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Buddy Guy. Live The Real Deal. 1996. *FLAC*

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Description

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                   Buddy Guy - Live! The Real Deal

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Artist...............: Buddy Guy

Album................: Live! The Real Deal

Genre................: Blues

Source...............: CD

Year.................: 1996

Ripper...............: EAC (Secure mode) / LAME 3.92 & Asus CD-S520

Codec................: Free Lossless Audio Codec (FLAC)

Version..............: reference libFLAC 1.2.1 20070917

Quality..............: Lossless, (avg. compression: 56 %)

Channels.............: Stereo / 44100 HZ / 16 Bit

Tags.................: VorbisComment

Information..........: 



Ripped by............: Me on 15/03/2009

Posted by............: Me on 15/03/2009

News Server..........: news.astraweb.com

News Group(s)........: alt.binaries.sounds.mp3.metal.full.albums



Included.............: NFO, M3U, LOG, CUE,TAU ANALYZER.

Covers...............: Front Back CD 



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                       Tracklisting

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   1. (00:02:36) Buddy Guy - Ain't That Lovin' You

   2. (00:08:02) Buddy Guy - Damn Right I've Got The Blues

   3. (00:07:03) Buddy Guy - First Time I Met The Blues

   4. (00:04:12) Buddy Guy - I Got My Eyes On You

   5. (00:13:02) Buddy Guy - I've Got News For You

   6. (00:05:38) Buddy Guy - Let Me Love You Baby

   7. (00:07:41) Buddy Guy - My Time After Awhile

   8. (00:07:49) Buddy Guy - Sweet Black Angel (Black Angel Blues)

   9. (00:03:57) Buddy Guy - Talk To Me Baby



Playing Time.........: 01:00:02

Total Size...........: 328.75 MB



NFO generated on.....: 15/03/2009 10:06:34

:: Generated by Music NFO Builder v1.20 - www.nfobuilder.com ::



Biography.



He's Chicago's blues king today, ruling his domain just as his idol and mentor Muddy Waters did before him. Yet there
was a time, and not all that long ago either, when Buddy Guy couldn't even negotiate a decent record deal. Times sure
have changed for the better -- Guy's first three albums for Silvertone in the '90s all earned Grammys. Eric Clapton
unabashedly calls Buddy Guy his favorite blues axeman, and so do a great many adoring fans worldwide.



High-energy guitar histrionics and boundless on-stage energy have always been Guy trademarks, along with a tortured
vocal style that's nearly as distinctive as his incendiary rapid-fire fretwork. He's come a long way from his beginnings
on the 1950s Baton Rouge blues scene -- at his first gigs with bandleader "Big Poppa" John Tilley, the young
guitarist had to chug a stomach-jolting concoction of Dr. Tichenor's antiseptic and wine to ward off an advanced case of
stage fright. But by the time he joined harpist Raful Neal's band, Guy had conquered his nervousness.



Guy journeyed to Chicago in 1957, ready to take the town by storm. But times were tough initially, until he turned up
the juice as a showman (much as another of his early idols, Guitar Slim, had back home). It didn't take long after that
for the new kid in town to establish himself. He hung with the city's blues elite: Freddy King, Muddy Waters, Otis Rush,
and Magic Sam, who introduced Buddy Guy to Cobra Records boss Eli Toscano. Two searing 1958 singles for Cobra's Artistic
subsidiary were the result: "This Is the End" and "Try to Quit You Baby" exhibited more than a trace
of B.B. King influence, while "You Sure Can't Do" was an unabashed homage to Guitar Slim. Willie Dixon
produced the sides.



When Cobra folded, Guy wisely followed Rush over to Chess. With the issue of his first Chess single in 1960, Guy was no
longer aurally indebted to anybody. "First Time I Met the Blues" and its follow-up, "Broken Hearted
Blues," were fiery, tortured slow blues brilliantly showcasing Guy's whammy-bar-enriched guitar and shrieking,
hellhound-on-his-trail vocals.



Although he's often complained that Leonard Chess wouldn't allow him to turn up his guitar loud enough, the claim
doesn't wash: Guy's 1960-1967 Chess catalog remains his most satisfying body of work. A shuffling "Let Me Love You
Baby," the impassioned downbeat items "Ten Years Ago," "Stone Crazy," "My Time After
Awhile," and "Leave My Girl Alone," and a bouncy "No Lie" rate with the hottest blues waxings
of the '60s. While at Chess, Guy worked long and hard as a session guitarist, getting his licks in on sides by Waters,
Howlin' Wolf, Little Walter, Sonny Boy Williamson, and Koko Taylor (on her hit "Wang Dang Doodle").



Upon leaving Chess in 1967, Guy went to Vanguard. His first LP for the firm, A Man and the Blues, followed in the same
immaculate vein as his Chess work and contained the rocking "Mary Had a Little Lamb," but This Is Buddy Guy
and Hold That Plane! proved somewhat less consistent. Guy and harpist Junior Wells had long been friends and played
around Chicago together (Guy supplied the guitar work on Wells' seminal 1965 Delmark set Hoodoo Man Blues, initially
billed as "Friendly Chap" because of his Chess contract); they recorded together for Blue Thumb in 1969 as
Buddy and the Juniors (pianist Junior Mance being the other Junior) and Atlantic in 1970 (sessions co-produced by Eric
Clapton and Tom Dowd), and 1972 for the solid album Buddy Guy & Junior Wells Play the Blues. Buddy and Junior toured
together throughout the '70s, their playful repartee immortalized on Drinkin' TNT 'n' Smokin' Dynamite, a live set cut
at the 1974 Montreux Jazz Festival.



Guy's reputation among rock guitar gods such as Eric Clapton, Jimi Hendrix, and Stevie Ray Vaughan was unsurpassed, but
prior to his Grammy-winning 1991 Silvertone disc Damn Right, I've Got the Blues, he amazingly hadn't issued a domestic
album in a decade. That's when the Buddy Guy bandwagon really picked up steam -- he began selling out auditoriums and
turning up on network television (David Letterman, Jay Leno, etc.). Feels Like Rain, his 1993 encore, was a huge letdown
artistically, unless one enjoys the twisted concept of having one of the world's top bluesmen duet with country hat act
Travis Tritt and hopelessly overwrought rock singer Paul Rodgers. By comparison, 1994's Slippin' In, produced by Eddie
Kramer, was a major step back in the right direction, with no hideous duets and a preponderance of genuine blues
excursions. Last Time Around: Live at Legends, an acoustic outing with longtime partner Junior Wells followed in 1998.
In 2001, Guy switched gears and went to Mississippi for a recording of the type of modal juke-joint blues favored by
Junior Kimbrough, R.L. Burnside, and the Fat Possum crew. The result was Sweet Tea: arguably one of his finest albums
and yet a complete anomaly in his catalog. Oddly enough, he chose to follow that up with Blues Singer in 2003, another
completely acoustic effort that won a Grammy. For 2005's Bring 'Em In, it was back to the same template as his first
albums for Silvertone, with polished production and a handful of guest stars. Skin Deep appeared in 2008 and featured
guest spots by Susan Tedeschi, Derek Trucks, Eric Clapton, and Robert Randolph.



A Buddy Guy concert can sometimes be a frustrating experience. He'll be in the middle of something downright
hair-raising, only to break it off abruptly in midsong, or he'll ignore his own massive songbook in order to offer
imitations of Clapton, Vaughan, and Hendrix. But Guy, whose club remains the most successful blues joint in Chicago
(you'll likely find him sitting at the bar whenever he's in town), is without a doubt the Windy City's reigning blues
artist -- and he rules benevolently.



Review from Amazon.com.

This is a good live album because Buddy Guy for once in concert is playing Buddy Guy, not imitating other guitar players
which he annoyingly loves to do. It is also the most traditional blues sound he's done in about 20 years, not counting
the duo cd's with Junior Wells. The Saturday Night Live Band keeps right in step on all 9 tracks with some good driving
rhythum. There are some roof raising slow numbers like "Sweet Black Angel" and "My Time After
Awhile" where you really hear Buddy actually playing the blues like the old days at Chess.

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