Muddy Waters: The Montreux Years (Live) Muddy Waters

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  • 1Nobody Knows Chicago Like I Do (Live - Montreux Jazz Festival 1977)03:44
  • 2Mannish Boy (Live - Montreux Jazz Festival 1974)05:23
  • 3Long Distance Call (Live - Montreux Jazz Festival 1972)06:52
  • 4Rollin' and Tumblin' (Live - Montreux Jazz Festival 1972)04:16
  • 5County Jail (Live - Montreux Jazz Festival 1972)06:17
  • 6Got My Mojo Working (Live - Montreux Jazz Festival 1977)02:43
  • 7I'm Your Hoochie Coochie Man (Live - Montreux Jazz Festival 1977)03:25
  • 8I'm Ready (Live - Montreux Jazz Festival 1974)03:48
  • 9Still a Fool (Live - Montreux Jazz Festival 1977)04:26
  • 10Trouble No More (Live - Montreux Jazz Festival 1977)02:26
  • 11Rosalie (Live - Montreux Jazz Festival 1972)04:43
  • 12Rock Me Baby (Live - Montreux Jazz Festival 1972)05:07
  • 13Same Thing (Live - Montreux Jazz Festival 1974)06:47
  • 14Howlin' Wolf (Live - Montreux Jazz Festival 1977)06:52
  • 15Can't Get No Grindin' (What's the Matter With the Meal) (Live - Montreux Jazz Festival 1977)04:21
  • 16Electric Man (Live - Montreux Jazz Festival 1974)03:43
  • Total Runtime01:14:53

Info for Muddy Waters: The Montreux Years (Live)

An unstoppable blues colossus, the father of Chicago blues, Muddy Waters, was the hot ticket during his run of appearances at the Montreux Jazz Festival in the 1970s. Already a cultural and musical force to behold when Nobs first caught him live in 1965, Waters found critical acclaim outside of the U.S., sparking the blues revival in the U.K. and finding a clamoring crowd in Montreux.

The Montreux Years brings together an impressive repertoire of Waters’ blues classics, from the chugging standard “Mannish Boy” and genre defining “I’m Your Hoochie Coochie Man” to the stripped-back majesty of “Rosalie,” all oozing with effortless style and Delta swagger.

Expertly curated by the Montreux Jazz Festival and BMG, restored and remastered in 96kHz, 24bit.

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Digitally remastered by Tony Cousins ​​in the legendary Metropolis Studios in London

Muddy Waters
Anyone who's followed the course of modern popular music is aware of the vast influence exerted on its development by the large numbers of blues artists who collectively shaped and defined the approach to amplified music in the late 1940s and early '50s. chicago was the pivotal point for the development and dissemination of the modern blues and virtually everything else has flowed, in one way or another, from this rich source.

The revolution began inauspiciously enough in 1948 with the release of a 78-rpm single by a singer-guitarist called muddy waters. coupled on aristocrat 1305 were a pair of traditional mississippi delta-styled pieces 'i cant be satisfied' and 'i feel like going home,' and on them waters' dark, majestic singing. waters' use of amplification gave his guitar playing a new, powerful, striking edge and sonority that introduced to traditional music a sound its listeners found very exciting, comfortably familiar yet strangely compelling and, above all, immensely powerful, urgent.

From the start it was he who dominated the music, who led the way-in style, sound, repertoire, instrumentation, in every way-first as a greatly popular club performer from the mid-1940s on and, a few years later, as the most influential recording artist in the new amplified blues idiom. in the years 1948-55 he put forth for definition the fundamental approaches and usages of modern blues in a remarkable series of ground-breaking and, as time has shown, classic records. in the years since, the style waters delineated has been extended, fragmented, elaborated and otherwise commercialized, but the fundamental earthy, vital, powerful sound of the postwar blues as defined by muddy and his bandsmen has yet to be excelled-or even equaled, come to that. it's no accident the rolling stones chose their name from one of waters' finest early recordings the choice was merely prophetic, for muddy and his magnificent bedrock music continue to resonate as thrillingly and powerfully through the music of today as they did back in the late '40s and early '50s when we first heard them.

He was born mckinley morganfield-muddy waters is a nickname given him in childhood-in the tiny hamlet of rolling fork, mississippi, on april 4, 1915, but from the age of three, when his mother died, was raised by his maternal grandmother in clarksdale, a small town one hundred miles to the north.

It is scarcely surprising then that the delta region has nurtured a tradition of blues singing and playing that reflects the harsh, brutal life there, a music shot through with all the agonized tension, bitterness, stark power and raw passion of life lived at or near the brink of despair. poised between life and death, the delta bluesman gave vent to his terror, frustration, rage and passionate humanity in a music that was taut with dark, brooding force and spellbinding intensity that was jagged, harsh, raw as an open wound and profoundly, inexorably, moving. the great delta blues musicians-charley patton, son house, tommy johnson and, especially in waters' case, the brilliant, tortured robert johnson-sang with a naked force, majesty and total conviction that make their music timeless and universal in its power to touch and move us deeply. Visit:

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