HERE’S LITTLE RICHARD!: A Tribute

While the question of who started Rock N’ Roll will never be answered definitively, Little Richard was by far one of its main architects. His early recordings for Specialty Records inspired musical giants like The Beatles and The Rolling Stones, his live performances inspired the likes of James Brown and Otis Redding, and at one point he even employed a young guitarist named Jimi Hendrix in his band. He’s been in movies, on TV shows, and is a member of both the Rock N’ Roll Hall of Fame and Songwriters Hall of Fame. That said, even with all of the success he enjoyed in his career he had a complicated life.  Once, while on tour with his band in Australia in 1957, he had a religious “awakening”. He immediately cancelled a concert, decided he was going to do gospel music, then suddenly started disposing of all his jewelry. While this story has taken many forms over the years (some versions have him on a boat throwing the jewelry overboard), one thing is certain, he did leave pop music for a while and strictly recorded gospel. When he retuned to pop music several years later he found other musicians had taken his share of the spotlight. He continued to record and had some limited success with songs here and there but nothing like he’d experienced in the 50’s. 
     In the studio, Richard was never better than he was on the recordings he made for Specialty Records in the 1950’s. Produced by the legendary the producer Bumps Blackwell and recorded by some of New Orleans finest players, these recordings inspired generations of musicians.  It was during one of these early Specialty sessions that Richard’s legendary hit “Tutti Frutti” was recorded. Originally a playful song about homosexual sex, Blackwell felt the lyrics were too much for general audiences so he asked songwriter Dorothy LaBostrie to help clean up the lyrics so the song could be on the radio.  Richard himself plays piano on the track. As the song was a late addition to the session, the groups main piano player Huey Smith didn’t have time to learn the part. The song was a hit and eventually reached #17 on the pop Billboard charts. It also inspired several cover version some of which actually charted higher than Richard’s original version. Regardless, this was the beginning of a successful run for Richard and Specialty. 
       While the Specialty years were Richard’s most successful years in the recording studio, one of my personal favorite Little Richard recordings is his version of Don Covay’s “I Don’t Know What You Got But It’s Got Me” recorded for VeeJay Records in 1965. The song is a bit of a change stylistically for Richard who was trying to adapt to the new sound of Soul music that was becoming popular thanks to artists like The Temptations and Otis Redding. Here, Richard gives an outstanding performance that finds him shouting like a Baptist preacher and to make things a little more interesting, features a relatively unknown guitarist at the time named Jimi Hendrix.  
Another time that Richard hit pay dirt in the studio was at FAME studios in Muscle Shoals AL. The year was 1970 and Richard was in town recording what was supposed to be his comeback album, “The Rill Thing”.  While the album didn’t hit the charts like the Richard would’ve hoped, he did record a song called “Greenwood, Mississippi”.  Written by guitarist Junior Lowe and Travis Wammack, the tune is a straight-ahead Country Rocker with a little bit of Soul-flare. Easily the strongest tune on the album, Richard’s vocal take reminds folks where John Fogerty got his vocal sound from. 
      Even though Richard was pretty absent on the Billboard charts for most of his career he was always an in-demand live performer. In his early years on the road Richard’s act was so popular he sometimes would get double booked. As he couldn’t be in two places at once, an impersonator would be hired to play the show the real Little Richard couldn’t perform at. This seem to work for a while until TV became more popular in households across the country. While it might sound like a shady act to fool an audience in this way, things could’ve been worse. A few times Richard’s management hired a young man by the name of James Brown to be “Little Richard” for an evening. Otis Redding was another popular choice. All that said, most folks who were in the audiences said they knew they weren’t getting the REAL Little Richard but were still entertained. 
    There’s no question that Little Richard is one of the most influential musicians of all time. But did he invent Rock N’ Roll? No. It’s hard to say there was ONE person who is responsible for one of music’s most popular genres, but he is one of Rock’s main architects. It’s unfortunate he didn’t get more recognition while he was alive but to be fair part of that was because of Richard himself. He was a talented but complicated guy. Nevertheless, he is Rock n’ Roll royalty and we all owe him a big debt of gratitude. 

GOSPEL MUSIC IS THE ROOTS?

The late great Willie Dixon once said “The Blues is the roots, everything else is the fruits”.  While it might be taboo to disagree with a musical legend like Dixon (especially while he was alive as he was also a 300-lbs boxer), I must respectfully do so.  In my personal opinion, it is Gospel and spiritual music that we have to credit with being the musical tree that provided us with most all other forms of popular music.
While popular music may have evolved further and further away from it’s roots in Gospel and spiritual music over the years you can still hear the genre’s influence in some of today’s popular music.  Example, when you listen to artists like Beyonce’, Childish Gambino, and Bruno Mars you can definitely hear that somewhere along the way they were influenced, maybe indirectly, by artists like James Brown, Aretha Franklin, and Ray Charles.  James, Aretha, and Ray were all influenced heavily by Gospel music.  Aretha grew up in the in the church, Ray took a song by the little known gospel group The Southern Tones and turned it into “I Got A Women”, and Mr. Brown’s stage show was basically a secular version of a baptist revival. Same with Country music. You’d be hard pressed to find a country artist today that wasn’t inspired by Johnny Cash, Dolly Parton, or George Jones in some way.  Each of those artists recorded gospel albums over their long and impressive careers.  Rock music? Same thing.  Most modern rock bands in some way have been inspired by artists like The Beatles, Stones, Zeppelin, etc. Those artists listened to the Blues and Blues came from Gospel and spiritual music. We could talk about how Jamaican Reggae and Ska musicians listened to Blues, R&B, and Gospel music in the 1950’s over radio waves they picked up from America, but my feeling is you’re getting my point. The roots of most genres of popular music begin in Gospel and spiritual music.
Now, while one might enjoy the melodies in Gospel music there still might be a hang up when it comes to the lyrics.  I totally understand that.  Personally I am not a religious person and identify more as an atheist. Still, I LOVE classic gospel and spiritual music!  I love the passion in the music and the wonderful melodies.  Also, I appreciate how Gospel music has helped a lot of folks through some very rough times in history.  So while I may not have all the same beliefs as the person singing the music I am still able to enjoy the music.
Here are some of my favorite Gospel albums and artists that I hope you’ll check out.
STAPLE SINGERS
FREEDOM HIGHWAY epic records
 While a live album of the same name was released in 1965 (which is also excellent) this record is compiled of studio versions of Gospel classics such as “Will The Circle Be Unbroken”, “Nobody’s Fault But Mine”, and “Wade In The Water”.  The record also features probably the best song band leader Roebuck “Pops” Staples ever wrote, “Why Am I Treated So Bad?”. Pops wrote the song after watching the events surrounding “The Little Rock Nine” unfold on television.  The song became a hit not only for the Staple Singers but also an anthem of the Civil Rights movement during the 1960’s.
BROTHER JOHN SELLERS
BAPTISTS SHOUTS & GOSPEL SONGS smithsonian folkways recordings
Born in Mississippi in 1924, Brother John Sellers was one of the best (and most underrated) Blues/Gospel singers ever to record. His larger-then-life voice is best showcased here on his 1959 album BAPTISTS SHOUTS & GOSPEL SONGSSellers was discovered by the great Mahalia Jackson when he was a youngster performing in local gospel showcases.  As an adult he became an in-demand entertainer performing all over the world with legends like Big Bill Broonzy, Sonny Terry, Jo Jones, and Jackson herself. He passed away from diabetes related complications in 1999.
MAHALIA JACKSON:
MAHALIA! SINGS GOSPEL RIGHT OUT OF THE CHURCH columbia records
During Mahalia Jackson’s impressive career she introduced millions of music lovers all over the world to Gospel music. She inspired artists such as James Brown, Sam Cooke, and Aretha Franklin, performed for world leaders, and was a powerful presence in the civil rights movement.  While she has hundreds of recordings my personal favorite is MAHALIA! SINGS GOSPEL RIGHT OUT OF THE CHURCH.  The material is mostly up beat and beautifully recorded. Even though this record came out later in Jackson’s career her voice has never sounded better.
THE DIXIE HUMMINGBIRDS
20th CENTRY MASTERS COLLECTION
MCA Records
Few Gospel vocal groups have been more influential then The Dixie Hummingbirds. During the 1940’s and 50’s (generally referred to as “The Golden Age of Gospel”), they were megastars. They packed arenas, paved the way for future vocal groups like The Temptations and The Four Tops, and sold piles of records.  You can even trace their influence to modern pop groups like Boys II Men and N’Sync.  While the Hummingbirds have many recordings available a great place to start is their “best of” collection “THE DIXIE HUMMINGBIRDS 20th CENTURY MASTERS”. This collection gives you a good overview of their sound and features their Grammy winning hit “Loves Me Like A Rock”.
THE SOUL STIRRERS
JOY IN MY SOUL: THE COMPLETE SAR RECORDINGS
ABKCO Music & Records
The Soul Stirrers were another group that were megastars during the Gospel’s golden age.  While they are best known for being the group that kick-started Sam Cooke’s career in the 1950’s, the group’s origins go back to the mid 1930’s.  With Cooke in the group the Stirrers achieved rockstar-like status and recorded several hits for Specialty Records.  While the group was at their musical best when they were with Cooke, my personal favorite collection of theirs is JOY IN MY SOUL: THE COMPLETE SAR RECORDINGS.  This collection features recordings the group did for Sam Cooke’s own record label SAR Records after he had officially left the group. Many of these recordings were produced by Cooke himself and show that even in their later years the group was one of the very best vocal Gospel groups.
SISTER ROSETTA THARPE
GOSPEL OF THE BLUES
MCA RECORDS

Born in Arkansas in 1915 Sister Rosetta Tharpe influenced Rock and Popular music more then most people know.  A young Little Richard got his start by opening for her before anybody knew who he was. Elvis, Johnny Cash, and Bob Dylan all cite Sister Rosetta as a major influence, and during her heyday she performed for stadium sized crowds all over the world. In short, Sister Rosetta was a rockstar before Rock n’ Roll even existed.

While there are many recordings of Sister Rosetta available a good place to start when wanting to learn more about her music is a collection of her early recordings entitled THE GOSPEL OF THE BLUES.  This collection is complied of tracks recorded 1938 – 1948 and features a dynamite version of her hit “Shout, Sister, Shout”. The record also features a number of her recordings with Lucky Millinder’s Orchestra and the Sammy Price Trio. These tracks show that Sister Rosetta could swing as hard as she could rock!

BLUESIN’ BY THE BAYOU: Swamp Blues at it’s finest!

Bluesin' By The Bayou

Few people were better at discovering musical talent in Louisiana during the 1950’s and 60’s then J.D. Miller and Eddie Shuler. Instrumental in bringing styles such as Zydeco, Cajun, and Swamp Pop to the ears of the world, they each made their mark by recording and producing local unknown talent. Miller recorded the artists he discovered then usually sold the tapes to other record labels while Shuler recorded and released music on his own Goldband label. Now, thanks to the fine people at ACE Records, there are TWO new excellent compilations that focus on the Blues recordings produced by Miller and Shuler.

Part of ACE’s “By The Bayou” series, these discs, entitled Bluesin’ By The Bayou and Bluesin’ By The Bayou: Rough & Tough, are both supreme examples of the Louisiana Blues scene during the 50’s and 60’s. Sometimes known as “Swamp Blues” the music on these recordings is a mix of down-home Country Blues with a few touches of R&B, Zydeco, and Cajun Music thrown in for good measure. These recordings are essential for any Blues or Roots Music fan’s record collection. This is as greasy as it gets!

rough and tough

Some of the artists featured on Bluesin’ On The Bayou

SLIM HARPO

Born in Baton Rouge, Louisiana, Slim Harpo was one of the most successful and best known of all Swamp Blues artists. His songs “I’m A King Bee” (1957) and “Shake Your Hips” (1961) were both covered by The Rolling Stones and he had a number one hit in 1966 with “Baby Scratch My Back”. Included on Bluesin’ By The Bayou: Rough and Tough are his single “My Little Queen Bee”, an answer to his first hit “King Bee”, and a cover of Lonesome Sundown’s “Bought Me A Ticket”

LONESOME SUNDOWN

Lonesome Sundown was born Cornelius Green in 1931 on a plantation in Donaldsville, Louisiana.  Well versed in a variety of musical styles, Lonesome Sundown’s music ranged from down-home Blues to Country to Roll-licking R&B.  He was never a household name but nevertheless was responsible for some of the most exciting music to come out of Louisiana in the 50’s and 60’s. Included on Bluesin’ By The Bayou: Rough and Tough are romping versions of his songs “I’m Gonna Stick To You Baby” and “If Anybody Asks You”. Both songs are essential listening for any Blues fan.

LIGHTNIN’ SLIM

One of the most important and influential bluesmen to ever come out of Louisiana, Lightnin’ Slim was actually born in St. Louis, Missouri. He moved to Louisiana when he was a teenager and soon picked up the guitar and began playing in clubs. In 1954 he recorded “Bad Luck Blues” with J.D. Miller and regularly performed with fellow Louisiana bluesmen Lonesome Sundown, Lazy Lester, and Slim Harpo. Included here in this collection is his song “Trip To Chicago” which talks about the groups “adventure” to play a gig in the Windy City! Fellow Louisiana bluesman Buddy Guy credits Lightnin’ Slim as one of his biggest influences.

LAZY LESTER

A talented multi-instrumentalist, Lazy Lester performed on many recordings produced by J.D. Miller as both a front-man and backup musician. His first major his was the his 1958 release “I’m A Lover Not A Fighter”. Originally written by J.D. Miller, this song put Lester on the map and was coupled with the b-side “Sugar Coated Love”. Still an excellent performer to this day, he still tours nationally and is a favorite at Blues festivals. He was inducted into the Blues Hall Of Fame in 2012. UPDATE 2018: Sadly Lester passed away on August 28, 2018. He was 85

 

NO MORE DOGGIN’ The RPM Records Story: Vol 1 1950-1953

 

RPM RecordsFull of Jump Blues, early R&B, and down-home Country Blues, the double-disc collection No More Doggin’ The RPM Records Story Vol. 1 might be one of the best introductions to early 50’s blues ever.  Compiled by the good folks at ACE Records, this collection covers the early years of RPM Records and features well know artists like B.B. King, Howlin’ Wolf, and Lightnin’ Hopkins.

Started in 1950 by the Bihari Brothers, RPM was meant to be a subsidiary of the Bihari’s very popular label Modern Records.  After initially having lots of success with Modern, the Bihari’s began having trouble getting their records played on the radio due to stations not wanting to play too many sides from any one label. So in order to get their product on the airwaves the Bihari’s started a number of subsidiary labels. Probably the most popular of Modern’s subsidiary labels, RPM introduced the world to a Memphis radio DJ by the name of Riley B. King. Eventually known as “B.B. King”, Riley came to the attention of the Bihari Brothers thanks to their working relationship with Memphis talent scout/producer Sam Phillips. Phillips at the time was recording local artists with his Memphis Recording Service then sending the masters to labels like Modern and Chess. Trough their relationship with Phillips, the Bihari’s got hooked up with some of the best talent in Memphis. Unfortunately their relationship ended when Phillips and the Bihari’s had a disagreement over a B.B. King session and went their separate ways. Fed up with feeding product he recorded to other labels, Phillips then decided to start his own label, Sun Records. As for Modern/RPM, even without the help of Phillips the label still went on to produce many more hits, including B.B. King’s breakthrough hit record Three O’Clock Blues.

No More Doggin’ The RPM Records Story Vol. 1 starts off with the Dixieland-style track “Alabama Bound”. Sung by Adele Francis, this tune was RPM’s first release in 1950.  Other stand out tracks are Sonny Blair’s down-and-out blues ballad “Glad To Be Back Home”, B.B. King’s “Other Night Blues, and Howlin’ Wolf’s “Riding In The Moonlight”. My personal favorite recordings on this collection are the Lightnin’ Hopkins tracks. Excellent versions of “Bad Luck and Trouble” and “Another Fool In Town” showcase Hopkins at his bluesy best, while “Jake Head Boogie” shows that he also could ROCK when he wanted to.  Another nice surprise on this collection is the tune “It’s Time For Lovin’ To Be Done”. Performed by Detroit Bluesman Little Eddie Kirkland, the song features uncredited backing vocals by the great John Lee Hooker!

As usual the folks at ACE left no stone unturned when putting this collection together. Included in this collection is a nice history of RMP records as well as a few words on all the performers. All of the albums 52 tracks sound crisp and clear thanks to the extra care shown by the folks who did the remastering. If you want to hear where Rock N’ Roll really began this collection is for you.

 

RESPECT YOURSELF: The Story of STAX Records

STAX

RESPECT YOURSELF: THE STORY OF STAX RECORDS Bloomsbury USA

Author Robert Gordon has been writing about the music of Memphis for almost 30 years. In Respect Yourself: The Story of STAX Records Mr. Gordon not only tells the story of STAX but also the story of the Civil Rights movement in Memphis.  Passionately written and meticulously researched this book takes you from the label’s meager beginnings in a garage outside Memphis to it’s bankruptcy in 1975.   Along with Mr. Gordon’s narration you hear from the people that made STAX happen, making this book one of a kind.

A LITTLE STAX HISTORY…

Started by Jim Stewart and his sister Estelle Axton in 1957, STAX Records was more then just a record label.  It was a voice in the community.  The label’s open door policy made it possible for anyone to come in off the street and set up an audition. It didn’t matter where you were from or what the color of your skin was, you were welcomed at STAX as long as you had a passion for music.

Right from the beginning STAX did things it’s own way. Segregation may have been alive and well in Memphis during the 1960’s, but that didn’t stop STAX founder Jim Stewart from hiring an African American DJ named Al Bell to be his lead promotions man.  Working together side by side Jim, Estelle, and Al turned STAX records from a little indie label into a household name!  STAX artists like Otis Redding, Booker T. & The MG’s, Carla Thomas, and William Bell put the label on the map with singles that started appearing on the R&B and Pop charts.  Money was coming in and things were really rolling, until one very dark December day in 1967…

Today many people can remember exactly where they were when they learned that the plane carrying Otis Redding and The Bar-Keys went down. Otis was the soul of STAX and the voice of soul music.  A few months later while the people of STAX were still grieving over the loss of Otis and the Bar Keys their world was rocked again.  On the evening of April 4, 1968  Dr. Martin Luther King was assassinated at the Lorraine Motel in Memphis.  Needless to say, after the assassination of Dr. King everything was different, especially in Memphis.  If all this wasn’t enough,  the label’s distributor Atlantic Records ended it’s relationship with STAX.  With it’s biggest star gone and no way to get music to the stores most label’s would have called it a day, but most labels didn’t have Al Bell.  It was then that Al and the folks at STAX hunkered down and staged one of the biggest comebacks in music history.

The early 70’s found STAX again at the top of the Soul music world. This time around STAX would reach heights that were even greater then it did in the 1960’s.  Al Bell gained full control of the label and STAX rode the success of artists like Isaac Hayes, The Emotions, Johnnie Taylor, and The Staple Singers all the way to the top of the charts.  Sadly this rebirth would be short lived as some questionable business decisions and over expatiation lead to STAX eventually having to declaring bankruptcy in 1975.

All that said, STAX has lived on in many different ways. Many of their artists are still celebrated today and have found new audiences. Artists such as William Bell, Mavis Staples, and Eddie Floyd still perform and continue to release new music while others like Sam Moore are mostly retired but still appear at the occasional music festival. The studio was rebuilt and is now a museum (possibly the best museum in Memphis not named The National Civil Rights museum). There is also the Stax Music Academy, a music school that is focused on providing music education to local youth. So while the days of Otis roaming the halls and Al Bell running the office might be gone all is not lost. The future of Stax is very bright.

Merry Clayton: The Voice Behind the Hits

Merry Clayton

Ever since her early performances in the Churches of New Orleans Merry has turned heads with her larger then life voice.  Her professional career started when she backed up Bobby Darin on some of his early recordings.  Form there it wasn’t long before she was selected to be a “Raelette” and sing backup for one of her main influences, Mr. Ray Charles.  Little did she know that singing backup for Ray was just the beginning.  In later years Merry would go on to sing backup for artists such as Joe Cocker, Neil Young, Carole King, Lynyrd Skynyrd and of course, The Rolling Stones.  Usually the most talented vocalist at whatever session she was working on, Merry signed with Lou Alder’s Ode Record label in the late 60’s. Working with music industry legend Lou Alder, Merry began what many thought would be a successful a solo career.  Unfortunately, her records didn’t sell and most of her solo recordings remain unknown and forgotten about by the general public.

Late one night in 1969 singer Merry Clayton was just falling asleep when she received a call from record producer Jack Nitzsch.  Jack was in the middle of a late night studio session and was desperately looking for a female vocalist to add backing vocals on a track called “Gimmie Shelter”.  Very pregnant and not really in the mood to leave her warm bed, Merry listened while Jack tried to convince her that doing this session with a band called “The Rolling Stones” would be a great career move.   It didn’t matter that she’d never heard of the band and wasn’t familiar with their music,  Merry was a seasoned pro. This was just another session gig.  She finally agreed to do the session and went to the studio and nailed the track in three quick takes. Then as quickly as she came in to the studio, she was out the door and gone in the night.  The song became a huge hit and has since become a staple of the Stone’s live show.  Even though it was her singing that took the song to the next level Merry couldn’t bring herself to listen to the track for many years. After her session with the Stones she had miscarriage and lost her baby.  It has been speculated that her vigorous singing on “Gimmie Shelter” contributed to the miscarriage.

Hopefully 2013 is the year the world will finally know Merry Clayton.  She is the subject of an excellent new documentary called 20 Feet From Stardom that follows the lives of some very talented backup singers.   In conjunction with the release 20 Feet From Stardom Sony/Ode Records has release a collection of Merry’s solo recordings called The Best Of Merry Clayton.  This collection covers most of Merry’s solo career and features soulful renditions of some popular classic rock songs.  One only needs to listen to a few minutes of Merry’s rendition of Neil Young’s “Southern Man” (the album’s opening track) to know that listening to Merry sing is a religious experience.   Very different then the original version, the song takes on a whole new life when Merry screams “…I heard screamin’, bullwhips crackin’, how long is it gonna last?”.   Other great tracks on this album are her versions of Bill Withers “Grandma’s Hands”,  James Taylor’s”Country Road”, and of course the Stones’ “Gimmie Shelter” (her first Ode Records release).  In 17 great tracks you get to hear the voice that helped many artists take their songs to the next level.  Here’s hoping that someday soon Merry will reach the high level of stardom that she so rightly deserves.

4009910517727-e1371153657619

 

BUDDY GUY “WHEN I LEFT HOME”

 

A few years ago while I was doing a blues gig in San Francisco and I got into a conversation with another musician about great Blues guitar players.  “It’s a shame there aren’t any great blues players left” he said.  “That’s not true” I replied, “B.B. is still around and of course you have Buddy Guy”.  The musician gave me a strange look and said “What?! Why do you like Buddy Guy?  I saw him once and he just played a bunch of Hendrix riffs”.  All I could do at that point was chuckle and reply, “Yeah, well where do you think Hendrix, got some of those ideas from?   Jimi was a student of the Blues and listened to all the blues records he could get his hands on.  The guitar player on many of these records was Buddy Guy. ”

Buddy Guy’s guitar playing has inspired guitar players in every genre of music for over fifty years. Always an exciting live act, Buddy has taken his exciting brand of electric blues all all over the world.  He’s shared the stage with blues legends like Muddy Waters and rockers like The Rolling Stones.  He’s headlined countless festivals, performed on television and even performed for Presidents and royalty.  That being said his impressive career isn’t limited just to the stage.  During the 1960’s Buddy was an in-demand studio musician for Chess records and played lead guitar on many hits by the likes of Muddy Waters, Howlin’ Wolf, and Koko Taylor.  In short, Buddy Guy has lived enough in his 76 years of life to count for three lifetimes.

In “When I Left Home” Buddy (with help from David Ritz) takes us from the farm he grew up on in Louisiana to the streets of Chicago.  A master storyteller, Buddy doesn’t hold back when talking about the ups and downs of life as a blues man. With a mother in need of extra medical attention after suffering a stroke, he left Louisiana for Chicago in search work that would able him to not only support himself but also send money back home to Louisiana.  Already proficient on guitar from playing around clubs in Louisiana, Buddy worked himself into the Chicago scene with the help of some local blues fans and eventually with help from the great Muddy Waters.  One would think that this would be the ending of our story, but this is only the beginning.  Over the next several years Buddy works hard to establish himself as one of the premier Blues guitar players on the Chicago scene.  Working as a tow-truck driver in the day, playing clubs and doing recording sessions at night he found himself working night and day to make his dream happen and take care of his family.  “When I Left Home” is the no-nonsense story of George “Buddy” Guy, and like it’s author, this story is THE REAL DEAL.

Not familiar with the music of Buddy Guy? Here are some albums I think you might enjoy. There are also many single recordings featuring Buddy, more information on these recordings and the albums listed below can be found in the back of the book “When I Left Home”.

Artist/Album

BUDDY GUY ALBUMS

“Buddy’s Blues” (Best of his Chess recordings)

“A Man and The Blues”

“Buddy and The Junior’s” (Buddy Guy with Junior Wells and Junior Mance)

“Damn Right I Got The Blues”

“Sweet Tea”

“Blues Singer”

“Can’t Quit The Blues” (Box Set)

RECORDS FEATURING BUDDY GUY

JUNIOR WELLS “Hoodoo Man Blues”

MUDDY WATERS “Folk Singer”