| 
									 
									Buddy Guy 
									Ain't Done With The Blues 
									Silvertone/RCA Records 
									 | 
								
							
						 
						
						
		
								
								
		Buddy Guy's newest album, Ain't Done With The 
		Blues, was released his 89th birthday. with a smorgasbord of 18 
		numbers. There have been hints that it will be his last set of 
		recordings, but as good as he still sounds I'm not counting him out for 
		a future album just yet. 
		
Produced by long-time collaborator Tom Hambridge, 
		Ain't Done With The Blues includes many special guests showing up on 
		various cuts. Instead of pushing Buddy aside, these contributors are 
		there to pay homage and support this icon of the blues on their 
		respective appearances. It's quite a reputable list of guests, including 
		Christone "Kingfish" Ingram, Joe Walsh, Joe Bonamassa, Peter Frampton, 
		and Blind Boys of Alabama.
Two of the numbers are Guy's 
		short tributes to blues legends that inspired him, with the opening cut 
		being, "Hooker Thing," on which he plays a few lines of John Lee 
		Hooker's "Boogie Chillen." That leads into his own autobiographical 
		thing, "Been There Done That," as he sings about working in the cotton 
		fields and driving a tractor early in his life. Former Allman Brother 
		pianist Chuck Leavell contributes very nice B3 organ and Wurlitzer 
		piano.
Kevin McKendree shows up on piano on the mid-tempo 
		shuffle, "Blues Chase The Blues Away," before Guy takes it to New 
		Orleans on the urban funky number, "Where U At?" He sings about dirty 
		rice, Congo Square, Mardi Gras beads, and other Crescent City topics, 
		while Ingram joins in on both vocals and electric guitar and Leavell 
		adds the requisite piano accompaniment. 
		
Guy shows plenty of emotion in his voice on the slow 
		tune, "Blues On Top," also laying down tasty guitar licks, before 
		picking up the tempo on Guitar Slim's "I Got Sumpin' For You." Joe Walsh 
		comes in on vocals and slide guitar on the single from the album, "How 
		Blues Is That," as they both sing about typical facets of blues life, 
		such as pawnshop loans that can't be paid back and only being able to 
		afford to eat at all-night diners. 
		
Bonamassa joins the band on the very slow 
		gospel-influenced blues, "Dry Stick," as Guy relays a lesson he learned 
		from his mama to always keep dry wood around for a wet day. Frampton 
		joins in on vocals and guitar on the mid-tempo blues shuffle, "It Keeps 
		Me Young," with Guy's message here being that playing the Chicago blues 
		at a very loud volume has kept him young.
Leavell stars 
		on piano on the late night blues, "Love On A Budget," starting with a 
		slow tempo before later picking up the pace. "Jesus Loves The Sinner" 
		opens with a slow, ethereal vibe before the Blind Boys of Alabama come 
		in on vocals, giving the reminder that while Jesus loves the sinner he 
		hates the sin. 
		
It's all Buddy's show the rest of the way, with no 
		additional celebrity guests, singing about inflation on the up-tempo 
		blues "Upside Down," before paying tribute to another of his idols, 
		Lightnin' Hopkins, on "One From Lightnin'." 
		
Guy gives us his own powerful history lesson on the 
		slow, snaky blues, "I Don't Forget," as he reminds us about slavery, not 
		being allowed in segregated swimming pools, and especially the potent 
		vocal line "... I've still got scars across my memories ..." Incredible 
		song, just really incredible. 
		
We're back in New Orleans for a very fine cover of Earl 
		King's classic, "Trick Bag," one that I never tire of hearing. Guy 
		doesn't stray too far from the original yet his personality still comes 
		out. "Swamp Poker" is a swampy mid-tempo blues, with Leavell doing it on 
		the Wurlitzer. 
		
Buddy's show his soul side con the slow ballad "Send Me 
		Some Loving," originally Little Richard's B-side to his 1957 mega hit 
		"Lucille." Guy shows that he's still got the pipes to handle this one. 
		
Closing this superbly wonderful album is a frantic 
		version of J.B. Lenoir's "Talk To Your Daughter," with Guy again belying 
		his age with the powerful vocals needed for this blues stomper. 
		
One note to add is that the booklet accompanying this 
		album has the full session info for each cut, including which guitar Guy 
		was playing on each session.
I'm out of words to describe 
		the importance and brilliance of this album. It's an essential purchase, 
		and when Buddy Guy says "Ain't Done With The Blues," we can hope that's 
		true and there will be more to come as he heads into his 90's next year.
--- Bill Mitchell