Search - Muddy Waters :: Woodstock Album

Another side to Muddy

Laurence Upton | Wilts, UK | 12/27/2005

(4 out of 5 stars)

"In marked contrast to the hard, aggressive sound of his work with Johnny Winter the following year, this album shows another, far more relaxed side to Muddy Waters, as he revisits old songs and launches new ones in the laid-back company of his regular sidemen and some celebrity names. Producer and songwriter Henry Glover had gone into partnership with Levon Helm from the Band and converted a barn into a recording studio called Bearsville in Turtle Creek, Woodstock NY, and the Muddy Waters sessions, recorded 6-7 February 1975, were the first fruits.

Although there is a light front-porch touch throughout the album, probably influenced by Levon Helm's subtle drumwork and Garth Hudson's distinctive organ and accordion accompaniment, there is nothing lacklustre about it, with fine contributions thoughout from local resident Paul Butterfield on harmonica and from Waters' regular piano player and vocalist Pinetop Perkins. The album kicks off with Why Are People Like That, written by Bobby Charles, another Woodstock resident. Muddy Waters switches to slide guitar for two of his own new songs, and performs Kansas City in honour of Henry Glover, who produced it for Little Willie Littlefield back in 1952 (as KC Lovin'). Louis Jordan and his Tympani Five are also remembered through versions of Caldonia and Let The Good Times Roll.

The album concludes with a previously unreleased bonus track, Fox Squirrel, a Muddy Waters composition."

Fantastic Middy, Incredible Paul Butterfield

Ted Burke | San Diego | 01/14/2009

(5 out of 5 stars)

"Adam Gussow, a superb blues harmonica player who offers generous instructional videos on his own YouTube channel, some weeks ago posted a feature highlighting an album that had been an influence on his approach to the blues harp, the obscure Muddy Waters Woodstock Album. The album is a revelation, as it has Waters stepping a few steps back from the rocking , Chicago style back beat, raw and blistering in a fashion only genius can achieve, and here taking up a swing upbeat. Save for the rumblings of Waters' voice, always a place of deep echo and lean-close innuendo, some of these tracks would fit in well with the suited urbanity of B.B.King. It is a gem alright, a rousing, spirited transitional session placing Waters beyond his stylistic comfort zone. But not too far. Pinetop Perkins provides a bright piano throughout, and former Band utility musician Garth Hudson is a triple threat here on organ, saxophone and accordion; his accordion work, surprisingly, is a wonderful blues instrument, as can be heard on the sturdy workouts on "Going Down to Main Street","Caldonia".



Whatever jokes the instrument and it's players have suffered at the hands of one comedians over the decades abates somewhat with Hudson's finely fingered boogie and sparkling fills. What caught my ear was the harmonica playing of the late Paul Butterfield; perhaps among the handful of truly important blues harpists , his playing here equals his best efforts. Punchy, fleet, gutty and clean in the same breath, Butterfield demonstrates his mastery of tone and phrase, combining a moaning raunch and inspiring single-note runs for maximum effect. Butterfield fans ought to acquire this disc straight away; it's an essential addition to your harmonica player collection. This is a terrific addition his previous collaboration with Waters, the stomping Fathers and Sons. For Waters, he is relaxed, at ease, in full command of his singularly masterful voice; within that limited range he can raise the voice to it's breaking point , emphasing a point, highlighting a hurt, suggesting a rebellion against what brings him down, and then slide to the lowest corner of his range and provide the gritty realism that is his hallmark as a blues artist.One is also served a generous portion of Waters' slide guitar work, a perfect compliment to Bob Margolin's stinging bends and blurs; Waters touch is sure and spare, producing a thin, nervous, clear line . It is a wonderful texture in a full bodied, hard swinging band. A battler, a lover, a philosopher of the hard road, never with self pity, never without wit."