Muddy Water Blues: A Tribute to Muddy Waters
By Paul Rodgers
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Track listing
Show track credits
- 1 Muddy Water Blues (Acoustic Version) 4:51
- feat. Buddy Guy (lead guitar)
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Spanish guitar, lyrics, music
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bass drum
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backing vocals
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backing vocals
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backing vocals
- 2 Louisiana Blues 4:01
- feat. Trevor Rabin (lead guitar)
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harmonica
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lyrics, music
- 3 I Can't Be Satisfied 4:12
- feat. Brian Setzer (lead guitar)
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lyrics, music
- 4 Rollin' Stone 5:27
- feat. Jeff Beck (lead guitar)
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lyrics, music
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mixing
- 5 Good Morning Little Schoolgirl (Part 1) 4:03
- feat. Jeff Beck (lead guitar)
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bass drum, brushes
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lyrics, music
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mixing
- 6 I'm Your Hoochie Coochie Man 5:06
- feat. Steve Miller (lead guitar)
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harmonica
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Jimi Haunrhythm guitar
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lyrics, music
- 7 She's Alright 3:44
- feat. Trevor Rabin (lead guitar)
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harmonica
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hammond
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lyrics, music
- 8 Standing Around Crying 6:24
- feat. David Gilmour (lead guitar)
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hammond
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lyrics, music
- 9 The Hunter 3:38
- feat. Slash (lead guitar)
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Rhodes, rhythm guitar
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writer
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Carl Wellswriter
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writer
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writer
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writer
- 10 She Moves Me 4:49
- feat. Gary Moore (lead guitar)
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lyrics, music
- 11 I'm Ready 2:59
- feat. Brian May (lead guitar)
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harmonica
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lyrics, music
- 12 I Just Want to Make Love to You 4:02
- feat. Jeff Beck (lead guitar)
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lyrics, music
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mixing
- 13 Born Under a Bad Sign 4:44
- feat. Neal Schon (lead guitar)
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Jimi Haunrhythm guitar
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piano, hammond
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writer
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writer
- 14 Good Morning Little Schoolgirl (Part 2) 3:02
- feat. Richie Sambora (lead guitar)
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lyrics, music
- 15 Muddy Water Blues (Electric Version) 4:48
- feat. Neal Schon (lead guitar)
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guitar, lyrics, music
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backing vocals
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backing vocals
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backing vocals
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hammond
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piano
- Total length: 65:50
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9 Issues
- Release view [combined information for all issues]
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Muddy Water Blues: A Tribute to Muddy Waters 180 gram, 33 rpm, Colored Vinyl, Gatefold, Limited Edition
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10 Reviews
The thing that I have always found frustrating about Paul Rodgers is that post-Free, the quality of the material he has recorded has not always matched his formidable reputation as one of the UK’s finest blues-rock vocalists. After Free Rodgers joined forces with Mick Ralphs of Mott the Hoople fame, King Crimson refugee Boz Burrell and fellow Free veteran Simon Kirke, to form Bad Company, a solid enough proposition tailor made for American radio, but pretty much a polished AOR version of former glories that shifted large numbers of units. Later in the 80s, Paul Rodgers found himself alongside Jimmy Page in The Firm, a supergroup which was significantly less than the sum of it’s parts. By the early 90s, Rodgers still had the formidable reputation forged in his early career, but had done little beyond a few Bad Company numbers which had really endured in the same way that his work with Free had.
Then, while idly flicking through his phone book, inspiration hit him. Okay, so while he wasn’t the most gifted lyricist, what if he did an album of covers? What about an album covering established fried-gold blues classics? What about an album of established fried-gold blues classics recorded with reputable guitar-slingers from his phone book? Sure, there’d be no end of record label red-tape to work through, but surely the end result would be worth it.
Thus inspired, Rodgers headed into at the studio with Jason Bonham and Pino Palladino, a rhythm section that would have been the envy of anyone during that period, and recorded easily his best album since his Free days, and with a whole host of ‘heavy friends’ helping out and creating interest in the project, it was released to modest fanfare. Here was one of the great voices of UK Blues Rock, paying tribute to one of the all time great voices of The Blues. Blues fans loved it, rock fans loved it, and apparently everyone involved in the project loved it.
In one album Paul Rodgers had resurrected his career, with Muddy Water Blues reminding everyone exactly why he had always had such a great reputation as a singer. All he had to do now was repeat the trick a number of times, recording a series of albums with a rotating line up of guest guitar players, each of which could draw from the songbook of a different Blues artist each time.
Except that didn’t happen. Perhaps due to the aforementioned record label red-tape, Muddy Water Blues was a one off and Paul Rodgers has spent the 25 years since periodically releasing albums of his own material, occasionally reforming Bad Company for the odd compilation and tour, as well as touring and recording with what remained of Queen.
Listening to Muddy Water Blues now, it’s painful how close Rodgers got to an ongoing project that could have paid such dividends, but you never know, there’s still every chance that he could head into the studio with a decent rhythm section and his phone book, as long as someone was prepared to wade through the red tape and do the necessary admin.
Then, while idly flicking through his phone book, inspiration hit him. Okay, so while he wasn’t the most gifted lyricist, what if he did an album of covers? What about an album covering established fried-gold blues classics? What about an album of established fried-gold blues classics recorded with reputable guitar-slingers from his phone book? Sure, there’d be no end of record label red-tape to work through, but surely the end result would be worth it.
Thus inspired, Rodgers headed into at the studio with Jason Bonham and Pino Palladino, a rhythm section that would have been the envy of anyone during that period, and recorded easily his best album since his Free days, and with a whole host of ‘heavy friends’ helping out and creating interest in the project, it was released to modest fanfare. Here was one of the great voices of UK Blues Rock, paying tribute to one of the all time great voices of The Blues. Blues fans loved it, rock fans loved it, and apparently everyone involved in the project loved it.
In one album Paul Rodgers had resurrected his career, with Muddy Water Blues reminding everyone exactly why he had always had such a great reputation as a singer. All he had to do now was repeat the trick a number of times, recording a series of albums with a rotating line up of guest guitar players, each of which could draw from the songbook of a different Blues artist each time.
Except that didn’t happen. Perhaps due to the aforementioned record label red-tape, Muddy Water Blues was a one off and Paul Rodgers has spent the 25 years since periodically releasing albums of his own material, occasionally reforming Bad Company for the odd compilation and tour, as well as touring and recording with what remained of Queen.
Listening to Muddy Water Blues now, it’s painful how close Rodgers got to an ongoing project that could have paid such dividends, but you never know, there’s still every chance that he could head into the studio with a decent rhythm section and his phone book, as long as someone was prepared to wade through the red tape and do the necessary admin.
Published
ADVERTISEMENT
One of the best (?) white boy blues singers around is joined by some of the best blues guitar players around to make this excellent compact disc. Muddy Waters was a bluesman unmatched and these dudes do him justice.
This high rating is more for the fantastic guitar work rather than the vocals as you would expect from me.
RIP Gary Moore
RIP Muddy Waters
This high rating is more for the fantastic guitar work rather than the vocals as you would expect from me.
RIP Gary Moore
RIP Muddy Waters
Published
British vocalist Paul Rodgers is without a doubt the greatest white Blues singer of all times. Since his days as the front man of the legendary Free and in the five decades that followed no other vocalist managed to demonstrate the same level of sensitivity, virtuosity and feeling even remotely close to those of Rodgers. This stunning album, which as the title suggests is a tribute to the great Blues singer / songwriter Muddy Waters, finds Rodgers performing the classic material with flare and his usual brilliance. He is accompanied by a horde of great guitarists, all paying tribute to the great Godfather of Blues: Jeff Beck, David Gilmour, Buddy Guy, Brian May, Steve Miller, Gary Moore, Trevor Rabin, Neal Schon, Slash and a few others. Anything else said about this music is completely redundant – just grab it when you can as this is one of the greatest Blues albums ever recorded!
Published
EAGCD222 CD (2002)
Whilst the late sixties and seventies were kind to Paul Rodgers the eighties and early nineties were someting of a mixed bag. Bad Company stuttered to a halt in 1982 with the largely disappointing Rough Diamonds. A self indulgent solo album arrived the following year on which Rodgers played all the instruments himself and whilst it was pleasant enough it lacked the quality it would have had if some top notch musicians had been on board to back up Rodgers top quality vocals. The Firm was an experiment with Jimmy Page which never really worked and was hampered in live shows by the brave but questionable decision to totally disregard both Rodgers and Page's back catalogue from Led Zeppelin, Free and Bad Company. Following that The Law was never really a band just a one album collaboration with Kenney Jones which featured mostly outside writers material and was a little too swamped in a middle of the road AOR production for most.
So when 1993's "Muddy Water Blues" album came along Rodgers was really in need of a decent product to get him back up with the elite. A return to the blues roots, a collection of heavyweight special guests, and lengthy tours during which the Free and Bad Company back catalogue was heavily plundered did the trick though and Rodgers was back.
Rodgers assembled a pretty heavyweight outfit for the album and as well as the numerous legendary guitar players, most tracks feature a different six stringer, the main band was packed with talent too. Jason Bonham on drums, Ian Hatton on rhythm gutar and no less than Pino Palladino on bass. The album kicks off with the only original composition on the album, the Rodgers penned title track 'Muddy Water Blues'. The song actually tops and tails the album and it is the acoustic version that starts proceedings. It has a real delta blues swamp feel with great backing vocals from Alexandra Brown, Carmen Carter and Jean McClain which along with Mark Williams bass drum give it a great old time feel. Buddy Guy is the guitarist for this one and he provides some great picked blues guitar. Rodgers himself plays some nylon guitar to go along with his easy laid back vocal. A vocal which he as usual manages to make sound effortless. 'Louisiana Blues' is the first of the hard hitting electric tracks and has a great chugging riff from Trevor Rabin and a nice harmonica solo from Jimmie Wood. Whilst 'I Can't Be Satisfied' starts with a nice funky solo from Brian Setzer before the drums come in and then it turns into a classic mid tempo blues stomp before ending as it began with some nice funky guitar. 'Rollin Stone' is the first of the lengthy classic blues tunes and has Rodgers delivering a vocal in the same sort of style as he did on Mr Big when with Free. The steam train guitar is provided by Jeff Beck and the two share the limelight perfectly. A proper Beck / Rodgers collaboration would have been interesting if this is anything to go by. Beck stays on board for 'Good Morning Little Schoolgirl' which is probably not the most politically correct lyric for these times but is still a great track written by Sonny Boy Williamson. Rodgers totally nails the vocal as ever and Becks guitar provides some great colour both above and below the vocal. When it comes time to let rip with a solo it is a superb understated chugger of a solo full of atmosphere. Brilliant stuff. Mark Williams is back with his rhythmic bass drum and some brushes to give the track even more old time delta blues authenticity.
The first of the Wilie Dixon tracks is up next with 'Hoochie Coochie Man' a track which must have been recorded by just about everyone you've ever heard of but still manages to sound reasonably fresh in the hands of Rodgers and Steve Miller who is the guest guitarist this time around. Jimmie Wood is back with the obligatory harmonica. A couple of false endings and some interplay betweem Miller and Rodgers bring the song to a nice close. 'She's Alright' features some Hammond from Ronnie Foster, an instrument which I always feel works well with Rodgers' voice but that he doesn't use often enough. Trevor Rabin is back on the guitar but despite the Hammond it is still one of the weakest tracks on offer here. 'Standing Around Crying' on the other hand may just be one of the best. Done in a standard rock blues way it reminds me in feel of one of those early Led Zeppelin blues tracks. The guitar this time comes from David Gilmour who puts in a good solid performance with some nice touches and a great solo. Again the use of the Hammond organ, this time played by Paul Shaffer, gives the song an extra dimension. Vocally it is similar in delivery to the bluesier Free cuts such as 'Goin Down Slow' from their debut album "Tons of Sobs". Slash makes an appearance on 'The Hunter' and despite his good performance it seems a pretty silly idea to include it here to me. Rodgers of course had already recorded this track in the Free days with Paul Kossoff on guitar and who is going to better a Kossoff version. If it is not the worst track on the album it is certainly the most pointless and I would have loved to see Slash given a different vehicle to collaborate with Rodgers on. As good as his solo is you just want it to be Koss. 'She Moves Me' is a slower track which features Gary Moore on guitar this time and is pleasant enough without being anything too special although Moore's guitar is as ever top notch.
Full time swing comes to the fore with 'I'm Ready'. It is interesting for me as I am more familiar with the Frankie Miller version. My two favourite singers covering the same track is interesting but in the same way as you can't prefer one of your children over the other I have to call it a draw ....... at least publicly !! Brian May provides some good funky swing time blues guitar and this led onto the 'Reaching Out' project and subsequently Rodgers collaboration with Queen. The third and final Willie Dixon track 'I Just Wanna Make Love To You' is another heavily covered track but Rodgers again lets rip with a belting vocal. As on the earlier track Jeff Beck's guitar is the perfect foil to the vocal and as I said earlier it would surely have been nice to hear them make a complete album together. 'Born under A Bad Sign' doesn't really fit with the rest of the album for me but is still a decent enough track, as you would expect with Neal Schon and Rodgers together. It just lacks the same blues feel as the rest of the album for me and is closer to Rodgers' other solo output. The piano and Hammond help though but it would still be close to the albums low point. Part two of 'Good Morning Little Scoolgirl' is a more electric version and features Richie Sambora on guitar. It hasn't got quite the same blues feel as the earlier one but this is done in a more straight up rock style and is not dis-similar to early Stones or Faces. The final track is a second version of the title track but this time done in an electric style rather than the acoustic version of the opener. The lyric is slightly different and the addition of the Hammond is a nice touch. Neal Schon provides the guitar and as well as he plays it still misses the blues picking that Buddy Guy provided on the acoustic version for me. Some sort of mixture of the two would have been my preference. Maybe the acoustic version to start turning into the electric version. There is no reason why Guy's guitar couldn't have contributed to the electric part as well although that could possibly have been seen as overkill I suppose. The piano under the vocal in places is a good touch and the song builds nicely to a climax before slowing down to end almost acoustically. Impossible to choose a favourite version I'm afraid. So maybe the decision to record two versions was justified after all.
The first pressings of the album also came with a bonus disc which featured Rodgers, Bonham. Palladino and Hatton revisiting some old Free and Bad Company tunes. 'All Right Now', 'Wishing Well' and 'Fire and Water' from Free and 'Feel Like Makin Love, Can't Get Enough' and the track 'Bad Company' from Bad Company. In truth they are pretty ordinary run throughs and are obviously nowhere near the quality of the originals but it is still interesting to hear them in slightly reworked form.
"Muddy Water Blues" was recorded at various studios due to the many guests on the album but producer Billy Sherwood managed to keep the sound pretty similar throughout and the album has a real feel of a live jam about it particularly on the lengthier numbers. The album was nominated for a Grammy and Rodgers was back on track. This is an essential album for not only lovers of Rodgers but also of good solid blues music.
So when 1993's "Muddy Water Blues" album came along Rodgers was really in need of a decent product to get him back up with the elite. A return to the blues roots, a collection of heavyweight special guests, and lengthy tours during which the Free and Bad Company back catalogue was heavily plundered did the trick though and Rodgers was back.
Rodgers assembled a pretty heavyweight outfit for the album and as well as the numerous legendary guitar players, most tracks feature a different six stringer, the main band was packed with talent too. Jason Bonham on drums, Ian Hatton on rhythm gutar and no less than Pino Palladino on bass. The album kicks off with the only original composition on the album, the Rodgers penned title track 'Muddy Water Blues'. The song actually tops and tails the album and it is the acoustic version that starts proceedings. It has a real delta blues swamp feel with great backing vocals from Alexandra Brown, Carmen Carter and Jean McClain which along with Mark Williams bass drum give it a great old time feel. Buddy Guy is the guitarist for this one and he provides some great picked blues guitar. Rodgers himself plays some nylon guitar to go along with his easy laid back vocal. A vocal which he as usual manages to make sound effortless. 'Louisiana Blues' is the first of the hard hitting electric tracks and has a great chugging riff from Trevor Rabin and a nice harmonica solo from Jimmie Wood. Whilst 'I Can't Be Satisfied' starts with a nice funky solo from Brian Setzer before the drums come in and then it turns into a classic mid tempo blues stomp before ending as it began with some nice funky guitar. 'Rollin Stone' is the first of the lengthy classic blues tunes and has Rodgers delivering a vocal in the same sort of style as he did on Mr Big when with Free. The steam train guitar is provided by Jeff Beck and the two share the limelight perfectly. A proper Beck / Rodgers collaboration would have been interesting if this is anything to go by. Beck stays on board for 'Good Morning Little Schoolgirl' which is probably not the most politically correct lyric for these times but is still a great track written by Sonny Boy Williamson. Rodgers totally nails the vocal as ever and Becks guitar provides some great colour both above and below the vocal. When it comes time to let rip with a solo it is a superb understated chugger of a solo full of atmosphere. Brilliant stuff. Mark Williams is back with his rhythmic bass drum and some brushes to give the track even more old time delta blues authenticity.
The first of the Wilie Dixon tracks is up next with 'Hoochie Coochie Man' a track which must have been recorded by just about everyone you've ever heard of but still manages to sound reasonably fresh in the hands of Rodgers and Steve Miller who is the guest guitarist this time around. Jimmie Wood is back with the obligatory harmonica. A couple of false endings and some interplay betweem Miller and Rodgers bring the song to a nice close. 'She's Alright' features some Hammond from Ronnie Foster, an instrument which I always feel works well with Rodgers' voice but that he doesn't use often enough. Trevor Rabin is back on the guitar but despite the Hammond it is still one of the weakest tracks on offer here. 'Standing Around Crying' on the other hand may just be one of the best. Done in a standard rock blues way it reminds me in feel of one of those early Led Zeppelin blues tracks. The guitar this time comes from David Gilmour who puts in a good solid performance with some nice touches and a great solo. Again the use of the Hammond organ, this time played by Paul Shaffer, gives the song an extra dimension. Vocally it is similar in delivery to the bluesier Free cuts such as 'Goin Down Slow' from their debut album "Tons of Sobs". Slash makes an appearance on 'The Hunter' and despite his good performance it seems a pretty silly idea to include it here to me. Rodgers of course had already recorded this track in the Free days with Paul Kossoff on guitar and who is going to better a Kossoff version. If it is not the worst track on the album it is certainly the most pointless and I would have loved to see Slash given a different vehicle to collaborate with Rodgers on. As good as his solo is you just want it to be Koss. 'She Moves Me' is a slower track which features Gary Moore on guitar this time and is pleasant enough without being anything too special although Moore's guitar is as ever top notch.
Full time swing comes to the fore with 'I'm Ready'. It is interesting for me as I am more familiar with the Frankie Miller version. My two favourite singers covering the same track is interesting but in the same way as you can't prefer one of your children over the other I have to call it a draw ....... at least publicly !! Brian May provides some good funky swing time blues guitar and this led onto the 'Reaching Out' project and subsequently Rodgers collaboration with Queen. The third and final Willie Dixon track 'I Just Wanna Make Love To You' is another heavily covered track but Rodgers again lets rip with a belting vocal. As on the earlier track Jeff Beck's guitar is the perfect foil to the vocal and as I said earlier it would surely have been nice to hear them make a complete album together. 'Born under A Bad Sign' doesn't really fit with the rest of the album for me but is still a decent enough track, as you would expect with Neal Schon and Rodgers together. It just lacks the same blues feel as the rest of the album for me and is closer to Rodgers' other solo output. The piano and Hammond help though but it would still be close to the albums low point. Part two of 'Good Morning Little Scoolgirl' is a more electric version and features Richie Sambora on guitar. It hasn't got quite the same blues feel as the earlier one but this is done in a more straight up rock style and is not dis-similar to early Stones or Faces. The final track is a second version of the title track but this time done in an electric style rather than the acoustic version of the opener. The lyric is slightly different and the addition of the Hammond is a nice touch. Neal Schon provides the guitar and as well as he plays it still misses the blues picking that Buddy Guy provided on the acoustic version for me. Some sort of mixture of the two would have been my preference. Maybe the acoustic version to start turning into the electric version. There is no reason why Guy's guitar couldn't have contributed to the electric part as well although that could possibly have been seen as overkill I suppose. The piano under the vocal in places is a good touch and the song builds nicely to a climax before slowing down to end almost acoustically. Impossible to choose a favourite version I'm afraid. So maybe the decision to record two versions was justified after all.
The first pressings of the album also came with a bonus disc which featured Rodgers, Bonham. Palladino and Hatton revisiting some old Free and Bad Company tunes. 'All Right Now', 'Wishing Well' and 'Fire and Water' from Free and 'Feel Like Makin Love, Can't Get Enough' and the track 'Bad Company' from Bad Company. In truth they are pretty ordinary run throughs and are obviously nowhere near the quality of the originals but it is still interesting to hear them in slightly reworked form.
"Muddy Water Blues" was recorded at various studios due to the many guests on the album but producer Billy Sherwood managed to keep the sound pretty similar throughout and the album has a real feel of a live jam about it particularly on the lengthier numbers. The album was nominated for a Grammy and Rodgers was back on track. This is an essential album for not only lovers of Rodgers but also of good solid blues music.
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Mr Rodgers lends his SPECTACULAR voice and his BORING name to an album of beautiful blooz covers featuring such talents as Buddy Guy, Jeff Beck, David Gilmour, Slash, Gary Moore and Brian May. Some are truly brilliant. Others are falsely brilliant - as the simple blues licks are barely indistinguishable from big name to big name - no matter how MUCH YOU TRY AND SPICE IT UP (I'm looking at you Schon). However faceless the guitarrrring is, it's undeniable that they bring a renewed energy to these old tunes. Nice.
Published
Good blues rock tribute to Muddy Waters from Paul Rodgers;enough for a blue smile...goodie!
Published
Some really outstanding music here! Every track is a gem. The guest lead guitarists on each track all somehow manage to fit in seamlessly, without cramping their own styles. Rodger's voice is better than ever.
Published
Muddy Water Blooozzzeee... raining down Delta beatitude!
As the late Free guitarist Paul Kossoff once noted, "Paul Podgers is the best white blues singer you'll find". You won't get an argument from me, although Glen Hughes is worthy of consideration. Paul Rodgers backed up the strong statement made by Kossoff way back in the early '70s, and he continues to showcase his talent to this day.
Rodgers' soulful vocals are evident throughout _Muddy Water Blues: A Tribute to Muddy Waters_, which was issued by Victory in 1993. Paying tribute to the legendary blues guitarist/singer, Rodgers is supported on the collection of covers with several big-name musicians, including Jeff Beck, Brian May, Buddy Guy, David Gilmour, Neal Schon, Richie Sambora, Slash, Steve Miller and Trevor Rabin. In rock 'n' roll, it all comes back to the blues... and Muddy was at the forefront of scene.
Known as the father of modern Chicago blues, Waters passed away due to cancer-related illness ten years prior to Rodgers' recording of the blues standards. Mississippi born, Muddy Waters moved north, to the Windy City, in 1943, and three years later laid down his first recorded work. Waters often noted that arriving in Chicago was the single most momentous event in his storied life. His commercial success took hold from 1948 through the late '50s, and his influence carries on.
Bookended by the lead-off acoustic take on "Muddy Water Blues" and the closing electric version, the fifteen song tribute set is a spirited show-of-respect. Jeff Beck guests on three of the tracks, including the vibrant shot of "Rollin' Stone" and the often-covered "I Just Want to Make Love to You".
DROP DOWN!
As the late Free guitarist Paul Kossoff once noted, "Paul Podgers is the best white blues singer you'll find". You won't get an argument from me, although Glen Hughes is worthy of consideration. Paul Rodgers backed up the strong statement made by Kossoff way back in the early '70s, and he continues to showcase his talent to this day.
Rodgers' soulful vocals are evident throughout _Muddy Water Blues: A Tribute to Muddy Waters_, which was issued by Victory in 1993. Paying tribute to the legendary blues guitarist/singer, Rodgers is supported on the collection of covers with several big-name musicians, including Jeff Beck, Brian May, Buddy Guy, David Gilmour, Neal Schon, Richie Sambora, Slash, Steve Miller and Trevor Rabin. In rock 'n' roll, it all comes back to the blues... and Muddy was at the forefront of scene.
Known as the father of modern Chicago blues, Waters passed away due to cancer-related illness ten years prior to Rodgers' recording of the blues standards. Mississippi born, Muddy Waters moved north, to the Windy City, in 1943, and three years later laid down his first recorded work. Waters often noted that arriving in Chicago was the single most momentous event in his storied life. His commercial success took hold from 1948 through the late '50s, and his influence carries on.
Bookended by the lead-off acoustic take on "Muddy Water Blues" and the closing electric version, the fifteen song tribute set is a spirited show-of-respect. Jeff Beck guests on three of the tracks, including the vibrant shot of "Rollin' Stone" and the often-covered "I Just Want to Make Love to You".
DROP DOWN!
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Catalog
3 Jun 2024
19 May 2024
28 Mar 2024
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1
Muddy Water Blues (Acoustic Version)
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2
Louisiana Blues
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3
I Can't Be Satisfied
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4
Rollin' Stone
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5
Good Morning Little Schoolgirl (Part 1)
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6
I'm Your Hoochie Coochie Man
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7
She's Alright
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8
Standing Around Crying
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9
The Hunter
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10
She Moves Me
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11
I'm Ready
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12
I Just Want to Make Love to You
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13
Born Under a Bad Sign
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14
Good Morning Little Schoolgirl (Part 2)
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15
Muddy Water Blues (Electric Version)
9 Mar 2024
15 Feb 2024
6 Feb 2024
15 Dec 2023
18 Nov 2023
26 Aug 2023
17 Aug 2023
7 Jun 2023
7 May 2023
8 Apr 2023
25 Mar 2023
18 Jan 2023