George Haffenden“I was born in Louisiana,
And at the age of two
My Mama told my Papa,
Our little boy has the blues”
Firstly, yes we know: Buddy Guy pays the blues not soul, and definitely not funk. After all, if it was not for the blues we simply would not have soul and funk, and besides, we here at TFSR like to mix things up a little once in a while.
Today marks the release of Buddy Guy’s latest album Born To Play Guitar, another incredible offering of those irresistible Chicago blues that Guy has been delighting his fans with for the past six decades. This album is the latest in a recent string of pretty spectacular albums from the blues man: 2013’s Rhythm & Blues, 2010’s Living Proof, 2008’s Skin Deep, and 2005’s Bring ‘Em In were all fine records, marking a new renaissance period in Guy’s recording career. Born To Play Guitar continues Guy’s impressive string of recordings, finding him reflective at the age of 79. You’d be wrong to assume that now, at the tender age of 79, Guy is past it – his trademark growling vocals remain impeccable, and he has lost none of his ability to electrify with his guitar playing. Indeed, as Guy sings on the opening/title track: ‘I’ve got blues running through my veins’.
One of the highlights for us is ‘Crying Out of One Eye’ which combines the electric Chicago blues with the gritty Memphis soul. It’s a typical blues song: Guy’s woman has left him, and instead of being truly upset at the break-up, she’s perfectly happy to be seeing the back of him, which, naturally, upsets Guy. Everything about this song is brilliant: Guy’s guitar licks, the heavy bass and drums, and with the brilliant horn arrangement, it’s one incredible blues tune.
On the album is several interesting collaborations: Kim Wilson’s tasty harmonica graces ‘Too Late’ and ‘Kiss Me Quick’, two rock-blues numbers reminiscent of James Cotton’s ‘70s blues album 100% Cotton; Billy Gibbons of ZZ Top fame makes an appearance on ‘Wear You Out’, another rock-blues tune that features some great guitar work, as well as gritty vocals from both Gibbons and Guy. An interesting choice of guest vocalist is the presence of soul singer Joss Stone on ‘(Baby) Guess What It Takes’, a blues-ballad. It misses the mark somewhat, given the differences in vocal styles, but it nonetheless a pretty little number that breaks up the heavy blues on the rest of the album.
Where the album is at its best is the final two songs ‘Flesh & Bone’, and ‘Come Back Muddy’, the former a tribute to the recently departed King of the Blues B.B. King, the latter a tribute to Guy’s mentor and key blues figure Muddy Waters. Van Morrison joins Buddy on ‘Flesh & Bone’; a song with a morbid title but a brilliant lyric, reminding us that life is ‘more than flesh and bone’. Both Van Morrison and Guy deliver excellent vocals on this tribute to the King, creating a poignant tribute to the man who Buddy Guy claimed was ‘the best to ever do it’. ‘Come Back Muddy’ is a stripped back, acoustic blues piece of beauty upon which Guy pleads with Muddy to come back, to ‘make some of that ol’ nasty noise’ once again.
Born To Play Guitar is likely to be the blues album of the year, and rightly so. Guy’s vocals and guitar playing remains outstanding; the songs are well written; and the production quality is fantastic. The tributes to B.B. King and Muddy Waters are superb, reminding us of their talent, and the influence that they had on the greatest remaining blues man. Buddy Guy has delivered once again, proving that the blues remain relevant to music and life today.