Nineteen-seventy was a year that brought a heightened national profile to the blues genre. Venues such as the Fillmore (in San Francisco) and the Fillmore East (in New York), which were attended largely by young white audiences, had been courting blues acts for a few years already. But by 1970 blues icons were going mainstream and creating countercultural credibility. B.B. King headlined Las Vegas (Caesar's Palace, no less) and made guest appearances on The Ed Sullivan Show, thanks to his 1969 crossover hit, "The Thrill Is Gone." John Lee Hooker collaborated with West Coast blues rockers Canned Heat on a double LP titled Hooker 'N' Heat. And that same year, Buddy Guy and Junior Wells toured Europe together as an opening act for The Rolling Stones. (Guy and Wells were both managed by Dick Waterman of Avalon Productions, and despite often sharing stages, each had maintained separate bands until Waterman put them together for the Stones tour.) Almost as soon as that tumultuous tour ended in Amsterdam on October 9, Guy and Wells were in a Florida studio, recording an album coproduced by one of their disciples, Eric Clapton. Suddenly, it appeared that the two artists, both in their mid-thirties and regarded highly by peers and plenty of blues enthusiasts, were about to make their own breakthrough into mainstream success.
Unfortunately, neither the Stones four nor the Clapton-helmed recording project, released two years later in 1972 as Buddy Guy & Junior Wells Play The Blues, turned Guy and Wells into crossover rock stars. But the combined effort of these two blues greats is evident on Play The Blues. And now this expanded reissue offers fans even more-sev- eral additional tracks unheard for the past 35 years.
Legend has it that Junior Wells first crossed paths with Buddy Guy in 1958, when Guy, then new to Chicago, bested Wells-and Magic Sam-in a Battle Of The Blues competition, even though Wells was already an established player in the vibrant and competitive Chicago blues scene. Christened Amos Wells Blackmore, Junior Wells was born in Memphis, Tennessee, on December 9, 1934. He remembered that his father chopped cotton and his mother cleaned motels for a living. No one in his family played music, but Junior listened to the orig- inal Sonny Boy Williamson (John Lee Williamson) on the radio singing blues accompanied by har- monica. "I thought that there was nothin' like that sound I heard," Wells told Jim O'Neal in a 1994 Living Blues interview. "I really liked it, so I was determined that I was gonna do it, too."
Wells was one of a legion of young African- Americans inspired to take up harmonica by the recordings of Sonny Boy Williamson (1914-1948). Another is the still-active Billy Boy Arnold, who has said of the original Sonny Boy: "He had a profound effect on black people. Sonny Boy was sort of akin to Joe Louis in a sense as a folk hero." Arnold reports that, in the 1940s, many amateur harmoni- ca players would blow a few riffs and then proudly proclaim, "I'm Sonny Boy Williamson!" Recording with drums as early as 1940, the original Sonny Boy was a key transitional figure who pointed the way toward the evolution of the band-based blues sounds of the post-War years. As for his influence on Junior Wells, pianist Sunnyland Slim might have said it best: "Sonny Boy stayed sharp, had plenty of women, and was dangerous to fool with if you made him mad. But you loved him just the same."
Wells' first harmonica was an American Ace that he purchased at a drugstore for 25 cents. By his account, he was nine when his family moved to Chicago, but he would return to Memphis in the summers and get playing tips from contemporaries
such as Junior Parker and the little-recorded Forest City Joe ("I always liked that deep thing he had on there," Wells said of Joe). He also learned from the irascible Rice Miller, who recorded for Chess as Sonny Boy Williamson, first appropriating the name when his King Biscuit Time broadcasts commenced over KFFA in Helena, Arkansas, in 1941. Buddy Guy remembered one of Wells' early encounters with Rice Miller: "Sonny Boy gave Junior a lesson once and turned him loose. Junior said he went back and Sonny Boy told him, "I done give you a fuckin' lesson; don't come back in my face with that harp no more unless you know how to play it."
He soon did. Wells graduated to a Hohner Marine Band model and began sitting in with elder states- men of the Chicago scene, such as singer-guitarist Tampa Red, a mainstay of the Chicago blues com- munity since the 1920s. "I just started learnin' all of his tunes," Wells told O'Neal, "and the older peo- ple thought it was such a funny thing for me to do their stuff!"
Wells was still in his teens when he began making a name for himself on the Chicago blues scene, which was in full swing in the early 1950s. African- American migrants, particularly from the Mississippi Delta, had flooded the Windy City in search of work, bringing to Chicago both musicians and audiences for blues. Clubs proliferated, as did small record labels hoping to break through to national success in the way that Chess had done. with the likes of Muddy Waters. "Muddy taught me a lot about things," said Wells, who, like Buddy Guy, enjoyed a fruitful apprenticeship with Waters. "He showed me how to carry myself around peo- ple." Wells was only seventeen when he made his first recordings in Waters' band in 1952. He wailed on one of Waters' most intense recordings of its era, "Standing Around Crying." The following year, Wells made his first recordings as a bandleader. By the time he and a newly arrived Buddy Guy first met, Wells had already made nearly 20 recordings as a bandleader for small Chicago labels, accom- panied by such heavyweights as pianists Memphis Slim and Otis Spann, slide guitar legend Elmore James, and songwriter-producer-bass player Willie Dixon. Years later, Wells said: "I feel like anything I want to do and set my mind to, I can do it."
Though you would never suspect it now, George "Buddy" Guy once lacked his future partner's supreme self-confidence. "I was too shy, man," Guy told Living Blues interviewer Andrew M. Robble in 1993. "I was singing this Hank Ballard tune, 'Work With Me Annie,' with my face to the wall." Obvious- ly, Guy eventually outgrew the onstage timidity he recalled from his first audition when he was a teen. Born in Lettsworth, Louisiana, on July 30, 1936, Buddy was one of five children of sharecropper parents. As a child he would pull screen wire from windows and stretch it between nails to get guitar sounds. He heard records by Lightnin' Hopkins, T- Bone Walker, Muddy Waters, and B.B. King-the artist he deems his primary influence. "I would put B.B. number one," Guy told Jim O'Neal and Tim Zorn in a 1970 Living Blues interview. "Some of the things he plays just really mess up my mind."
While B.B. was the musical marker for Guy, his future onstage flamboyance was inspired by Guitar Slim: "The first time I saw Guitar Slim, a guy brought him in on his shoulders like a little baby," Guy told Jas Obrecht in a 1990 Guitar Player inter- view. "When I heard him, I said, 'My God! This is the way a guitar should be played.""
Another showman who influenced Guy was Aaron "T-Bone" Walker (1910-1975). Nearly every blues guitarist of Guy's generation cites Walker as a major influence, as he virtually invented the lan- guage that Guy and most electric blues guitarists of the past sixty years have spoken. When he first heard T-Bone, B.B. King once said, "I went com- pletely nutty." Like Charlie Christian's groundbreak- ing use of the electric guitar in jazz, T-Bone Walker created a blues-based musical vocabulary for elec- tric guitar that was clearly in place as early as his 1942 Capitol recording "I Got A Break Baby." Walker's influence wasn't solely musical: a consum- mate showman, his knack for executing splits while playing the guitar behind his head incited demon- strative fan appreciation. Bandleader Johnny Otis recalls club floors "covered with panties and money," a lesson not lost on T-Bone disciples such as Buddy Guy.
By his teens, Guy had graduated from screen wire to a proper guitar and spent as much time playing as possible. "I just kept messin' with it," he said, "and the more you mess around with it, the better you get, and all of a sudden one night I broke out. And when I broke out, I found myself..." Facing lim- ited opportunities in the Baton Rouge area, Guy, like so many others, set his sights on better days in the Windy City. As is often the case with tales of leg- ends, the place and personnel involved in Guy's dramatic announcement of his arrival in Chicago, on September 25, 1957, varies from account to account. In 1970, Guy recalled the pivotal blues. contest he won as a newly arrived unknown: "That all open land now. B.B. came into the 708 Club and invited me out to it, you know, and I got a chance to get on and that was one of the biggest breaks in my life. I finally wound up sorta stealin' the show and that's what made me."
Soon Guy was recording for Artistic, a subsidiary of Cobra Records, and he would graduate to ses- sion work at the leading Chicago blues label, Chess. "It was like my going to school," Guy said in 1993. He played on sessions with most of the lumi- naries of the Chess blues stable, including Muddy Waters, Howlin' Wolf, Little Walter, and Sonny Boy Williamson. "I was so excited for them to ask me to play a session with them till it didn't matter what they were going to tell me to play, I was going to try and get it," said Guy. "You'd go in there and they'd be hummin' I guess like... the information that I got from where the blues and jazz come from, slaves moanin' and groanin' in fields and things. Sonny Boy and all of those old guys still had that. We did- n't rehearse two or three weeks on a blues cut. I'd go down and he'd be hummin' something out of the ordinary, and I'd say, 'Oh, is that what you want?' and play it."
In addition to session work, Guy cut several sides as leader for Chess-one 1960 session found him accompanied on harmonica by Junior Wells, their earliest recordings together. Guy kept day jobs (auto plant worker, tow truck driver among them) to support his family, even though he had chart suc- cess with "Stone Crazy" and played the Chicago clubs at night, where he honed his stage craft: "I learned from Guitar Slim to get up and walk down the bar and run outside with that 150-foot-long gui- tar cord and play," Guy told Robble.
Early in 1965 Guy joined a troupe of Chicago blues veterans for a European tour that was billed as the American Folk Blues Festival. Though Guy's record- ings had enjoyed limited success in America, they were well known to the coterie of blues collectors and musicians in England. "When I first went to England and met Eric Clapton and Jeff Beck," Guy told Robble, "they didn't want to play or jam. They wanted to see how I got those sounds out of my gui- tar." (Forty years later, at Guy's induction into The Rock And Roll Hall Of Fame, Eric Clapton recalled Guy's 1965 appearance at London's Marquee Club: "In the flesh he was earth shattering. His style, on every level, was fantastic, doing all the things we would later come to associate with Jimi Hendrix- playing with his teeth, his feet, and behind his head, he brought the house crashing down. But beyond all that, it was his actual playing that got through to me.
With only a drummer and a bass player behind him, he gave a thundering performance, delivering the blues with finesse and passion in a way that I'd never heard before. And incidentally, he got me thinking that a trio was a pretty good lineup for a band... He was for me what Elvis was for most other people. My course was set and he was my pilot.")
The year following his trip to England, Guy began being booked by Dick Waterman's Avalon Productions, which also represented Junior Wells. In a joint performance at the 1967 Newport Folk fes- tival, Guy and Wells electrified the crowd. They kept separate bands until 1970, when Wells fired his. The timing was fortuitous, since it coincided with a major tour opportunity: "The Rolling Stones wanted Junior and I to go on tour with them and I told Waterman he should put Junior and I together to do the tour as a duo," Guy told Robble. The tour was the catalyst for the recordings that make up Buddy Guy & Junior Wells Play The Blues. Waterman recalls: "When we got to a three-night engagement in Paris, Eric Clapton came over for a visit. Meanwhile, all of the Atlantic executives also arrived because, well, it is Paris after all and they can take a write-off on their jaunt. [Atlantic was courting the Stones at the time. So Clapton came onstage and did a few songs with Buddy. In the
dressing room, Eric turned to Ahmet Ertegun and said, 'Ahmet, you should sign these guys. They're fantastic!' Ahmet, being smart enough to see an opportunity, said, 'If I sign them, will you produce the album?' Clapton agreed immediately and Ahmet told me to contact him when I got back to the states." The contact was made and the sessions soon com- menced at Criteria Studio, in Miami, Florida. But the album didn't see the light of day until 1972. Dick Waterman recalls that the lag time between the album's recording and release was at a great expense: "We had lost all of the industry buzz that had been going around," he says. In April 1972 Buddy (minus Junior) recorded two songs with The J. Geils Band, "This Old Fool" and "Honeydripper," to fill out the album for release.
The Guy-Wells team soldiered on well into the 1980s: "We went all the way to rock bottom trying to make it work after our tour with the Stones," Guy told Robble. Their eventual parting was amicable: "It's nothin' that I won't do for Buddy," Wells told Jim O'Neal, "and there's nothin' I know that he wouldn't do for me." Junior Wells died on January 15, 1998. Buddy Guy enjoyed his greatest success after his partnership with Wells ended. His 1991 album, Damn Right, I've Got the Blues, was a career
milestone-it won a Grammy for Best Contempo- rary Blues Album (the first of Guy's five Grammys to date). He has also won a record-setting 21 W.C. Handy Blues Awards and was a 2003 Medal of Arts recipient. On March 19, 2005, Guy had the honor of being inducted into The Rock And Roll Hall Of Fame. Along with Clapton, the induction was per- formed by Guy's greatest influence, B.B. King. A true power trio, the three blues guitar gods played togeth- er at the event. At the press conference that followed, Guy acknowledged some of his influences and their impact on his music. He may also have been think- ing of his old partner, Junior Wells, when he said of his honor: "This is not mine tonight, it's ours."

THE SONGS: DISC ONE
Guy's assertive "A Man Of Many Words" opens with a funky groove, fine vocals, and fiery guitar solos. "I rap strong and I know I rap long," brags Buddy, who had overcome the shyness that made him virtually mute as a teen.
"My Baby She Left Me (She Left Me A Mule To Ride)" is Junior Wells' adaptation of Sonny Boy Williamson's 1941 recording "Shotgun Blues," while "Come On In This House"/"Have Mercy Baby" finds Wells at home in deep blues turf, his intense vocals ably supported by Guy and veteran Chicago blues tenor saxophonist A.C. Reed. The bluesy piano is courtesy of Michael Utley, who would later become a key player in Jimmy Buffett's Coral Reefers. Wells first recorded "Come On In This House" for the small Profile label in 1959.
On "T-Bone Shuffle" Buddy pays tribute to T-Bone Walker, who initially recorded this song for the Comet label in 1947. The guitar work is typical of T-Bone's innovative style. Little Milton Campbell once said: "T-Bone Walker inspired me and a lot more guitar players and singers because that cat always played clean." Guy does the same in this version of a Walker standard.
"A Poor Man's Plea" opens with Junior quoting a slight variation of the striking final verse of Howlin' Wolf's "Smokestack Lightnin"": "Who been here, since I been gone/Little black boy, tryin' to do me wrong." Otherwise, the verses are different, but Junior's "Plea," like many of Wolf's songs, is a one- chord groove. The riff played on guitar, sax, and harmonica almost stands the famous "Smokestack Lightnin'" riff on its head.
Five years before James Brown put the first stirrings of funk onto vinyl with 1965's "Papa's Got A Brand New Bag," Junior Wells recorded the funky "Messin' With The Kid" for the Chief label. Though Wells felt he was dealt with unfairly by label head Mel London, who has composer credits for "Kid," this was his signature song for much of his career.
If "This Old Fool" sounds like it comes from a dif- ferent album than the one that precedes it, there's good reason. Producer Michael Cuscuna brought Buddy Guy to Boston in April 1972 to cut two tracks with The J. Geils Band. Guy's song owes a structur- al debt to Jimmy Reed's 1961 hit, "Big Boss Man," and features a stinging Stratocaster solo flight.
"I Don't Know" is Wells' version of a song that originated with pre-World War II pianist Cripple
Clarence Lofton, though his source was Willie Mabon's 1952 chart-topping Chess label hit. Wells blows harp in the manner of Sonny Boy II (Rice Miller) while Guy's playing is in a decidedly T-Bone bag.
Eric Clapton plays slide guitar on "Bad Bad Whiskey," a song which had been a #1 R&B hit in 1950 for the singer-pianist Amos Milburn. Written by tenor saxophonist, bandleader, and ses- sion arranger Maxwell Davis, it appeared during a year of post-WWII prosperity. Milburn observed, "This was a time when there was a lot of money around and people were really boozin' it up heavy. These writers just started handing me those whiskey tunes..." Though Milburn recorded other booze songs, this is the best remembered.
Coincidentally, "Honeydripper," like the Milburn tune, was also a product of the vital West Coast R&B scene. Pianist-bandleader Joe Liggins named his band The Honeydrippers after his 1945 hit, of which he said: "That thing just went like wildfire. Tied up all the R&B record presses in Los Angeles. A lot of girls would gather around the piano to hear this little number, and the drummer says, 'Well! This cat's just drippin' a lotta honey.' They all started callin' me Honeydripper. So somebody said, 'Why don't you just mimic your- self and call it Honeydripper?' And it fit like a glove!"
Liggins' pioneering R&B tune was well known to Chicago blues players-Muddy Waters' 1950 record- ing, "Evans Shuffle," was essentially "Honeydripper" by another name. The version here is the second track Guy cut with The J. Geils Band in 1972.
Wells and Guy trade verses on the delightful "Dirty Mother For You." The vibrant performance sug- gests everyone on the session was having fun with this one. Surprisingly, the first recording of this noto- rious song was by a woman, Memphis Minnie, in 1935. Wells and Guy probably learned their ver- sion from Roosevelt Sykes, who appeared on festivals with the two of them and had recorded the song several times. Guy told Living Blues that the epithet was in wide usage during his days as session play- er at Chess: "When I went in, everybody was a motherfucker. All they would say is, 'Play, mother- fucker.' Everybody would call me that and actually one time I forgot what my name was because every- body always callin' me motherfucker."
Guy's stint at Chess is recalled in a performance of "Stone Crazy," which had given him his sole R&B chart success early in 1962. B.B. King's influence is stamped large here.
The source of "Why Am I Treated So Bad? (Playin' The Blues)" is the family gospel group
The Staple Singers, though the song is given a far funkier treatment here than on the Staples' original. Guy also adds references to blues playing and dues paying to embellish the lyric. A.C. Reed steps to the fore with some nice sax work.

DISC TWO
Wells' "Tears, Tears, Tears" has a hypnotic groove that recalls Willie Cobbs' "You Don't Love Me" and, going back further yet, Muddy Waters' "Rollin' And Tumblin'." Title aside, there's no rela- tion between this song and the Amos Milburn recording of the same name.
Wells' soulful harp kicks off "Love Her With A Feeling," a sexy reworking of a song first recorded by Tampa Red in 1950. Later in the song, Wells says, "Let me blow this Mississippi saxophone one mo' time, now listen!" This version, which features vocals first by Guy and then from Wells, draws inspiration from Waters' erotic anthems "I Just Want To Make Love To You" and "Mannish Boy." Both Guy and Wells contribute new verses to this blues standard.
The influence Wells may have had on James Brown is repaid in kind on the funky "Checkin' Up On My Baby." In 1960 Sonny Boy Williamson II recorded the song for Chess, and Wells takes that version's first verse but otherwise delivers an entirely different song.
Clapton once more contributes slide guitar, to "Last Night," a song on which Guy and Wells again trade verses. Songwriting credit is awarded to Little Walter Jacobs, with whom Wells had a friendly rivalry-in the mid-1990s, Wells told Jim O'Neal: "Walter was my favorite as far as the type of thing that me and him had learned to do...He said, 'Me and you got somethin' in common, because you got the same idea I have about playing the harmonica, because you playin' like I been tryin' to tell people this Mississippi saxophone supposed to be like... Put some fire into it."
The first time Guy recorded "First Time I Met The Blues" was for Chess in 1960, with its com- poser, singer-pianist Eurreal "Little Brother" Montgomery, on piano. Lyrically, the song echoes the legendary Robert Johnson and Johnson's men- tor, Son House, who personified the blues as a liv- ing spirit.
"D Blues" is a relaxed free-flowing jam, while the second serving of "Bad Bad Whiskey" is a fuller portion of the potent blend sampled on Disc 1. "You're So Fine," heard here in mono, is anoth- er Little Walter standard-his Checker label original made it to #4 on the Billboard R&B chart in 1954.
Following a rough mix version of "Why Am I Treated So Bad? (Playin' The Blues)", this two-CD set closes with a loosely romping interpre- tation of "Sweet Home Chicago." Though Robert Johnson wrote and first recorded the song in 1936, the rollicking version laid down by singer- pianist Roosevelt Sykes in 1955 is widely believed to be the most influential for artists of Buddy Guy and Junior Wells' generation.

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Buddy Guy & Junior Wells / Play The Blues

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1 | (34/35) Accurately ripped
2 | (34/35) Accurately ripped
3 | (34/35) Accurately ripped
4 | (34/35) Accurately ripped
5 | (34/35) Accurately ripped
6 | (34/35) Accurately ripped
7 | (34/35) Accurately ripped
8 | (34/35) Accurately ripped
9 | (34/35) Accurately ripped
10 | (34/35) Accurately ripped
11 | (34/35) Accurately ripped
12 | (34/35) Accurately ripped
13 | (35/35) Accurately ripped


==== Log checksum 04FA4257996D651BA5FE471154335F7EA3118315C10F65A3EB2B937812AE5EA8 ====


Exact Audio Copy V1.1 from 23. June 2015

EAC extraction logfile from 17. July 2023, 18:23

Buddy Guy & Junior Wells / Play The Blues (CD2)

Used drive : PIONEER DVD-RW DVR-219L Adapter: 1 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
Gap handling : Appended to previous track

Used output format : User Defined Encoder
Selected bitrate : 768 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : C:\Install\Exact Audio Copy\FLAC\FLAC.EXE
Additional command line options : -6 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "GENRE=%genre%" -T "COMMENT=%comment%" -T "BAND=%albuminterpret%" -T "ALBUMARTIST=%albuminterpret%" -T "COMPOSER=%composer%" %haslyrics%--tag-from-file=LYRICS="%lyricsfile%"%haslyrics% -T "DISCNUMBER=%cdnumber%" -T "TOTALDISCS=%totalcds%" -T "TOTALTRACKS=%numtracks%" %hascover%--picture="%coverfile%"%hascover% %source% -o %dest%


TOC of the extracted CD

Track | Start | Length | Start sector | End sector
---------------------------------------------------------
1 | 0:00.00 | 4:36.25 | 0 | 20724
2 | 4:36.25 | 9:13.71 | 20725 | 62270
3 | 13:50.21 | 5:39.07 | 62271 | 87702
4 | 19:29.28 | 7:52.60 | 87703 | 123162
5 | 27:22.13 | 6:17.18 | 123163 | 151455
6 | 33:39.31 | 8:53.24 | 151456 | 191454
7 | 42:32.55 | 5:59.48 | 191455 | 218427
8 | 48:32.28 | 2:47.45 | 218428 | 230997
9 | 51:19.73 | 3:56.28 | 230998 | 248725
10 | 55:16.26 | 4:00.52 | 248726 | 266777


Track 1

Filename E:\Раздачи\Buddy Guy & Junior Wells - Play The Blues - 1972\CD2\01. Tears, Tears, Tears.wav

Pre-gap length 0:00:02.00

Peak level 99.8 %
Extraction speed 1.7 X
Track quality 100.0 %
Test CRC 88772299
Copy CRC 88772299
Cannot be verified as accurate (confidence 13) [6E06E5B1], AccurateRip returned [C89A8D87] (AR v2)
Copy OK

Track 2

Filename E:\Раздачи\Buddy Guy & Junior Wells - Play The Blues - 1972\CD2\02. Love Her With A Feeling.wav

Pre-gap length 0:00:02.12

Peak level 99.8 %
Extraction speed 2.2 X
Track quality 100.0 %
Test CRC 8EF009E3
Copy CRC 8EF009E3
Cannot be verified as accurate (confidence 13) [4AE47235], AccurateRip returned [364EACA7] (AR v2)
Copy OK

Track 3

Filename E:\Раздачи\Buddy Guy & Junior Wells - Play The Blues - 1972\CD2\03. Checkin’ Up On My Baby.wav

Pre-gap length 0:00:01.74

Peak level 99.8 %
Extraction speed 2.4 X
Track quality 100.0 %
Test CRC 680FBC0F
Copy CRC 680FBC0F
Cannot be verified as accurate (confidence 11) [6C25A0A7], AccurateRip returned [44F70356] (AR v2)
Copy OK

Track 4

Filename E:\Раздачи\Buddy Guy & Junior Wells - Play The Blues - 1972\CD2\04. Last Night.wav

Pre-gap length 0:00:03.30

Peak level 99.8 %
Extraction speed 2.7 X
Track quality 100.0 %
Test CRC 9949E61E
Copy CRC 9949E61E
Cannot be verified as accurate (confidence 12) [009190AD], AccurateRip returned [D6E10752] (AR v2)
Copy OK

Track 5

Filename E:\Раздачи\Buddy Guy & Junior Wells - Play The Blues - 1972\CD2\05. First Time I Met The Blues.wav

Pre-gap length 0:00:03.57

Peak level 99.8 %
Extraction speed 2.9 X
Track quality 100.0 %
Test CRC FD1CFE5B
Copy CRC FD1CFE5B
Cannot be verified as accurate (confidence 13) [CB9F6182], AccurateRip returned [C78F6D17] (AR v2)
Copy OK

Track 6

Filename E:\Раздачи\Buddy Guy & Junior Wells - Play The Blues - 1972\CD2\06. D Blues.wav

Pre-gap length 0:00:03.14

Peak level 99.8 %
Extraction speed 3.2 X
Track quality 100.0 %
Test CRC 9AB6FB49
Copy CRC 9AB6FB49
Cannot be verified as accurate (confidence 13) [8F2069F5], AccurateRip returned [E5DF30D4] (AR v2)
Copy OK

Track 7

Filename E:\Раздачи\Buddy Guy & Junior Wells - Play The Blues - 1972\CD2\07. Bad Bad Whiskey (long Version).wav

Pre-gap length 0:00:01.73

Peak level 99.8 %
Extraction speed 3.3 X
Track quality 100.0 %
Test CRC DECA24E5
Copy CRC DECA24E5
Cannot be verified as accurate (confidence 13) [840DE7F8], AccurateRip returned [AE7F0B31] (AR v2)
Copy OK

Track 8

Filename E:\Раздачи\Buddy Guy & Junior Wells - Play The Blues - 1972\CD2\08. You’re So Fine (Mono Rough Mix).wav

Pre-gap length 0:00:02.66

Peak level 86.5 %
Extraction speed 3.0 X
Track quality 100.0 %
Test CRC FBA41E30
Copy CRC FBA41E30
Cannot be verified as accurate (confidence 13) [35963D8A], AccurateRip returned [4C3E8E17] (AR v2)
Copy OK

Track 9

Filename E:\Раздачи\Buddy Guy & Junior Wells - Play The Blues - 1972\CD2\09. Why Am I Treated So Bad (Playin’ The Blues) (Mono Rough Mix).wav

Pre-gap length 0:00:02.25

Peak level 89.5 %
Extraction speed 2.7 X
Track quality 99.9 %
Test CRC 5DEBD7D2
Copy CRC 5DEBD7D2
Cannot be verified as accurate (confidence 13) [E01F372F], AccurateRip returned [360AF82E] (AR v2)
Copy OK

Track 10

Filename E:\Раздачи\Buddy Guy & Junior Wells - Play The Blues - 1972\CD2\10. Sweet Home Chicago (Mono Rough Mix).wav

Pre-gap length 0:00:02.36

Peak level 88.9 %
Extraction speed 3.0 X
Track quality 99.9 %
Test CRC E3CA31C4
Copy CRC E3CA31C4
Cannot be verified as accurate (confidence 13) [552AE1A8], AccurateRip returned [C9210362] (AR v2)
Copy OK


No tracks could be verified as accurate
You may have a different pressing from the one(s) in the database

No errors occurred

End of status report

---- CUETools DB Plugin V2.1.6

[CTDB TOCID: kGidcYZU1GkYjodRWWDWQJyWGSw-] found
Submit result: kGidcYZU1GkYjodRWWDWQJyWGSw- has been confirmed
Track | CTDB Status
1 | (31/32) Accurately ripped
2 | (31/32) Accurately ripped
3 | (31/32) Accurately ripped
4 | (31/32) Accurately ripped
5 | (31/32) Accurately ripped
6 | (31/32) Accurately ripped
7 | (30/32) Accurately ripped
8 | (31/32) Accurately ripped
9 | (31/32) Accurately ripped
10 | (32/32) Accurately ripped


==== Log checksum 0B074426B7AEE3064402084EEFAE68DAC0BACA2F01473E681A91EC6CA9F013B3 ====

https://www.youtube.com/watch?v=JyV_YWPOw0E
https://www.youtube.com/watch?v=tq-I9uNSev8
https://www.youtube.com/watch?v=mNVRS2LWEyU
https://www.youtube.com/watch?v=owGeEyI0OB0
https://www.youtube.com/watch?v=ALEo4GTAB80
https://www.youtube.com/watch?v=gtS-3sgIKTw

Audio CD
Atlantic - 8122-79704-8, ATCO Records - 8122-79704-8, Rhino Records - WPCR-27526 Series: Atlantic R&B Best Collection 1000 – Format: CD, Album, Reissue, Remastered Country: Europe Released: 2012

К европейскому изданию "приделали" еще и Obi, наверное чтобы заоодно продавать и в Японии, хотя они в том же году выпустили свой WPCR-27526.

Tracklist:

01. A Man Of Many Words (4:02)
02. My Baby She Left Me (She Left Me A Mule To Ride) (3:11)
03. Come On In This House / Have Mercy Baby (4:24)
04. T-Bone Shuffle (4:19)
05. A Poor Man's Plea (3:13)
06. Messin' With The Kid (2:16)
07. This Old Fool (3:11)
08. I Don't Know (4:30)
09. Bad Bad Whiskey (4:15)
10. Honeydripper (3:50)
Прoдолжительность: 00:37:12