin' In) - 4:24

08 - Trouble Blues - 3:10

09 - Man Of Many Words - 3:03

10 - Don't Tell Me About The Blues - 6:18

11 - Cities Need Help - 5:32

Recording Time 49 minutes

Personnel: Buddy Guy (vocals, guitar, background vocals); David Grissom (guitar, acoustic guitar, slide guitar); Scott Holt (guitar); Reese Wynans (piano, organ, programming); Johnnie Johnson (piano); Chris Layton, Ray Allison (drums); Anne Markovich, Emily Maso, Crazy Dave Komie, Hillary Faeta, Carey Reisz, Frank Blinkal, Annette McKee, Bill Potofki, Brian Moravec, Mike Homberger, Lily Maso, Suzanne Maso, Jay Reil, Garrett Mudd, Blind Willie Lambchop, Rob Davis (background vocals).


Buddy Guy - Slippin' In - 1994

Внимание! У вас нет прав для просмотра скрытого текста.

Исполнитель:: Buddy Guy
Альбом:Slippin' In


Внимание! После прослушивания , вы должны удалить скачанные файлы и приобрести лицензионные копии музыкальных материалов!

Другие новости по теме:

Уважаемый посетитель, Вы зашли на сайт как незарегистрированный пользователь.
Мы рекомендуем Вам зарегистрироваться либо войти на сайт под своим именем.


Посетители, находящиеся в группе Гости, не могут оставлять комментарии к данной публикации.



Расширенный поиск
Обратная связь
RSS новости



Фотогалерея исполнителей,групп с высоким разрешением...!


Who`s Online

Сейчас на сайте: 5
Гостей: 5


- отсутствуют


- отсутствуют

 Последние посетители: 




Rambler's Top100

Стили Музыки

Jazz Rock / ДЖАЗ-РОК
Jazz Rock, жанр, характеризующийся использованием принципов джазовой импровизации в традиционных рок-форматах. Сложился ......Далее...
Мечты 60-х гак и остались несбывшимися, а барды не давали никому надолго забыть о скучной реальности.Новое же поколение ......Далее...
Премия "Овация"
ОВАЦИЯ, национальная российская музыкальная премия в области зрелищ и популярной музыки.Премия "Овация" ОВАЦ......Далее...
Классические шедевры с замысловатыми мелодическими линиями или до предела усложненные "от избытка ума" изначал......Далее...
ИНДАСТРИЭЛ|Industrial(англ. industrial, букв. — индустриальный), музыкальный стиль, использующий синтезаторы и самодельн......Далее...
ПОСТ-ПАНКПОСТ-ПАНК (англ. post punk — «после панка»), совокупность музыкальных форм, возникших в рок-музыке после 19......Далее...
Объединившая этику панков с рок-н-ролльными взглядами Новая Волна Британского Хэви-метал до сих пор остается источником ......Далее...
Высокоскоростные инструменталисты, стачивающие лады гитар и палящие усилители. Это что, музыка, которую делают гитаристы......Далее...
Есть гитара (или пианино) — и нормально!После взрыва па фолк-сцене 60-х. на мир обрушились авторы-исполнители ★......Далее...
METAL На заре 70-х до napней с электрогитарами дошло, что рок может быть тяжелее, грязнее, громче и быстрее, чем раньше.......Далее...