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Blues - Verschenen op 1 januari 1964 | Geffen*

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At the time of his very first recordings in 1941, Muddy Waters was not yet called Muddy Waters, and he played acoustic guitar. It wasn't his guitar since he didn't own one, but one that was lent to him by Alan Lomax, the man who discovered him deep in Mississippi when he was a farmer and an amateur musician. A few years later, Muddy Waters went up to Chicago and became the boss of electric blues, no doubt possessing many of his own guitars at that stage. However, in 1963 he went into the studio to record Folk Singer, an album with acoustic guitar. Why this unplugged turn? Was there a powercut in Chicago? Nope, it was what the market dictated. And at that time, the black public turned to soul, while the buoyant market for blues musicians became that of young white folk lovers, who confused authenticity and acoustics. Muddy Waters played the game, and played it well. This album is very well produced, with a sound makes it feel like Muddy Waters is playing in your living room… and that your living room sounds like a cathedral! Plus, he brought some buddies along, including Buddy Guy and Willie Dixon. With his majestic and solemn voice, Muddy Waters plays zen, essential, with few notes and long pauses between each one. The record demands that you don’t move, just listen. The album is hardly representative of Muddy Waters’ electric style, but it’s still one of his best. © Stéphane Deschamps/Qobuz
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Blues - Verschenen op 9 maart 2018 | UMC (Universal Music Catalogue)

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Blues - Verschenen op 27 augustus 2021 | BMG Rights Management (UK) Ltd

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Blues - Verschenen op 1 januari 1977 | Epic - Legacy

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. © Daniel Gioffre /TiVo
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Blues - Verschenen op 5 april 1964 | Geffen

At the time of his very first recordings in 1941, Muddy Waters was not yet called Muddy Waters, and he played acoustic guitar. It wasn't his guitar since he didn't own one, but one that was lent to him by Alan Lomax, the man who discovered him deep in Mississippi when he was a farmer and an amateur musician. A few years later, Muddy Waters went up to Chicago and became the boss of electric blues, no doubt possessing many of his own guitars at that stage. However, in 1963 he went into the studio to record Folk Singer, an album with acoustic guitar. Why this unplugged turn? Was there a powercut in Chicago? Nope, it was what the market dictated. And at that time, the black public turned to soul, while the buoyant market for blues musicians became that of young white folk lovers, who confused authenticity and acoustics. Muddy Waters played the game, and played it well. This album is very well produced, with a sound makes it feel like Muddy Waters is playing in your living room… and that your living room sounds like a cathedral! Plus, he brought some buddies along, including Buddy Guy and Willie Dixon. With his majestic and solemn voice, Muddy Waters plays zen, essential, with few notes and long pauses between each one. The record demands that you don’t move, just listen. The album is hardly representative of Muddy Waters’ electric style, but it’s still one of his best. © Stéphane Deschamps/Qobuz
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Blues - Verschenen op 5 oktober 1968 | Geffen*

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Blues - Verschenen op 1 januari 1957 | Geffen

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Blues - Verschenen op 28 augustus 2001 | Geffen

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Pop - Verschenen op 2 september 2003 | Epic - Legacy

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Blues - Verschenen op 20 mei 2016 | Justin Time Records

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Blues - Verschenen op 9 juli 2012 | Mercury Studios

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Blues - Verschenen op 1 januari 1960 | Geffen

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Blues - Verschenen op 30 oktober 2001 | Geffen

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Blues - Verschenen op 15 november 1960 | Geffen

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Blues - Verschenen op 23 mei 2006 | Geffen

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Blues - Verschenen op 5 oktober 1968 | Geffen

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Blues - Verschenen op 7 november 1989 | Geffen

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Blues - Verschenen op 18 mei 2004 | Epic - Legacy

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Blues - Verschenen op 13 mei 2019 | Reborn recordings

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Blues - Verschenen op 25 augustus 1999 | Epic - Legacy