Buddy Guy &
Junior Wells
Buddy Guy & Junior Wells Play The Blues
Atlantic |
Buddy Guy and Junior
Wells had been teaming up for a number of years
prior to their release for Atlantic Records,
Buddy Guy & Junior Wells Play The Blues, though
not as an “official” duo. Guy had appeared on
several Wells releases including the monumental
Hoodoo Man Blues and South Side Blues Jam, and a
couple of releases for Vanguard, including It’s My
Life, Baby. Play the Blues was their first album in
which they received double billing, and their first
for a major label.
Around 1970, Guy and Wells had drawn the plum
assignment of opening for the Rolling Stones on
their European tour. During the tour, they
encountered Eric Clapton during their show in Paris
and the guitarist joined them on stage during their
set. Afterward, he introduced the pair to Atlantic
Records head Ahmet Ertegun and encouraged him to
record Guy and Wells. Ertegun agreed, provided
Clapton produced the record for their Atco
subsidiary.
On paper, this seemed like a great deal. Clapton
invited the duo down to Criteria Studios in Miami,
his goal to capture Guy and Wells in as live a
setting as possible, recording new versions of some
of their standard repertoire. However, Clapton
proved to be ill-equipped at the time to wear the
producer’s hat, as he was struggling with a heroin
addiction. There was very little pre-production or
rehearsals, and no sense of direction coming from
anyone, despite the presence of Ertegun and
legendary producer Tom Dowd in the studio.
Certainly, the musicians weren’t a problem. Several
Chicago musicians (A.C. Reed –sax, Roosevelt Shaw –
drums, and Leroy Stewart – bass) were a model of
consistency and provided stellar backing. There were
also a couple of members of Clapton’s current band,
Derek & the Dominos (Jim Gordon – drums, Carl Radle
– bass), as well as Dr. John and Mike Utley on
keyboards.
Dr. John is on record in Guy’s 1993 biography, Damn
Right I Got The Blues, as saying that Buddy Guy’s
best work was what he played between the songs that
were recorded. Several observers, including Dick
Waterman, who then managed Guy and Wells, voiced
frustration with the direction of the recording, or
lack thereof. Clapton staggered around for two or
three days before Dowd sent him home. The results of
the chaotic session were only eight songs deemed
worthy of release, but the album sat in the can for
two years. In 1972, Atlantic staff producer Michael Cuscuna convinced the label to release it, adding
two tracks recorded in Boston with the young Boston
blues combo, the J. Geils Band.
Considering its checkered history,
Play The Blues
has some outstanding moments. The opening track,
Guy’s “Man of Many Words,” is a funky first cousin
of Otis Redding’s “Hard To Handle, and his extended
guitar work on the opening of “T-Bone Shuffle” is
one of the disc’s highlights.
Wells acquits himself in traditionally fine fashion
with scorching remakes of Sonny Boy Williamson’s “My
Baby She Left Me (She Left Me A Mule To Ride),”
which also features some stinging, jagged fills from
Guy, and excellent versions of some of his own
original tunes, a medley of “Come On In This House”
and “Have Mercy Baby,” and “A Poor Man’s Plea.”
The tracks with the J. Geils Band (Guy’s “This Old
Fool” and a jazzy instrumental version of Joe
Liggins’ “Honeydripper) are not bad, and blend
pretty well with the Criteria session. The hands-off
approach in production actually seems to enhance the
performances. Several other efforts by Atlantic at
recording blues material during this time period
(particular Otis Rush and Freddy King) ended up in
overproduced albums with material that didn’t always
show the artists at their best. Despite all the
stars present, the album fared poorly upon its
initial release.
In the early ’90s, Rhino Records picked up
distribution rights on this and many other Atlantic
and Atco recordings. In 2005, they released a
two-disc limited edition release (2,500 copies) of
Play The Blues that was well-received, but is pretty
hard to find.
Buddy Guy and Junior Wells were the real Blues
Brothers. While both were exemplary musicians on
their own, when paired up they always seemed to
bring out the best in each other. Play the Blues has
some wonderful moments and ranks with the duo’s best
work, but newcomers are advised to check out their
earlier releases for Delmark or Vanguard to get the
full picture.
--- Graham Clarke