Blues. Buddy Guy - everybody's buddy!

Хороооош...

Презабавнейшее видео! :)))

Knock on wood live in Houston, Texas

knock on wood:
http://www.secondhandsongs.com/song/30653.html

2Maryless:
неполный список, где Клэптон?

Благодаря Maryless смотрим еще 2 клипа!!! :)

Buddy Guy - Sweet Home Chicago


Buddy Guy - Voodoo Chile

Вот здесь еще можно посмотреть относительно концертов в Литве, в т.ч. и Бадди Гая: www.bilietai.lt и www.tiketa.lt

МЫ ИДЁМ НА БАДДИ ГАЯ! Ура!

Buddy Guy - Slippin In
06:22
Slippin In live in Houston, Texas
Added: 9 hours ago


больше у gaukur нет:-)

А мы идем на Бадди Гая в Таллинне! УРА!

2JohnWLennon, 2Alex Red:

а мы уже ждём Ваш подробный отчёт с фотографиями (и потихоньку завидуем)

2Maryless:
>больше у gaukur нет:-)
И на том СПАСИБО!

А мы сегодня полностью закончили подготовку к поездке на концерт в Вильнюс. Итак, места (5-й ряд) забронированы, литовские визы получены, билеты на автобус куплены, квартира снята... сижу и думаю: с чем из этого списка будет прокол? (У меня так не бывает, чтобы все шло по плану.) А если ничего не сорвется, то 28-го июня в зале Utenos не будет человека счастливее меня.

А в Таллинне Бадди выступает в Rock Cafe. Уж не знаю, пронумерованы билеты или нет, но мне сдается, что там все как в американских барах - пей и слушай, хоть стоя, хоть сидя.

Buddy Guy Receives Doctorate from Columbia College

Tuesday, June 6, 2006

Buddy Guy received his doctoral hood and degree during morning commencement for Columbia’s School of Fine and Performing Arts and School of Liberal Arts and Sciences. The ceremony was held at the UIC Pavilion, 525 S. Racine. Buddy addressed the assembled graduates and their families after being introduced by Columbia Trustee Steve Devick, CEO of Lionbeach Music, Inc.

“This is the year I will celebrate 50 years being in Chicago and to receive this honor now means a great deal to me,” says Guy. “I am very proud and again honored to receive this degree.”

“I am really thrilled that we are acknowledging Buddy and his accomplishments this year,” says Dr. Warrick L. Carter, president of Columbia. “As a professional musician, I hold Buddy and his work in the greatest esteem. As the president of Columbia – an arts and media college where we educate our students to celebrate a diversity of voices and to author the culture of their times – I can say that Buddy Guy represents the talent, vision, initiative and spirit we value in our students.

“Buddy Guy is one of the significant bluesmen of our time,” says Dr. Rosita Sands, executive director of Columbia’s Center for Black Music Research. “He belongs to that group of musicians who were more than songsters, they were devoted keepers of the history of their people and important transmitters of American culture and life. Following in the tradition of early blues musicians, Buddy Guy has proven to be a masterful communicator intertwining raw emotion and gutsy expression with harmonies, rhythms and vocalizing that tells the stories and effectively serves to translate the experiences and conditions of black people in this country. As one of the important bluesmen, his contribution to American music, and ultimately the world is certainly worthy of this recognition.


http://www.buddyguys.com/news/news0001.html

Buddy chats up the blues

Ear to the ground

By TRAVIS ATRIA

Buddy Guy is coming to town.

I apologize that, due to modern journalistic standards, I could not put that sentence in all caps with jillions of exclamation points. Yes, folks, Buddy Guy, the legendary Chicago bluesman, is coming to the Phillip's Center tonight, which means it's time for me to turn into a fawning schoolgirl.

Guy's significance cannot be overstated. He influenced Hendrix, Clapton, Jeff Beck and just about every other guitar player ever to exist, myself included.

The 69-year-old musician is in the Rock and Roll Hall of Fame and, in my opinion, might just have the best blues voice of all time.

Sometimes there are musicians who are so important that my prattling cannot possibly add anything (I'm actually sorry I've wasted this much space already). So I'm going to shut up, delve into this week's phone interview and let the man speak for himself.

What was it like making the new album, working with so many musicians, some legends, some young up and comers?

It was great, man. You know, what I?m still doing, I?m rackin? my brains all tryin? to figure out what happened to our music, the blues music that?s not played much anymore. I went back and said let?s do some things that we did in the ?60s, because back before all the British groups came, there wasn?t no sort of thing as hip hop and soul and all these other things. It was all R&B back in the late ?50s and early ?60s and for some strange reason the blues got left out. At one point in time I though the lyrics was unfit until hip hop came out and I said that can?t be the problem because them hip hop kids say anything they want.

I don't know what happened to the blues, I m trying to go back get that old Isaac Hayes, Curtis Mayfield and those guys.

I always do try to be at my best regardless to what I do because I've been criticized for playin' maybe an Eric Clapton lick or a Stevie (Ray Vaughn) lick, but when Stevie was livin' he'd tell you he was playin' my licks and Eric Clapton will tell you the same thing. It used to bother me, it doesn't bother me any more, man because you gonna get criticized I don't give a damn what you do, so I just try to come out and give it my best. I try to give one hundred ten, twenty percent every time I strap a guitar on me.


Do you remember what originally attracted you to the guitar?

I don't know. You know, really, I was born so funny in the countryside, my parents didn't have running water or electric lights. When storms used to come to Louisiana where I was born, we didn't have nothing to warn us like the radio or television. It just hit my parents' house got blown away once; luckily, we weren't dead.

But anyway, I used to, you know, even take rubber bands, man, and stretch them on my finger and if I could hear it I'd have it right up against my ear. I remember my mom used to look at me and say, that thing is gonna get tied up in your hair and you're gonna have to cut it out.

We didn't have electric lights or running water, so my mother would buy a piece of screen every once in a while and at night she'd put a piece of screen so the mosquitoes wouldn't come in and I'd strip all of that out of there tryin' to make guitar strings, man. Then I got me a little board and I would take four tacks and put it in one end and the other end, strip that screen and have a four-string guitar. That's just God's gift because I didn't even know what a guitar was.

What was it like coming up in that legendary Chicago blues scene?

Well, first of all, I was working at LSU in Baton Rouge and someone told me I could go to Chicago and do the same work at a college or university and make three times the money, which was true. But they did not explain to me that everything else was going to cost me more too. But my main thing was, I can go there and work in the daytime and at night I can go watch muddy waters that's where all those great blues players were livin' then.

My main thing was just watching them play, I never dreamed of answering your question at this point today, you know, because you go to sleep and wake up and you're a senior citizen. So I got a chance to meet and play with them all because I got stranded lookin' for that job; I never did find that job. I was told I'd have to play guitar to get my fair back to Louisiana, and then all of a sudden I find out I'm there sittin' in with Muddy or Junior (Wells) or some of those guys and I forgot to go back to Louisiana.

Do you remember the first time you performed?

Of course, in Baton Rouge. It was just one little hick town club it might have been called Sitman's or something like that. I could play John Lee Hooker's 'Boogie Chillin', a couple of Jimmie Reed things, just three or four different blues things, but I was too shy. I was pumpin' gas at a gas station in Baton Rouge and a guy knew I could play and he brought this other guy by and the guy said, if you can play, I can pay you a little more for three nights than you make in a whole week pumpin' this gas. I was tryin' to send myself to high school because my mother had had a stroke, and he come in the service station and I plugged up t he amplifier and I played and he said you got the job.

The first night I went out there he give me the microphone, told me to sing, and I said I will if you let me turn my back to the audience. Man, I couldn't turn around and sing to them, I was too shy. This friend of mine, he bought me my first drink, Dr. Tichenor's Antiseptic and Coca Cola, and I got kind of high and I turned around and started singing a Hank Ballard tune called Work With Me Annie. I got rid of some of the shyness by doin' that. When I went to Chicago I still was a little shy because I didn't think I was a good enough singer to be out there.

Really?

Oh yeah, because when I went to Chicago, man, if you wanted to hear the blues sung right, you hear Howlin' Wolf, Junior (Wells) and them sing, man. But they told me to go ahead. I had such a lift from those guys because before I went to Chicago, wasn't no blues cats standin' up playin' the blues.

What influenced your singing and playing?

After I met those guys, I learned a little more. In the beginning, I would just open my mouth screamin'. You know, B.B. King came out bendin' those strings. I got to meet B.B. King in Chicago and he told me he couldn't learn how to play with a slide so he came up with the idea of squeezing the strings like that.

I even tried to take lessons in Baton Rouge and I went to the guy and he told me to get Book One, and I said, What the hell is that? He showed it to me, and I had a record on, I think it was Muddy or B.B., and I said, Here's my Book One, and he said, I can't teach you that, and I said, Well you can't teach me then. He's still livin', man. Every time I go to Baton Rouge I go try to find him, and we laugh about that. He tells me, Good thing you didn't take Book One, you probably wouldn't be who you are today.

When I was about 16 or 17 years old, my dad got a battered old radio, and they had a program that come on and play you Lightnin' Hopkins, Muddy Waters, Robert Johnson. B.B. King hit the airwaves about the same time and I said, forget it, this is all I want to do now is play guitar, and I taught myself everything I know up to now talkin' to you. I watched some guitar players, but no one never said they showed me how to write or how to play.


Who are your favorite musicians?

Oh man, I could keep you here until next week answering that. My first thing I ever learned how to play was 'Boogie Chillin.' That's John Lee Hooker. Then, Lightin' Hopkins, out of Texas. I used to listen to a lot of country and western, but I couldn't learn that too well. Then the Chess brothers start bringin' out Muddy, Wolf and Walter and Walter brought that harmonica out. It was almost a gift if you went to the music store, they'd just say give me a dime or a nickel for it. But sometimes today a harmonica cost you a thousand dollars, man. I'm fightin' to get his name on a harmonica, man, because he started that and his name isn't anywhere right now.

Who are your favorite guitar players?

I tell everybody from the rock guitar player down to whoever now that every time you bend a string on a guitar you should thank B.B. King because he came up with that. Nobody can shake their left hand like that, man, vibratin' on the strings like him. He can do that, man. Every time I get a chance to sit down and talk to him he says, Well, I had to learn that, Buddy, because I never could learn how to use that bottleneck. Neither did I because I was too crazy. You have to kind of sit down and be perfect with the slide. The best guy I ever seen play that was a guy named Earl Hooker. Man, he could play that thing so well. I went to Chicago with a slide and when I saw him play, I got to know him, I gave him mine. I said, I ain't even gonna try to play this like you.


My favorite song of yours is 'No Lie,' recorded on Chess Records. Tell me a little about that song.

Yeah, that was some of the first stuff, they would take me in the studio and kind of coach me to play more clean. I was a youngster back then and actually they wouldn't just let me have my way. I'm like a student to Willie Dixon and the Chess people, and they had one hand tied behind my back and they was tryin' to make me be like the Miles brothers and Muddy and them there wasn't nobody blastin' that guitar up there. But I went into Europe and Eric and them saw me and they come in person, because when I was playin live I was usin' feedback and everything even before Hendrix, and it was workin' in the blues clubs, but they would never let me record like that.

So when I went into Chess, Muddy and Wolf and Walter and them had made Chess whoever they was, so who was I to go in there and say I wanted to do it my way But before Leonard (Chess) died he told me to kick him in his butt because the Cream and all those guys was comin' out playin' the stuff I had been playin' all the time.

Do you get tired of people asking you if white people can play the blues?

I hate the question, man, because music doesn't have a color. You know, I don't have eight fingers on one hand. If I did and a white guy didn't have but five I'd say, yeah, we got an advantage man. But if you got five fingers on each hand, I don't have an advantage over you, man. You can look at Stevie Ray Vaughn, all these white cats playin' the blues. People shouldn't even ask that question even more. I was in Yugoslavia once and a guy asked me that, and on television I got offended, because how could he even ask me that question when Eric Clapton plays the blues and sells more records with one record than I did in my whole life So how can you sit there and say he can't play the blues?

And they all came up playing the blues. When I first went to England in February of 1965, Rod Stewart was my valet, and all of them came up playin' the blues. And Eric (Clapton) and Jeff Beck told me they hadn't thought of a Strat (Fender Stratocaster) playing blues till they saw me because they thought it was a country western guitar. They didn't even have one. When they saw me, they all switched.

Fender that's the guitar man. The reason I liked it is because I was crazy and wild and those hollow bodies and things couldn't take the punishment.


What are you most proud of?

I'm proud of everything that I received, all the awards. I accept them in honor of the people who should've got them a long time before I did. Some of them passed on, didn't get a chance to see it, so I look up sometimes and say to myself, Guys, I got it, but when I come home I'm going to bring it to you all.

Where do you think the blues will go from here?

It worries me. I really don't know because actually it's really not exposed a lot. Record buyers are the kids who say dad I want that record, you can hold my gym shoes till next week. If you don't reach them, I'm a little frightened by what's going to happen to the blues.

They done forgot about blues cats, man. I'm not going to give up because you never know when something might break through, if I hit the right note, play the right thing at the right time, it might make it in there.

This young kid, John Mayer is tryin' to help. He went in and tried to do a blues tune because I asked him to, and his record company came back and said it's not makin' any money; you've got to go back to the pop stuff.

Music is so funny, man, because 40 years ago, if you had come out singin' rap and hip-hop, these lyrics they use, they would've shot you. I know Chess Records would have. Yeah, man, they wasn't going to let you sing that on an album, man. But you can say what you want to now.

What keeps you going after all these years?

I'm not gonna stop because me and B.B. are the last two from that era. I still have to prove a point. When they come see me, I say, you gotta play, man. I got to really let go. I can't step back and relax like Eric (Clapton) and B.B. because they don't need to do that, but I have to almost break my neck every night to make people pay attention to me.

I don't know nothin' else to do, so I'll be playin' it until I drop.

Душевное интервью. Большинство фактов, в нем упоминаемых, уже известны, но все равно интересно, как он это рассказывает и -- главное -- что при этом чувствует.

2The Word:
Точно!