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HI-RES25,49 Fr.
CD17,99 Fr.

Blues - Erschienen am 1. Januar 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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CD27,49 Fr.

Blues - Erschienen am 9. März 2018 | UMC (Universal Music Catalogue)

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HI-RES24,99 Fr.
CD21,49 Fr.

Blues - Erschienen am 27. August 2021 | BMG Rights Management (UK) Ltd

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Als Claude Nobs, der Gründer des zukünftigen Montreux-Festivals 1965 in die USA nach Chicago fuhr, war er, sobald er das Flugzeug verlassen hatte, in eine Tournee in den Blues-Clubs vor Ort verwickelt. Nach der ersten Nacht, geprägt von Konzerten mit Howlin' Wolf und Muddy Waters und randvoll gefüllten, von Willie Dixon servierten Whiskygläsern, war er wohl etwas neben der Spur. Persönlich gesehen war es ein wichtiger Zeitpunkt für ihn, an den er sich ein paar Jahre später auf den Bühnen in Montreux wohl wieder erinnerte, als dort der ehrbare Muddy Waters in den Jahren 1972, 1974 und 1977 auftrat. Dieses Best-of der drei Konzerte anhand von 16 Titeln beginnt idealerweise mit dem unumstrittenen Nobody Knows Chicago Like I Do. Die Sphinx des Chicago Blues ist hier wie so oft in Höchstform, in Begleitung der feinsten Leute (Buddy Guy, Junior Wells, Bill Wyman, Pinetop Perkins...) und bleibt nach wie vor dem rund zwanzig Jahre zuvor erfundenen Stil treu. Muddy Waters interpretiert sämtliche seiner Hits (Mannish Boy, I’m Ready, Got My Mojo Workin’, Rollin’ And Tumblin’, I’m Ready…) und weitere, weniger bekannte Stücke mit Erstklassigkeit, wie eine Katze, die weder ihre sinnliche Geschmeidigkeit noch ihren Raubtierinstinkt eingebüßt hat. Muddy Waters hat diese Songs wohl an die tausend Mal gesungen, aber er versteht sich immer wieder darauf, die magische Dimension von neuem zu erzeugen. Die Interpretation ist tiefgründig, die Einspielung in Bezug auf Klarheit und Komplexität ist perfekt: Diese gigantische Kompilation mit den Jahren in Montreux wandert ohne Umschweife in die Top 5 der besten Live-Alben von Muddy Waters. © Stéphane Deschamps/Qobuz
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CD21,99 Fr.

Blues - Erschienen am 1. Januar 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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CD20,49 Fr.

Blues - Erschienen am 5. April 1964 | Geffen

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CD17,99 Fr.

Blues - Erschienen am 5. Oktober 1968 | Geffen*

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CD17,99 Fr.

Blues - Erschienen am 1. Januar 1957 | Geffen

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CD38,99 Fr.

Blues - Erschienen am 28. August 2001 | Geffen

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CD30,99 Fr.

Pop - Erschienen am 2. September 2003 | Epic - Legacy

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HI-RES19,99 Fr.
CD16,99 Fr.

Blues - Erschienen am 20. Mai 2016 | Justin Time Records

Hi-Res Booklet
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CD27,49 Fr.

Blues - Erschienen am 9. Juli 2012 | Mercury Studios

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CD20,49 Fr.

Blues - Erschienen am 1. Januar 1960 | Geffen

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CD20,49 Fr.

Blues - Erschienen am 30. Oktober 2001 | Geffen

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CD20,49 Fr.

Blues - Erschienen am 15. November 1960 | Geffen

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CD20,49 Fr.

Blues - Erschienen am 23. Mai 2006 | Geffen

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HI-RES28,99 Fr.
CD20,49 Fr.

Blues - Erschienen am 5. Oktober 1968 | Geffen

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CD21,99 Fr.

Blues - Erschienen am 18. Mai 2004 | Epic - Legacy

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CD38,99 Fr.

Blues - Erschienen am 7. November 1989 | Geffen

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HI-RES13,19 Fr.
CD8,79 Fr.

Blues - Erschienen am 13. Mai 2019 | Reborn recordings

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CD21,99 Fr.

Blues - Erschienen am 25. August 1999 | Epic - Legacy