My Time After Awhile
Info
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Label |
Vanguard |
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Released |
July 2, 1992 |
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Original year of release |
1992 |
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Recorded |
1960's |
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Total playing time |
62:10 |
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Producer |
Samuel Charters |
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Buddy Guy |
Guitar, Vocals |
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A.C. Reed |
Saxophone |
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Otis Spann |
Piano |
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Junior Wells |
Harmonica, Vocals |
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Tracks
written by |
playing time |
||
| 1. |
Buddy Guy |
6:23 |
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| 2. |
Willie Dixon |
5:06 |
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| 3. |
Eddie "Guitar Slim" Jones |
3:29 |
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| 4. |
Bob Crowder/ Billy Eckstine/Earl Hines |
4:19 |
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| 5. |
John Davenport/Eddie Cooley |
6:26 |
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| 6. |
B.B. King |
5:39 |
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| 7. |
Robert Geddins |
4:17 |
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| 8. |
Eddie Boyd |
3:19 |
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| 9. |
Mel London |
2:46 |
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| 10. |
Traditional |
2:45 |
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| 11. |
Mercy Dee Walton |
5:38 |
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| 12. |
Sonny Boy Williamson |
3:07 |
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| 13. |
Robert Geddins |
5:22 |
|
| 14. |
Sonny Boy Williamson |
3:16 |
Reviews
All-Music Guide (Bill Dahl)
My Time After Awhile is the best selection from Guy's Vanguard catalog.
Blues Revue (Steve Romanoski)
Perhaps no modern practitioner of Chicago-styled blues guitar is as
openly revered as is Buddy Guy. My Time After A While is a compilation
of music gathered from Buddy's Vanguard recordings produced in the 1960s
and those in which he performed with harpist Junior Wells for the same
label. And, while the selections on this recording can, by no means,
be considered as his best, most include samplings of the blistering
guitaring that eventually became part of Guy's artistic aura. What's
always amazed me about Buddy Guy's work is his ability to cast aside
his stature as a guitar-monster and develop an interplay with the other
instrumentalists in his band. A clear example of this attitude is found
in the song A Man And His Blues where Guy creates a literal musical
dialog between his guitar and the developed sound of an unnamed pianist
(most likely Otis Spann) during the number's opening measures which
is carried out for the duration of the tune. He accomplishes the same
effect with Junior Wells' vocals on the included version of Stormy Monday.
But, while I've always believed that Buddy set down some of his best
work during his stints on stage with Wells, the included examples on
this recording might be enough to dissuade that notion. Buddy's guitar
is so understated on, both, It Hurts Me Too and Five Long Years that
one begins to wonder why they were even included in the set. Guy's ability
as an instrumentalist often veils his vocal proficiency. This is aptly
documented in 24 Hours Of The Day and One Room Country Shack. During
these numbers, Buddy chose to limit his instrumental input and concentrate
on vocals. However, despite the fact that Guy's vocals translate well
to recording, even the slightest instrumental efforts stand out. An
excellent example is found on the latter tune in which Buddy utilizes
sparse and chilling thrusts of sound to heighten the murky mood of the
piece. But once you sift through the production problems, there is some
worthy guitar work to behold. Buddy lets loose with his signature sky-high
riffs on The Things I Used To Do and the title cut before crankin' out
a gritty version of Fever. But the overall impact is lessened by the
general oversight of diversifying the pace or the lack of any instrumental
inclusion in the mix. I guess it boils down to the reality that, in
my opinion, Buddy Guy has never been recorded in a manner which fully
showcases his free-form instrumental ability and while this collection
has its moments, it loses a lot in its overall scope.
Extra Info
This album is a compilation of the albums Buddy did for the Vanguard label.