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Incredibly, this is the
first solo offering from Buddy, the accomplished guitarist who has been
such a vital and respected part of John Mayall’s
Bluesbreakers for almost 15 years. Buddy’s is a remarkable
talent, as a sidesman who occasionally takes centre stage, but can it
survive when exposed to full sunlight? You’re damned right it can!
Young and Dumb
sets the mood with its contrasting styles; kidding us into thinking it’s
a staid piece then, just as we’re settling, rocketing exuberantly away.
Detailed enough to be autobiographical it exposes the follies of youth.
Those days of ignorance when we knew it all. But didn’t we have to live
through that to become such well-rounded, competent adults? And wasn’t
it fun too?
Pay The Band
follows and is a powerful analogy for the balancing act of Life itself
with a potent suggestion that we will all have to pay our dues on the
day of reckoning. There are some very serious subjects addressed
throughout this collecti on but Buddy’s wry humour is also a constant. It
is patently obvious that he enjoys word-play – his tribute to fellow
Texan guitar wizard Stevie Ray Vaughan
being just one notable example.
Even in Minor Blues,
a song dealing with urban decay and a society perilously close to
self-destruction (Buddy edging into Robert Cray territory here), the
tag-line presents a skilful juxtaposition. Accompanied on this track by
an almost minimalist Hammond Organ presence from Rex Mauney, Buddy
paints a disturbing picture of humanity ignored. More comfortable for us
to look the other way, perhaps?
Second Banana
gives us a tongue-in-cheek glance at the ludicrous, self-important
poseurs (worn almost as personal adornments by successful entertainers)
that abound in the music industry and is a worthy update of an
observation presented long ago in the Rolling Stones’ Under
Assistant West Coast Promotions Man.
Greenwood provides
a melodic instrumental; a delightful rest stop on this musical highway
with lots of beautifully placed harmonics forming a deft demonstration
of Buddy’s versatility.
Can’t Be Good For
Me introduces a soulful brass section counter-pointing Buddy’s
vocals and is beautifully arranged.
Romance Classified
– a Whittington composition which first appeared on the
Bluesbreakers’ Stories CD some five years ago warns of the
dangers – indeed, the very tackiness – faced by sexual adventurers.
The only cover on the CD
- Sure Got Cold After The Rain Fell - written by Billy F.
Gibbons, legendary frontman with ZZ Top - is a marathon but it is so
sweetly delivered - with the Hammond rather more robust in places here
- that it would be hard to find a superfluous note or phrase.
There is much of Blues
history contained in this album; I like the vocal ‘call and response’
technique used in Every Goodbye Ain’t Gone, echoing
as it does, the very essence of the music and carrying some excellent
honky-tonk piano work from Michael Hamilton.
This is a truly superb CD
from a master musician. Hey, we knew Buddy was a great guitarist! We
have heard his feel for the music for a long time. But! This man is also
a fine and varied vocalist and a very, very adept wordsmith too.
Buddy Whittington demonstrates here that he is no Second Banana. He is a
capable and worthy frontman. There is a fluency about this whole project
which comes from within. But don’t buy it because of Buddy Whittington’s
history – buy it because of Buddy Whittington’s glittering future.
Whatever your personal
take – buy it!
Blues Show Bob
GTFM Radio
United Kingdom
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