Bruce Springsteen - The Roxy Theater, Hollywood 1975 (Bootleg) (Superb Quality)

Size: 255 MB
Bitrate: 320
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Found in DC++ World
Some Artwork

Artist Biography by William Ruhlmann:
In the decades following his emergence on the national scene in 1975, Bruce Springsteen proved to be that rarity among popular musicians, an artist who maintained his status as a frontline recording and performing star, consistently selling millions of albums and selling out arenas and stadiums around the world year after year, as well as retaining widespread critical approbation, with ecstatic reviews greeting those discs and shows. Although there were a few speed bumps along the way in Springsteen's career, the wonder of his nearly unbroken string of critical and commercial success is that he achieved it while periodically challenging his listeners by going off in unexpected directions, following his muse even when that meant altering the sound of his music or the composition of his backup band, or making his lyrical message overtly political. Of course, it may have been these very sidesteps that kept his image and his music fresh, especially since he always had the fallback of returning to what his fans thought he did best, barnstorming the country with a marathon rock & roll show using his longtime bandmates.

Bruce Springsteen was born September 23, 1949, in Freehold, New Jersey, the son of Douglas Springsteen, a bus driver, and Adele (Zirilli) Springsteen, a secretary. He became interested in music after seeing Elvis Presley perform on The Ed Sullivan Show in 1956 and obtained a guitar, but he didn't start playing seriously until 1963. In 1965, he joined his first band, the Beatles-influenced Castiles. They got as far as playing in New York City, but broke up in 1967 around the time Springsteen graduated from high school and began frequenting clubs in Asbury Park, New Jersey. From there, he briefly joined Earth, a hard rock band in the style of Cream. Also in the hard rock vein was his next group, Child (soon renamed Steel Mill), which featured keyboard player Danny Federici and drummer Vini Lopez. (Later on, guitarist Steve Van Zandt joined on bass.) Steel Mill played in California in 1969, drawing a rave review in San Francisco and even a contract offer from a record label. 

But they broke up in 1971, and Springsteen formed a big band, the short-lived Dr. Zoom & the Cosmic Boom, quickly superseded by the Bruce Springsteen Band. Along with Federici, Lopez, and Van Zandt (who switched back to guitar), this group also included pianist David Sancious and bassist Garry Tallent, plus a horn section that didn't last long before being replaced by a single saxophonist, Clarence Clemons. Due to a lack of work, however, Springsteen broke up the band and began playing solo shows in New York City. It was as a solo performer that he acquired a manager, Mike Appel, who arranged an audition for legendary Columbia Records talent scout John Hammond. Hammond signed Springsteen to Columbia in 1972.

Bruce Springsteen - Spain Single 1975

Greetings from Asbury Park, N.J. In preparing his debut LP, Greetings from Asbury Park, N.J., Springsteen immediately re-hired most of his backup band, Federici, Lopez, Sancious, Tallent, and Clemons. (Van Zandt, on tour with the Dovells, was mostly unavailable.) The album went unnoticed upon its initial release in January 1973 (although Manfred Mann's Earth Band would turn its lead-off track, "Blinded by the Light," into a number one hit four years later, and the LP itself has since gone double platinum). The Wild, the Innocent & the E Street Shuffle (September 1973) also failed to sell despite some rave reviews. (It too has gone double platinum.) The following year, Springsteen revised his backup group -- now dubbed the E Street Band -- as Lopez and Sancious left, and Max Weinberg (drums) and Roy Bittan (piano) joined. (In 1975, Van Zandt returned to the group.) With this unit he toured extensively while working on the LP that represented his last chance with Columbia. By the time Born to Run (August 1975) was released, the critics and a significant cult audience were with him, and the title song became a Top 40 hit while the album reached the Top Ten, going on to sell six million copies.

Darkness on the Edge of Town Despite this breakthrough, Springsteen's momentum was broken by a legal dispute, as he split from Appel and brought in Jon Landau (a rock critic who had famously called him the "rock & roll future" in a 1974 concert review) as his new manager. The legal issues took until 1977 to resolve, during which time Springsteen was unable to record. (One beneficiary of this problem was Patti Smith, to whom Springsteen gave the composition "Because the Night," which, with some lyrical revisions by her, became her only Top 40 hit in the spring of 1978.) He finally returned in June 1978 with Darkness on the Edge of Town. By then, he had to rebuild his career. Record labels had recruited their own versions of the Springsteen "heartland" rock sound, in such similar artists as Bob Seger & the Silver Bullet Band (who actually preceded Springsteen but achieved national recognition in his wake), Johnny Cougar (aka John Mellencamp), Tom Petty & the Heartbreakers, Meat Loaf, Eddie Money, and even fellow Jersey Shore residents Southside Johnny & the Asbury Jukes, to name only some of the more successful ones. At the same time, the punk/new wave trend had become the new focus of critical devotion, making Springsteen seem unfashionable. Notwithstanding these challenges, Darkness earned its share of good reviews and achieved Top Ten status, selling three million copies as the single "Prove It All Night" hit the Top 40. (In early 1979, the Pointer Sisters took Springsteen's composition "Fire" into the Top Ten.)

Bruce Springsteen - Netherland Single 1976

The RiverSpringsteen fully consolidated his status with his next album, the two-LP set The River (October 1980), which hit number one, sold five million copies, and spawned the Top Ten hit "Hungry Heart" and the Top 40 hit "Fade Away." (In 1981-1982, Gary U.S. Bonds reached the Top 40 with two Springsteen compositions, "This Little Girl" and "Out of Work.") But having finally topped the charts, Springsteen experimented on his next album, preferring the demo recordings of the songs he had made for Nebraska (September 1982) to full-band studio versions, especially given the dark subject matter of his lyrics. The stark LP nevertheless hit the Top Ten and sold a million copies without benefit of a hit single or a promotional tour. (Van Zandt amicably left the E Street Band for a solo career at this point and was replaced by Nils Lofgren.)

Born in the U.S.A. But then came Born in the U.S.A. (June 1984) and a two-year international tour. The album hit number one, threw off seven Top Ten hits ("Dancing in the Dark," which earned Springsteen his first Grammy Award for Best Male Rock Vocal Performance, "Cover Me," "Born in the U.S.A.," "I'm on Fire," "Glory Days," "I'm Goin' Down," and "My Hometown"), and sold 15 million copies, putting Springsteen in the pop heavens with Michael Jackson and Prince. For his next album, he finally exploited his reputation as a live performer by releasing the five-LP/three-CD box set Bruce Springsteen & the E Street Band Live/1975-85 (November 1986), which topped the charts, was certified platinum 13 times, and spawned a Top Ten hit in a cover of Edwin Starr's "War." (In March 1987, "the Barbusters" -- actually Joan Jett & the Blackhearts, took Springsteen's composition "Light of Day," written for the movie of the same name, into the Top 40.)

Tunnel of Love Characteristically, Springsteen returned to studio work with a more introverted effort, Tunnel of Love (October 1987), which presaged his 1989 divorce from his first wife, actress Julianne Phillips. (He married a second time to singer/songwriter/guitarist Patti Scialfa, who had joined the E Street Band as a backup vocalist in 1984.) The album was another number one hit, selling three million copies and producing two Top Ten singles, "Brilliant Disguise" and the title song, as well as the Top 40 hit "One Step Up." The album earned him a second male rock vocal Grammy. (In the spring of 1988, Natalie Cole covered the Springsteen B-side "Pink Cadillac" for a Top Ten hit.)

Bruce Springsteen - Netherland Single 1975

Human TouchSpringsteen retreated from public view in the late '80s, breaking up the E Street Band in November 1989. He returned to action in March 1992 with a new backup band, simultaneously releasing two albums, Human Touch and Lucky Town, which entered the charts at numbers two and three, respectively, each going platinum. A double-sided single combining "Human Touch" and "Better Days" was a Top 40 hit. Of course, this was a relative fall-off from the commercial heights of the mid-'80s, but Springsteen was undeterred. He next contributed the moody ballad "Streets of Philadelphia" to the soundtrack of Philadelphia, film director Jonathan Demme's 1993 depiction of a lawyer fighting an unjust termination for AIDS. The recording became a Top Ten hit, and the song went on to win Springsteen four Grammys (Song of the Year, Best Rock Song, best song written for a motion picture or television, and another for male rock vocal) and the Academy Award for best song.

Greatest Hits In early 1995, Springsteen reconvened the E Street Band to record a few new tracks for his Greatest Hits (February 1995). The album topped the charts and sold four million copies, with one of the new songs, "Secret Garden," eventually reaching the Top 40. Despite this success, Springsteen resisted the temptation to reunite with the E Street Band on an ongoing basis at this point, instead recording another low-key, downcast, near-acoustic effort in the style of Nebraska, The Ghost of Tom Joad (November 1995) and embarking on a solo tour to promote it. The LP won a Grammy for best contemporary folk album, but it missed the Top Ten and only went gold.

Tracks A much more prolific songwriter and recording artist than what was reflected in his legitimately released discography, Springsteen went into his vault of unreleased material and assembled the four-CD box set Tracks (November 1998), which went platinum. Whether inspired by the playing he heard on those recordings, bowing to constant fan pressure, or simply recognizing the musicians with whom he had made his most successful music, Springsteen finally reunited the E Street Band in 1999, beginning with a performance at his induction into the Rock & Roll Hall of Fame. All the members from the 1974-1989 edition of the group returned. (Characteristically, Springsteen sidestepped the question of whether to use Van Zandt or Lofgren in the guitar position by rehiring both of them.) They embarked on a world tour that lasted until mid-2000, its final dates resulting in the album Live in New York City, which hit the Top Ten and sold a million copies.

The RisingSpringsteen's writing process in coming up with a new rock album to be recorded with members of the E Street Band was given greater impetus in the wake of the terrorist attacks of September 11, 2001, and the resulting disc, The Rising (July 2002), contained songs that reflected on the tragedy. The album hit number one and sold two million copies, winning the Grammy for rock album, as the title song won for rock song and male rock vocal. 

Following another lengthy tour with the E Street Band, Springsteen again returned to the style and mood of Nebraska on another solo recording, Devils & Dust (April 2005), taking to the road alone to promote it. The album hit number one and went gold, winning a Grammy for Best Solo Rock Vocal Performance. One year later, Springsteen unveiled another new musical approach when he presented We Shall Overcome: The Seeger Sessions (April 2006), an album on which he played new arrangements of folk songs associated with Pete Seeger, played by a specially assembled Sessions Band. The album reached the Top Ten and went gold as Springsteen toured with the group. It also won the Grammy for Best Traditional Folk Album. The tour led to a concert recording, Live in Dublin (June 2007), which reached the Top 40.

Magic Once again, Springsteen recorded a new rock album, Magic (October 2007), as a precursor to re-forming the E Street Band and going out on another long tour. The album hit number one and went platinum, with the song "Radio Nowhere" earning Grammys for rock song and solo rock vocal. (Another track from the album, "Girls in Their Summer Clothes," won the rock song Grammy the following year.) Sadly, longtime E Street Band keyboardist Danny Federici succumbed to a three-year battle with melanoma on April 17, 2008, his death causing the first irrevocable change in the group's personnel (saxophonist Clarence Clemons would die on June 18, 2011 due to complications from a stroke). Federici was replaced by Charles Giordano who had played with Springsteen previously in the Sessions Band.

Working on a DreamSpringsteen finished the tour in 2008 and held several additional shows in support of Senator Barack Obama, whose presidential campaign had kicked into hyperdrive earlier that year. While playing an Obama rally in early November, Springsteen debuted material from his forthcoming album, Working on a Dream, whose tracks had been recorded with the E Street Band during breaks in the group's previous tour. The resulting album, which was the last to feature contributions from Federici (as well as his son, Jason), arrived on January 27, 2009, one week after Obama's historic inauguration. It immediately hit number one, Springsteen's ninth album to top the charts over a period of three decades, and it went on to win him another Grammy for solo rock vocal and to go gold. In February, Springsteen and the E Street Band provided the half-time entertainment at Super Bowl XLIII. The group's tour, which featured full-length performances of some of Springsteen's classic albums at selected shows, ran through November 22, 2009. In December, the 60-year-old was ranked fourth among the top touring acts of the first decade of the 21st century, behind only the Rolling Stones, U2, and Madonna. The same month he was a recipient of the Kennedy Center Honors.

Wrecking BallSpringsteen's 2010 was devoted to a revival of Darkness on the Edge of Town, with the 1978 masterpiece receiving an expanded box set called The Promise: The Making of Darkness on the Edge of Town; the set contained a feature-length documentary and a double-disc set of outtakes which was also available separately. As Springsteen began work on a studio album produced by Ron Aniello, who previously worked with Patti Scialfa, Clarence Clemons died from complications from a stroke on June 18, 2011. Clemons' last recorded solo appeared on "Land of Hope and Dreams," one of many politically charged songs on the resulting album, Wrecking Ball. Supported by a major media blitz that included a showcase week of Bruce covers on Late Night with Jimmy Fallon and the Boss delivering a keynote address at South by Southwest, Wrecking Ball appeared the first week of March 2012. [Source AMG]

Bruce Springsteen & The E street Band 
1975-10-17a (early Show)
The Roxy Theater, Hollywood, CA 
Radio Broadcast 
Original Master Series

DISC ONE 
01. THUNDER ROAD 
02. TENTH AVE FREEZE-OUT 
03. SPIRIT IN THE NIGHT 
04. PRETTY FLAMINGO 
05. SHE'S THE ONE 
06. BORN TO RUN 
07. 4TH OF JULY ASBURY PARK (SANDY) 
08. BACKSTREETS 
09. KITTY'S BACK 

DISC TWO 
01. JUNGLELAND 
02. ROSALITA (COME OUT TONIGHT) 
03. GOING BACK 
04. DETROIT MEDLEY 

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Al Kooper - You Never Know Who Your Friends Are (2nd Album US 1969)

Size: 100 MB
Bitrate: 256
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Ripped by: ChrisGoesRock
Artwork Included
Source: Japan 24-Bit Remaster

You Never Know Who Your Friends Are was the second album by New York City-based multi-instrumentalist Al Kooper, issued in 1969 on Columbia Records.

A continuation of sorts of his début, the album displays another eclectic mix of rock, rhythm and blues, jazz, pop, and blues, though without the psychedelics that had somewhat permeated through I Stand Alone. Utilizing a large group of musicians under the direction of Charlie Calello, known collectively as "The Al Kooper Big Band", Kooper also strayed away from the heavy string orchestrations of his début.

Relying on more original compositions, with nine of twelve tracks by Kooper (with the remaining three by Harry Nilsson), and Motown staff songwriters, the album further helped to cement Kooper's reputation.

Al Kooper's second solo album is a bit more uneven than its predecessor, I Stand Alone, for understandable reasons -- it would have been nothing less than a miracle for Kooper to have matched the consistency and daring of that album, and he doesn't have quite the same array of memorable tunes here. He's still ranging freely, however, through pop, jazz, R&B, and soul, with some songs that are among the most glorious of his output. "Magic in My Sock" is a good enough opener, making up in its virtuoso horn parts and guitar for what it lacks in melodic invention; "Lucille" is hardly the best ballad that Kooper has ever written, but it forms a good bridge to "Too Busy Thinkin' About My Baby," a Motown cover that's one of the highlights of Kooper's entire output -- from a black singer this track would be a priceless gem, but coming from Kooper it's extraordinary in its every nuance. 

You get some blues instrumental (principally piano-based) and an abortive but entertaining effort at pop/rock with the title tune, and then Kooper plunges into arty balladry with the hauntingly beautiful "The Great American Marriage/Nothing." He goes back into Motown territory, just as successful as before, on "I Don't Know Why I Love You," and back to moody art-song with Harry Nilsson's "Mourning Glory Story." Kooper returns to the soulful side of rock on "Anna Lee (What Can I Do for You)" and finishes with "I'm Never Gonna Let You Down" -- the latter would be worth the price of the album by itself, a soaring, more lyrical and moody original classic that manages to be unpretentious yet epic in its treatment. [AMG + Wikipedia]

»»» Al Kooper Biography «««
Al Kooper (born Alan Peter Kuperschmidt; February 5, 1944) is an American songwriter, record producer and musician, known for organizing Blood, Sweat & Tears (although he did not stay with the group long enough to share its popularity), providing studio support for Bob Dylan when he went electric in 1965, and also bringing together guitarists Mike Bloomfield and Stephen Stills to record the Super Session album. He has had a successful solo career since then, written music for film soundtracks, and has also lectured in musical composition. He continues to perform live.

Kooper, born in Brooklyn, grew up in Hollis Hills, Queens, New York. His first musical success was as a fourteen-year-old guitarist in The Royal Teens, best known for their 1958 ABC Records novelty twelve-bar blues riff, "Short Shorts". In 1960, he joined the songwriting team of Bob Brass and Irwin Levine, and wrote "This Diamond Ring", which became a hit for Gary Lewis and the Playboys. When he was twenty-one, Kooper moved to Greenwich Village.

Al Kooper Press Release 1969
(click on picture for bigger size)

He performed with Bob Dylan in concert in 1965, and in the recording studio in 1965 and 1966, including playing Hammond organ with Dylan at the Newport Folk Festival in 1965. Kooper also played the Hammond organ riffs on Dylan's "Like a Rolling Stone". It was in those recording sessions that Kooper met and befriended Mike Bloomfield, whose guitar-playing he admired. He worked extensively with Bloomfield for a number of years. Kooper played organ once again with Dylan during his 1981 world tour.

Kooper joined The Blues Project as their keyboardist in 1965, leaving the band shortly before their gig at the Monterey Pop Festival in 1967. He formed Blood, Sweat & Tears in 1967, leaving after the group's first album, Child Is Father to the Man, due to creative differences in 1968. He recorded Super Session with Bloomfield and Stills in 1968 as well, and in 1969 he collaborated with 15-year-old guitarist Shuggie Otis on the album Kooper Session. In 1975 he produced the debut album by The Tubes.

Kooper has played on hundreds of records, including ones by The Rolling Stones, B. B. King, The Who, The Jimi Hendrix Experience, Alice Cooper, and Cream. On occasion, he has even overdubbed on his own efforts, as on The Live Adventures of Mike Bloomfield and Al Kooper and on other albums, as "Roosevelt Gook". After moving to Atlanta in 1972, he discovered the band Lynyrd Skynyrd, and produced and performed on their first three albums, including the single "Sweet Home Alabama" and "Free Bird". Kooper also wrote the score for the TV series Crime Story and the film The Landlord and has also written music for several made-for-television movies. He was also the musical force behind many of the children series, Banana Splits pop tunes, including "You're the Lovin' End."

Al Kooper - US Promo Single 1969

Kooper has published a memoir, Backstage Passes: Rock 'n' Roll Life In The Sixties (1977), now available in revised form as Backstage Passes & Backstabbing Bastards: Memoirs of a Rock 'N' Roll Survivor (1998). The latter includes indictments against "manipulators" within the music industry, including his one-time business manager, Stan Polley. His status as a published author enabled him to join (and act as musical director of) the Rock Bottom Remainders, a band made up of writers including Dave Barry, Stephen King, Amy Tan, & Matt Groening.

Kooper is currently retired from teaching songwriting and recording production at Berklee College of Music in Boston, and plays weekend concerts with his bands The ReKooperators and The Funky Faculty. In 2008, he participated in the production of the album Psalngs, the debut release of Canadian musician John Lefebvre and was inducted into the Musicians Hall of Fame and Museum in Nashville, TN.

In 2005 Martin Scorsese produced a documentary, No Direction Home: Bob Dylan for the PBS American Masters Series, Kooper's most notable playing with Dylan is the organ parts on "Like a Rolling Stone". Kooper had been invited to the session as an observer, and hoped to be allowed to sit in on guitar, his primary musical instrument. 

Al Kooper - US Promo Single 1969 (Back)

Kooper uncased his guitar and began tuning it. After hearing Mike Bloomfield, who was the hired session guitarist for the sessions, warming up in the room, Kooper concluded that Bloomfield at that point, was a much better guitarist, so Kooper put his guitar aside and retreated into the control room.

As the recording sessions progressed, keyboardist Paul Griffin was moved from the Hammond organ to piano. Kooper quickly suggested to producer Tom Wilson that he had a "great organ part" for the song (which he later confessed was just a ruse to play in the session), and Wilson responded, "Al, you're not an organ player, you're a guitar player", but Kooper stood his ground. Before Wilson could explicitly reject Kooper's suggestion, he was interrupted by a phone call in the control room. Kooper immediately went into the studio and sat down at the organ, though he had rarely played organ before the session. Wilson quickly returned, and was shocked to find Kooper in the studio. By this time, Kooper had been playing along with Dylan and The Band, his organ can be heard coming in an eighth-note just behind the other members of the band, as Kooper followed to make sure he was playing the proper chords. During a playback of tracks in the control room, when asked about the organ track, Dylan was emphatic: "Turn the organ up!"

Performers:
♦ Al Kooper: piano, organ, guitar, ondioline, vocals and arrangements
♦ With The Al Kooper Big Band under the direction of Charlie Calello
♦ Guitars: Ralph Casale, Stu Scharf and Eric Gale
♦ Piano and Organ: Ernie Hayes, Paul Griffin and Frank Owens
♦ Moog Synthesizer: Walter Sears
♦ Electric Bass: Chuck Rainey, Jerry Jemmott and John Miller
♦ Drums: "Pretty" Purdie and Al Rodgers
♦ Trumpets: Bernie Glow, Ernie Royal and Marvin Stamm
♦ Trombones: Ray Desio, Jimmy Knepper, Bill Watrous and Tony Studd
♦ Saxophones: George Young, Sol Schlinger, Seldon Powell and Joe Farrell
♦ Voices: Hilda Harris, Connie Zimet, Albertine Harris, Lois Winter, Mike Gately, Lou Christie, Robert John   and Charlie Calello
♦ Record Cover Art Direction and Design: Ron Coro

Discography (Solo):
○ I Stand Alone (February 1969)
○ You Never Know Who Your Friends Are (October 1969)
○ Easy Does It (September 1970)
○ New York City (You're A Woman) (June 1971)
○ A Possible Projection of the Future / Childhood's End (April 1972)
○ Naked Songs (1973)
○ Act Like Nothing's Wrong (January 1977)
○ Championship Wrestling (featuring Jeff "Skunk" Baxter) (1982)
○ Rekooperation (June 1994)
○ Black Coffee (August 2005)
○ White Chocolate (2008)

Album Tracks:
01. "Magic in My Socks" (3:55)
02. "Lucille" (3:24)
03. "Too Busy Thinkin' 'bout My Baby" (Norman Whitfield, Janie Bradford, 3:20)
04. "First Time Around" (2:48)
05. "Loretta (Union Turnpike Eulogy)" (3:48)
06. "Blues, Part IV" (5:04)
07. "You Never Know Who Your Friends Are" (2:53)
08. "The Great American Marriage / Nothing" (3:19)
09. "I Don't Know Why I Love You" (Lula Mae Hardaway, Don Hunter, Paul Riser, Stevie Wonder, 3:22)
10. "Mourning Glory Story" (Harry Nilsson, 2:16)
11. "Anna Lee (What Can I Do For You)" (3:18)
12. "I'm Never Gonna Let You Down" (4:37)

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Al Kooper And Mike Bloomfield - Netherland Single 1969
(Live at Fillmore East)

Pink Floyd - Radio KQED TV Studios 1970 04 30 (Bootleg)

Size: 133 MB
Bitrate: 320
mp3
Found in OuterSpace
Some Artwork
Great Sound Quality

As much common if not even more is the recording from the KQED TV studios ("An Hour With Pink Floyd"), this is said to have been recorded for the KQED TV station before the evening show at the FW with no audience. 

Lately people say it was recorded actually the day after as posted on Y by Bog: "The rumor that this show is from 4/30 and not 4/29 may have been started by me a couple of years ago. ....and I do believe it's true that this was recorded on the morning or afternoon of the 30th. 

I located the actual contract between the band and the Public Broadcasting System for the rights to this video which was signed by Steve O'Rourke and it dates the recording as having taken place on April 30th."

The recordings comes from the infamous 30-4-70 set which was performed exclusively and earlier in the day (before the later Fillmore West gig) for the local PBS station, KQED TV studios San Francisco, California , USA. 

01. Atom Heart Mother  16.42
02. Cymbaline  08.50
03. Grantchester Meadows  07.17  
04. Green Is The Colour93.32
05. Careful With That Axe, Eugene  09.15
06. Set The Controls For The Heart Of The Sun  11.50

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Give The Anarchist A Cigarette



"Don’t trust people who tell you that rock is dead." –
Mick Farren (1943-2013)

Mick and I had known each other for years, but became really good friends when Patrick made the brilliant decision to ask him to edit the Bomp book. He was the perfect person for the job and loved the project. As a result of the book Mick and I worked side by side for over a year, culling articles from the zines, picking out photos and fact checking . In addition to that he decided that I needed to write some personal stories about life at Bomp. I initially declined, not really wanting to be in the spotlight , but he insisted. I relented and told him I’d write up something rough and he could edit it, but when I sent him the story he loved it just as I had written it and made me write 7 more! That brought us into a very close relationship, we ended up having a great time together telling the stories about the early days of Bomp, altho I declined to include some of the more scandalous tales. He told me with his eyes twinkling "there’s another book there darling, an even BETTER book!" We didnt get around to that one, altho he would have loved it if I had let him do it .
 
He always had projects going, one of which was a book of cat stories. Some might find that surprising , but Mick wasn’t all vampires and rock and roll, he loved animals and we would often send each other pictures of our cats or cute things he found on Youtube . He sent me some very good stories from his proposed cat book to see what I thought, and they were amazing and sweet and funny and insightful. Fortunately I printed them out and saved them, as there is no trace of them on my computer. I suppose that book will never be published, at the time he had other books that he was working on and put that one on the back burner. I hope somebody else has the stories as well and will see to it that they are available in some form.

Doctor Mick even saved me from unnecessary surgery! I had gone to the doctor for a regular check up and got the extremely surprising news that my blood test results showed that my kidneys were failing and that they needed to schedule a biopsy, that it could be cancer. Needless to say, I was in a dead panic, absolutely hysterical. I’d never even had a cavity, let alone kidney failure, and seemed to be in radiant health. I called Mick, sobbing, and he listened quietly until I finished my story and said , taking a drag off his cigarette , "Darling, dont be ridiculous, you are entirely ROBUST, merely call this stupid doctor and tell him you demand a second test!"  I swear it never would have crossed my mind to question the doctor, but thanks to Mick, I did just what he said and avoided a very unpleasant month. Mick was right, nothing wrong with me all.

We both had a good laugh later about the great health care system in America.
Mick himself used an Armenian pharmacist as his doctor, unable to afford health care here and relying on the pharmacist to supply him with the drugs he needed to breathe and remain ambulatory. He had emphysema and he had trouble breathing or even getting around. But he never did quit smoking as far as I know. When we would go to pick him up at his apartment we wouldn’t worry about remembering the apartment number, you could just follow the smoke that hit you in the face the minute the elevator opened on his floor. When he would open the apartment door the smoke would practically billow out into the hall, I would worry about the cat and Patrick and I couldnt really stay more than a minute or two without coughing, but Mick was steadfast, he was going to do things his way. I remember we had breakfast one day and he mentioned that the doctor told him his cholesterol was insanely high and that he should change his diet. He was cheerfully munching away on his usual bacon and eggs, (and beer, as I recall ) and seemed surprised when I told him bacon and eggs was perhaps not the most "heart healthy" breakfast . He had never thought twice about what he ate, I dont think he had a vegetable in his whole life and was rather stunned by the news about his breakfast. He remarked that perhaps the best thing to do was never go to the doctor and continued with his breakfast . He shortly thereafter moved to England, unable to afford even the medication from the pharmacist, and our regular lunches were, sadly, no more.

One of the tributes to Mick I just read said that he "died with his boots on", and this is true is more ways that one. One of the things I would scold him about was his insistence on wearing high heeled cowboy boots, perhaps necessary for public appearances, but he could barely walk as it was, and he seemed in constant danger of toppling over. I would beg him to "just wear some fucking tennis shoes for god’s sake!" but he refused to do any such thing , he had to be Mick Farren and Mick Farren doesn’t wear tennis shoes.
The only consolation is indeed that he died doing what he loved, I just wish it had been 30 years from now. He was family to us, we’ll miss him every day. – Suzy Shaw (Bomp Records)

◊◊◊◊◊ Mick Farren Biography ◊◊◊◊◊
Michael Anthony 'Mick' Farren (3 September 1943 - 27 July 2013) was an English journalist, author and singer associated with counterculture and the UK Underground.
Farren was born in Cheltenham, Gloucestershire and after moving to Sussex he attended Worthing High School for Boys which was a state grammar school. In 1963 he moved to London where he studied at Saint Martin's School of Art.

Farren was the singer with the proto-punk band The Deviants between 1967 and 1969, releasing three albums. During 1970 he released the solo album Mona – The Carnivorous Circus which also featured Steve Peregrin Took, John Gustafson and Paul Buckmaster, before ending his music business to concentrate on writing.

During the mid-1970s, he briefly revived his musical career, releasing the single Play With Fire featuring Marky (soon-to-be Ramone) Bell, Jon Tiven, and Doug Snyder, the EP Screwed Up, album Vampires Stole My Lunch Money and single "Broken Statue". The album featured fellow NME journalist Chrissie Hynde and Dr. Feelgood guitarist Wilko Johnson.

He sporadically did musical work after that, collaborating with Wayne Kramer on Who Shot You Dutch? and Death Tongue, Jack Lancaster on The Deathray Tapes and Andy Colquhoun on The Deviants albums Eating Jello With a Heated Fork and Dr. Crow.

Aside from his own work, he provided lyrics for various musician friends over the years. He collaborated with Lemmy, co-writing "Lost Johnny" for Hawkwind, and "Keep Us on the Road" and "Damage Case" for Motörhead. With Larry Wallis, he co-wrote "When's the Fun Begin?" for the Pink Fairies and several tracks on Wallis' solo album Death in the Guitafternoon. He provided lyrics for the Wayne Kramer single "Get Some" during the mid-1970s, and continued to work with and for him during the 1990s.

During the early 1970s he contributed to the UK Underground press such as the International Times, also establishing Nasty Tales which he successfully defended from an obscenity charge. He later wrote for the mainstream New Musical Express, for which he wrote the article The Titanic Sails At Dawn, an analysis of what he considered the malaise afflicting then-contemporary rock music and which described the conditions that subsequently resulted in punk.

He wrote 23 novels, including the Victor Renquist novels and the DNA Cowboys sequence. His 1989 novel The Armageddon Crazy dealt with a post-2000 United States dominated by fundamentalists who subvert the Constitution. He began writing fantasy literature in the 70s.

Farren wrote 11 works of non-fiction, a number of biographical (including four on Elvis Presley), autobiographical and culture books (such as The Black Leather Jacket) and much poetry.
From 2003 to 2008, he was a columnist for the weekly newspaper Los Angeles CityBeat
.
In his 3 May 2010 Doc40 blog, Farren announced that he was writing another Victor Renquist novel, with the working title of Renquist V.

In 2013 he worked with digital imprint Ink Monkey Books on audio inserts (with Andy Colquhoun of The Deviants) for reissues of The Text of Festivals and the DNA Cowboys sequence.

Albums:
1967 – The Deviants – Ptooff! (Impressario/Decca Records)
1968 – The Deviants – Disposable (Stable Records)
1969 – The Deviants – The Deviants 3 (Transatlantic Records)
1970 – Mick Farren – Mona – The Carnivorous Circus (Transatlantic Records)
1978 – Mick Farren – Vampires Stole My Lunch Money (Logo Records)
1984 – The Deviants – Human Garbage – live (Psycho Records)
1987 – Wayne Kramer & Mick Farren – Who Shot You Dutch?
1991 – Wayne Kramer – Death Tongue (Progressive Records)
1993 – Tijuana Bible – Gringo Madness
1995 – Mick Farren and Jack Lancaster – The Deathray Tapes (Alive Records)
1996 – Deviants IXVI – Eating Jello With a Heated Fork (Alive Records)
1999 – The Deviants – Barbarian Princes – Live In Japan
2002 – The Deviants – Dr. Crow (Track Records)
2004 – Mick Farren and The Deviants – Taste The Blue – live (Captain Trip Records, Japan)
2005 – Mick Farren – To The Masterlock – live (Captain Trip Records, Japan)

Frank Zappa - Montreux Casino 1971-12-04 (Bootleg)

Size: 204 MB
Birate: 320
mp3
Found on the in my Blues Mobile
Artwork Included

"Fire At The Casino" with Frank Zappa (Deep Purple wrote "Smoke on the Water" from this Zappa concert!!

Frank Zappa:

The 1971 European winter tour gets the award for being the most
disasterous. On December 4, we were working at the Casino de Montreux in Geneva, Switzerland, right on the edge of the lake- just in front of Igor Stravinsky Street- a venue noted for its jazz festivals.

In the middle of Don Preston's synthesizer solo on "King Kong," the
place suddenly caught fire. Somebody in the audience had a bottle rocket
or a Roman candle and had fired it into the ceiling, at which point the
rattan covering started to burn (other versions of the story claim the
blaze was the result of faulty wiring).

There were between twenty-five hundred and three thousand kids packed into the room- well over capacity. Since more kids were outside, trying to get in, the organizers had cleverly chained the doors shut. When the fire began, the audience was left with two ways out: through the front door, which was pretty small, or through a plate-glass window off to the side of the stage.

The Mothers Of Invention - France Single 1969

I made an announcement- something like: "Please be calm. We have to
leave here. There is a fire and why don't we get out?"
You'd be surprised how well people who speak only French can
understand you when its a matter of life and death. They began filing out
through the front door.

As the room was filling with smoke, one of our roadies took an
equipment case and smashed the big window. The crew then began helping people to escape through it into some kind of garden place below. The band escaped through an underground tunnel that led from behind the stage
through the parking garage.

A few minutes later the heating system in the building exploded, and
Some people were blown through the window. Fortunately, nobody was killed and there were only a few minor injuries- however, the entire building, about thirteen million dollars' worth, burned to the ground, and we lost all our equipment.

Don Preston said later :
That incident was very strange to me. First of all the tour schedule was printed on a box of matches. Second, on the day before the fire, in the middle of my solo on 'King Kong', someone ran out on the stage and issued a fire warning. On the next night, in the middle of my solo on 'King Kong', someone threw a firecracker up to the ceiling, which was covered with dry palm leaves, and started the fire.

Frank Zappa And The Mothers Of Invention - Italy Single 1972

"Smoke On The Water"

In the April, 1999 issue of Guitar magazine there is an interview with former Deep Purple guitarist Ritchie Blackmore. In the article Ritchie mentions Zappa two separate times. In the first instance while discussing the abuse Blackmore had to handle from the record company he says:

"As Frank Zappa would say, "I smell a rat""

The next quote follows:
Q: Can you elaborate on the story told in "Smoke on the Water"?

A. "We were sitting there watching Frank Zappa play and suddenly someone had one of those flare guns and decided to let it off. It set the roof on fire.

Frank turned around and said, "Now everybody clam down." He then threw down his guitar and jumped out the window. It was quite funny. He wanted to be the first one out. We then had about 15 minutes before the place was gutted, which was frightening."

This show had been circulating in various states under the names 'Swiss Cheese' and 'Fire!,' however,
'Swiss Cheese' was the complete show (although both of their covert artwork is in here for posterity). This
is the complete recording of the entire concert, from the lengthy and egotistic intro to the sounds 
of the fire burning the casino and the band's equipment.

Frank Zappa - US Promo Single 1970

This is the infamous concert where the Casino caught fire and burned down (the very fire mentioned in "Smoke on the Water" by Deep Purple) so most of the Mothers' equipment was destroyed.

If memory serves when Frank told the story he was more like a traffic cop and made sure all the kids got out first. Ritchie never took drugs, but did tend to drink so maybe his recollection of Zappa leaping out a window is blurred, so the question is: what really happened? Did Zappa throw down his guitar and leap out the window while Blackmore sat calmly and observed as the place burned down or is this like the Kurosawa film Rashamon, where everyone remembers things somewhat differently?

Arthur Brown And His "Fire"

Arthur Brown was kind of an English version of Screamin' Jay Hawkins (but
without the soul) in the late '60's. In America he had one single from an
LP produced by (of all people) Peter Townsend. The single was called
"FIRE". So....when some poor Swiss dude sees that he's about to become
toast and starts screaming "Fire," Kaylan believing it's a joke goes into
his line "Live right here on stage, Arthur Brown ladies and Gentlemen."

In a weird side-bar to all this, Arthur Brown moved to Austin Texas in the
'80's, and was in a band with Jimmy Carl Black! Arthur Brown used to set
himself on fire and go out onstage...early shock-rock.

Frank Zappa, Montreux Casino
 Switzerland 1971-12-04

01. Intro, 
02. Peaches En Regalia, 
03. Tears Began To Fall, 
   -She Painted Up Her Face, 
   -Half A Dozen Provocative Squats, 
04. Call Any Vegetable, 
05. Anyway The Wind Blows, 
06. Magdalena, 
   -Dog Breath, 
07. Sofa Suite, 
08. Pound For A Brown, 
   -Sleeping In A Jar, 
09. Wonderful Wino, 
   -Sharleena, 
   -Cruisin' For Burgers, 
10.King Kong (interrupted by fire)
11.FIRE!

Part 1: Link
Part 2: Link
or
Part 1: Link
Part 2: Link

Otis Rush & Buddy Guy - Petrillo Bandshell Chicago 1988-06-10 (Bootleg)

Buddy Guy - Worried Blues, UK EP 1963

Size: 164 MB
Bitrate: 320
mp3
Found in my BluesMobile
No Artwork

♦♦♦ Otis Rush ♦♦♦
Otis Rush (born April 29, 1935 in Philadelphia, Mississippi) is a blues musician, singer and guitarist. His distinctive guitar style features a slow burning sound and long bent notes. With similar qualities to Magic Sam and Buddy Guy, his sound became known as West Side Chicago blues and became an influence on many musicians including Michael Bloomfield and Eric Clapton.

Rush is left-handed and, unlike many other left-handed guitarists, plays a left-handed instrument strung upside-down with the low E string at the bottom. He played often with the little finger of his pick hand curled under the low E for positioning. It is widely believed that this contributes to his distinctive sound. He has a wide-ranging, powerful tenor voice.

After moving to Chicago, Illinois in 1948, Rush made a name for himself playing in clubs on both the South Side and West Side blues scenes. From 1956 to 1958, he recorded for the Cobra Records and released eight singles, some featuring Ike Turner or Jody Williams on guitar. His first single "I Can't Quit You Baby" in 1956 reached No. 6 on Billboard's R&B chart. During his tenure with Cobra, he recorded some of his well known songs such as "Double Trouble" and "All Your Love (I Miss Loving)."

After Cobra Records went bankrupt in 1959, Rush landed a recording contract with Chess in 1960. He recorded eight tracks for the label, four of which were released on two singles that year. Six tracks including the two singles later came out on "Door To Door" album in 1969, a compilation also featuring Chess recordings by Albert King.

He also went into the studio for Duke Records in 1962, but only one single "Homework/I Have to Laugh" was issued from the label. It also received a release in Great Britain on Vocalion VP9260 in 1963. In 1965, he recorded for Vanguard which can be heard on the label's compilation album, Chicago/The Blues/Today! Vol.2.

In the 1960s, Rush began playing in other cities in the U.S. and also to Europe, most notably the American Folk Blues Festival.

In 1969, the album Mourning in the Morning was released on Cotillion Records. Recorded at the FAME Studios in Muscle Shoals, Alabama, the album was produced by Michael Bloomfield and Nick Gravenites (then of Electric Flag). The sound that incorporated soul and rock was a brand new direction for Rush.
In 1971, Rush recorded the album Right Place, Wrong Time in San Francisco, California for Capitol Records, but Capitol decided not to release it. The album was finally released in 1976 when Rush purchased the master from Capitol and had it released by P-Vine Records in Japan. Bullfrog Records released it in the U.S. soon after. The album generally has since gained a reputation as one of the best works by Rush. In the 1970s, he also released some albums on Delmark Records and also from Sonet Records in Europe, but by the end of the decade he stopped performing and recording.

Otis Rush - So Many Roads UK EP 1965

Rush made a come back in 1985 making a U.S. tour and releasing the live album, Tops, recorded at the San Francisco Blues Festival.

In 1994, Rush released Ain't Enough Comin' In, the first studio album in 16 years. Any Place I'm Goin' followed in 1998, and Rush earned his first Grammy Award for Best Traditional Blues Album in 1999.
Though he has not recorded a new studio album since 1998, he continued to tour and perform. In 2002, he was featured on the Bo Diddley tribute album Hey Bo Diddley - A Tribute!, performing the song "I'm A Man" produced by Carla Olson.

However, he suffered a stroke in 2004 which has kept him from performing since. In 2006, Rush released his latest CD, Live and From San Francisco on Blues Express Records, a live recording from 1999. Video footage of the same show was released on the DVD Live Part 1 in 2003.

Rush has two daughters and two sons from a previous marriage and 2 daughters from his second marriage, Lena and Sophia.

♦♦♦ Buddy Guy ♦♦♦
George "Buddy" Guy (born July 30, 1936) is an American blues guitarist and singer. Critically acclaimed, he is a pioneer of the Chicago blues sound and has served as an influence to some of the most notable musicians of his generation, including Eric Clapton, Jimmy Page, Jimi Hendrix and Stevie Ray Vaughan. In the 1960s Guy was a member of Muddy Waters' band and was a house guitarist at Chess Records. He can be heard on Howlin' Wolf's "Killing Floor" and Koko Taylor's "Wang Dang Doodle" as well as on his own Chess sides and the series of records he made with harmonica player Junior Wells.

Ranked 30th in Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time", Guy is known for his showmanship on stage: playing his guitar with drumsticks or strolling into the audience while playing solos. His song "Stone Crazy" was ranked 78th in Rolling Stone's list of the 100 Greatest Guitar Songs of All Time.

Guy's autobiography, When I Left Home: My Story, was released on May 8, 2012.

Born and raised in Lettsworth, Louisiana, Guy began learning guitar on a two string diddley bow he made. Later he was given a Harmony acoustic guitar, which, decades later in Guy's lengthy career was donated to the Rock and Roll Hall of Fame. In the early '50s he began performing with bands in Baton Rouge. Soon after moving to Chicago in 1957, Guy fell under the influence of Muddy Waters. In 1958, a competition with West Side guitarists Magic Sam and Otis Rush gave Guy a record contract. Soon afterwards he recorded for Cobra Records. He recorded sessions with Junior Wells for Delmark Records under the pseudonym Friendly Chap in 1965 and 1966.

Guy’s early career was held back by both conservative business choices made by his record company (Chess Records) and "the scorn, diminishments and petty subterfuge from a few jealous rivals"[citation needed]. Chess, Guy’s record label from 1959 to 1968, refused to record Buddy Guy’s novel style that was similar to his live shows. Leonard Chess (Chess founder and 1987 Rock and Roll Hall of Fame inductee) denounced Guy’s playing as "noise". In the early 1960s, Chess tried recording Guy as a solo artist with R&B ballads, jazz instrumentals, soul and novelty dance tunes, but none was released as a single. Guy’s only Chess album, "Left My Blues in San Francisco," was finally issued in 1967. Most of the songs belong stylistically to the era's soul boom, with orchestrations by Gene Barge and Charlie Stepney. Chess used Guy mainly as a session guitarist to back Muddy Waters, Howlin' Wolf, Little Walter, Sonny Boy Williamson, Koko Taylor and others.
Buddy Guy appeared onstage at the March 1969 Supershow at Staines, England, that also included Eric Clapton, Led Zeppelin, Jack Bruce, Stephen Stills, Buddy Miles, Glenn Campbell, Roland Kirk, Jon Hiseman, and The Misunderstood. But by the late 1960s, Guy's star was in decline.

Guy's career finally took off during the blues revival period of the late 1980s and early 1990s. It was sparked by Clapton's request that Guy be part of the '24 Nights' all-star blues guitar lineup at London's Royal Albert Hall and Guy's subsequent signing with Silvertone Records.

Guy performs an annual residency at his own Buddy Guy's Legends, a Chicago blues club, each January.

While Buddy Guy's music is often labeled Chicago blues, his style is unique and separate. His music can vary from the most traditional, deepest blues to a creative, unpredictable and radical gumbo of the blues, avant rock, soul and free jazz that morphs at each night’s performance.

As New York Times music critic Jon Pareles noted in 2004:

Mr. Guy, 68, mingles anarchy, virtuosity, deep blues and hammy shtick in ways that keep all eyes on him... [Guy] loves extremes: sudden drops from loud to soft, or a sweet, sustained guitar solo followed by a jolt of speed, or a high, imploring vocal cut off with a rasp...Whether he's singing with gentle menace or bending new curves into a blue note, he is a master of tension and release, and his every wayward impulse was riveting.

Otis Rush - US Single 1957

In an interview taped April 14, 2000 for the Cleveland college station, WRUW-FM, Guy said "The purpose of me trying to play the kind of rocky stuff is to get airplay...I find myself kind of searching, hoping I'll hit the right notes, say the right things, maybe they'll put me on one of these big stations, what they call 'classic'...if you get Eric Clapton to play a Muddy Waters song, they call it classic, and they will put it on that station, but you'll never hear Muddy Waters."

For almost 50 years, Guy performed flamboyant live concerts of energetic blues and blues rock, predating the 1960s blues rockers. As a musician, he had a fundamental impact on the blues and on rock and roll, influencing a new generation of artists.

Buddy Guy has been called the bridge between the blues and rock and roll. He is one of the historic links between Chicago electric blues pioneers Muddy Waters and Howlin' Wolf and popular musicians like Eric Clapton, Jeff Beck, Jimi Hendrix and Jimmy Page as well as later revivalists like Stevie Ray Vaughan. Vaughan stated that, "Without Buddy Guy, there would be no Stevie Ray Vaughan." Guitarist magazine observed:

Without Buddy Guy, the blues, not to mention rock as we know it, might be a heckuva lot less interesting today. Take the blues out of contemporary rock music—or pop, jazz and funk for that matter—and what you have left is a wholly spineless affair. A tasteless stew. Makes you shudder to think about it...

In addition, Guy's pathfinding guitar techniques also contributed greatly to rock and roll music. His guitar playing was loud and aggressive; used pioneering distortion and feedback techniques; employed longer solos; had shifts of volume and texture; and was driven by emotion and impulse. These lessons were eagerly learned and applied by the new wave of 1960s British artists and later became basic attributes of blues-rock music and its offspring, hard rock and heavy metal music. Jeff Beck realized in the early 1960s: "I didn't know a Strat could sound like that — until I heard Buddy's tracks on the Blues From Big Bill's Copa Cabana album" (reissue of 1963 Folk Festival Of The Blues album) and "It was the total manic abandon in Buddy's solos. They broke all boundaries. I just thought, this is more like it! Also, his solos weren't restricted to a three-minute pop format; they were long and really developed."

Clapton has stated that he got the idea for a blues-rock power trio while watching Buddy Guy's trio perform in England in 1965. Clapton later formed the rock band Cream, which was "the first rock supergroup to become superstars" and was also "the first top group to truly exploit the power-trio format, in the process laying the foundation for much blues-rock and hard rock of the 1960s and 1970s."

Eric Clapton said "Buddy Guy was to me what Elvis was for others." Clapton said in a 1985 Musician magazine article that "Buddy Guy is by far and without a doubt the best guitar player alive...if you see him in person, the way he plays is beyond anyone. Total freedom of spirit, I guess. He really changed the course of rock and roll blues."

Recalls Guy: "Eric Clapton and I are the best of friends and I like the tune "Strange Brew" and we were sitting and having a drink one day and I said 'Man, that "Strange Brew"...you just cracked me up with that note.' And he said 'You should...cause it's your licks...' " As soon as Clapton completed his famous Derek & the Dominos sessions in October 1970, he co-produced (with Ahmet Ertegün and Tom Dowd) the Buddy Guy & Junior Wells Play The Blues album with Guy's longtime harp and vocal compatriot, Junior Wells. The record, released in 1972, is regarded by some critics as among the finest electric blues recordings of the modern era.

In recognition of Guy's influence on Hendrix's career, the Hendrix family invited Buddy Guy to headline all-star casts at several Jimi Hendrix tribute concerts they organized in recent years, "calling on a legend to celebrate a legend." Jimi Hendrix himself once said that "Heaven is lying at Buddy Guy’s feet while listening to him play guitar."

Songs such as "Red House", "Voodoo Chile" and "Voodoo Child (Slight Return)" partly came from the sonic world that Buddy Guy helped to create. According to the Fender Players' Club: "Almost ten years before Jimi Hendrix would electrify the rock world with his high-voltage voodoo blues, Buddy Guy was shocking juke joint patrons in Baton Rouge with his own brand of high-octane blues. Ironically, when Buddy’s playing technique and flamboyant showmanship were later revealed to crossover audiences in the late Sixties, it was erroneously assumed that he was imitating Hendrix." (In 1993, Guy covered "Red House" on Stone Free: A Tribute to Jimi Hendrix.)

Stevie Ray Vaughan once declared that Buddy Guy "plays from a place that I've never heard anyone play." Vaughan continued:

Buddy can go from one end of the spectrum to another. He can play quieter than anybody I've ever heard, or wilder and louder than anybody I've ever heard. I play pretty loud a lot of times, but Buddy's tones are incredible. He pulls such emotion out of so little volume. Buddy just has this cool feel to everything he does. And when he sings, it's just compounded. Girls fall over and sweat and die! Every once in a while I get the chance to play with Buddy, and he gets me every time, because we could try to go to Mars on guitars but then he'll start singing, sing a couple of lines, and then stick the mike in front of me! What are you gonna do? What is a person gonna do?!

Jeff Beck affirmed:
Geez, you can't forget Buddy Guy. He transcended blues and started becoming theater. It was high art, kind of like drama theater when he played, you know. He was playing behind his head long before Hendrix. I once saw him throw the guitar up in the air and catch it in the same chord.

Beck recalled the night he and Stevie Ray Vaughan jammed with Guy at Buddy Guy’s Legends club in Chicago: "That was just the most incredible stuff I ever heard in my life. The three of us all jammed and it was so thrilling. That is as close you can come to the heart of the blues." According to Jimmy Page: "Buddy Guy is an absolute monster" and "There were a number of albums that everybody got tuned into in the early days. There was one in particular called, I think, American Folk Festival Of The Blues, which featured Buddy Guy. He just astounded everybody."

Singer-songwriter and guitarist John Mayer, who has performed with Guy on numerous occasions (including with Clapton's Crossroads Guitar Festival and on PBS' SoundStage) and collaborated with him on Guy's 2005 album Bring 'Em In, cited on several occasions that Buddy Guy was one of his top influences.

Former Rolling Stones bassist Bill Wyman: "Guitar Legends do not come any better than Buddy Guy. He is feted by his peers and loved by his fans for his ability to make the guitar both talk and cry the blues. Such is Buddy's mastery of the guitar that there is virtually no guitarist that he cannot imitate."

Guy has opened for the Rolling Stones on numerous tours since the early 1970s. Slash: "Buddy Guy is the perfect combination of R&B and hardcore rock and roll." ZZ Top’s Billy Gibbons: "He (Buddy Guy) ain't no trickster. He may appear surprised by his own instant ability but, clearly, he knows what's up."

Guy was a judge for the 6th and 8th annual Independent Music Awards to support independent artists.

Guy appeared and performed in an episode of the popular children's show, Jack's Big Music Show, as the "King of Swing". Guy has influenced the styles of subsequent artists such as Jesse Marchant of JBM.

On February 21, 2012, Guy performed in concert at the White House for President Barack Obama and First Lady Michelle. During the finale of the concert Guy successfully encouraged the President to sing a few bars of Sweet Home Chicago.

Otis Rush & Buddy Guy 1988-06-10
Petrillo Bandshell, Grant Park
Chicago, IL, NPR broadcast

01. Stage intro 
02. I'm A Man (Inst.)
        -W/Otis Rush-
03. Inst. Intro Jam
04. Inst.?
05. All Your Love
06. Crosscut Saw
07. I Wonder Why (Inst.)
08. Buddy Guy Intro Jam
09. Five Long Years
10. Look On, Yonder Wall
11. Things (That) I Used To Do W.Otis Rush & Buddy Guy
12. I Smell A Rat
13. Gambler's Blues
14. -Stage Outro-
15. -Post Show interview W/Buddy Guy-

Notes: There is a tape flip at 02:49 of track 10.I removed about 02:57 of stage announcement and NPR and WBEZ cut-ins between tracks 14 and 15. I am suprised that a master copy of this nationwide NPR broadcast has yet to surface, but this will give us all something to listen to until it does. As always, I am offering this in hopes that it be further shared. "Don't even think about it, just do it." - Bob Weir

1. Link
or
2. Link
.