At Newport 1960 is a live album by Muddy Waters performed at Newport Jazz Festival in Newport, Rhode Island, with his backing band, consisting of Otis Spann (piano, vocals), Pat Hare (guitar), James Cotton (harmonica), Andrew Stevens (bass) and Francis Clay (drums), on July 3. Waters's performances across Europe in the 1950s and at Newport helped popularize blues to a broader audience, especially to whites. The album is said to be one of the first live blues albums.
Of all the post-Fathers & Sons attempts at updating Muddy's sound in collaboration with younger white musicians, this album worked best because they let Muddy be himself, producing music that compared favorably to his concerts of the period, which were wonderful. His final album for Chess (recorded at Levon Helm's Woodstock studio, not in Chicago), with Helm and fellow Band-member Garth Hudson teaming up with Muddy's touring band, it was a rocking (in the bluesy sense) soulful swansong to the label where he got his start. Muddy covers some songs he knew back when (including Louis Jordan's "Caldonia" and "Let The Good Times Roll"), plays some slide, and generally has a great time on this Grammy-winning album. This record got lost in the shuffle between the collapse of Chess Records and the revival of Muddy's career under the auspices of Johnny Winter, and was forgotten until 1995. The CD contains one previously unreleased number, "Fox Squirrel".
Muddy Waters was the leading exponent of Chicago blues in the Fifties, and with him, the blues came up from the Delta and went electric. His guitar licks and repertoire have fueled innumerable blues bands.
After the Rain dates from the most controversial period in Muddy Waters' history – along with its predecessors, Electric Mud (probably the most critically despised album in Muddy's catalog) and Brass and the Blues (an effort to turn him into B.B. King), it came out of an era in which Chess Records was desperately thrashing around trying any musical gambit to boost the sales of its top blues stars. But unlike Electric Mud, in which the repertoire selected by producer Marshall Chess was mostly unsuited, and the musical settings provided by Phil Upchurch, Pete Cosey et al. were too loud and too frenetic for Muddy's style of singing, After the Rain simply let him be Muddy Waters.
Digitally remastered two-fer containing a pair of Chess Records albums from the Blues great: 1966's Muddy, Brass And The Blues and 1973's Can't Get No Grindin'. Muddy, Brass And The Blues was a massive undertaking in direction which a couple of years later John Mayall.
After a string of mediocre albums throughout most of the 1970s, Muddy Waters hooked up with Johnny Winter for 1977's Hard Again, a startling comeback and a gritty demonstration of the master's powers. Fronting a band that includes such luminaries as James Cotton and "Pine Top" Perkins, Waters is not only at the top of his game, but is having the time of his life while he's at it. The bits of studio chatter that close "Mannish Boy" and open "Bus Driver" show him to be relaxed and obviously excited about the proceedings. Part of this has to be because the record sounds so good. Winter has gone for an extremely bare production style, clearly aiming to capture Waters in conversation with a band in what sounds like a single studio room. This means that sometimes the songs threaten to explode in chaos as two or three musicians begin soloing simultaneously. Such messiness is actually perfect in keeping with the raw nature of this music; you simply couldn't have it any other way.
This is a three classic albums CD box set with the original artworked 'mini LP' CD wallets in deluxe packaging. It contains the albums "Hard Again", "I'm Ready" and "King Bee".