THIS IS THE US ORIGINAL STEREO PRESSING on BLUE THUMB Records. MARBLED VINYL. The single cover is in VG(+) condition: normal wear and without any major deterioration, BUT discolouration/wear on/near corners (especially bottom right), drill-hole (bottom right),  some browninsh stains+sticker mark on rear (left edge, top and bottom), left spine is fully readable; for details see photos. The vinyl is from VG to VG(+) condition [with some clicks and mild crackles throughout (due to colour/marbled pressing?), maybe to be washed] and plays more than acceptable but with a pre-World War II sound.

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BUDDY GUY with JUNIOR WELLS and JUNIOR MANCE

Contender for the title of greatest blues guitarist ever, with a fiery, screechy, super-quick technique that influenced countless followers. Buddy Guy is one of the most celebrated blues guitarists of his generation (and arguably the most celebrated), possessing a sound and style that embodied the traditions of classic Chicago blues while also embracing the fire and flash of rock & roll. Guy spent much of his career as a well-regarded journeymen, cited as a modern master by contemporary blues fans but not breaking through to a larger audience, before he finally caught the brass ring in the 1990s and released a series of albums that made him one of the biggest blues acts of the day, a seasoned veteran with a modern edge. And few guitarists of any genre have enjoyed the respect of their peers as Guy has, with such giants as Eric Clapton, Jimi Hendrix, Jeff Beck, Keith Richards, Stevie Ray Vaughan, and Mark Knopfler all citing him as a personal favorite.

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LABEL: BLUE THUMB - WHITE LABEL w/BLUE THUMB LOGO - BLACK/BLUE TEXT

Catalog on cover: BTS 20  

Catalog on labels: BTS 20 (5047) / BTS 20 (5048)

Matrix / Runout (Side A, Etched): 5047  BTS20-1B

Matrix / Runout (Side B, Etched): 5048 BTS20-1B

On labels: rim text "Blue Thumb Records, Inc. - Beverly Hills, Calif."

Produced by Michael Cuscuna

Engineer: Geoff Turner

On Back Sleeve: Tracklist + Credits + Notes by Michael Cuscuna

Blue Thumb Records, Inc., 427 North Canon Drive............Printed in U.S.A.

tracklisting

Side A: TALKIN' 'BOUT WOMEN OBVIOUSLY - A MOTIF IS JUST A RIFF - BUDDY'S BLUES

Side B: HOOCHIE COOCHIE MAN - FIVE LONG YEARS - ROCK ME MAMA - AIN'T NO NEED

grading

RECORD from VG to VG(+) but (please, also read above description) 

SLEEVE VG(+) but (please, see pictures and read above description)

The historical details surrounding the recording session that became Buddy & the Juniors are almost as entertaining -- and oddly satisfying -- as the music itself. Released on Blue Thumb in 1970 on multi-colored wax, this session, was it not for a very real economic necessity due to Buddy Guy's feud with Vanguard Records, would never have happened. It appears that Vanguard wouldn't pick up the tab for Guy to fly to New York to mix an album he'd cut with Junior Mance and Gary Bartz -- also produced by Cuscuna. Being an ever-enterprising genius, Cuscuna pitched the idea for a recording between Guy, Mance, and Junior Wells to Blue Thumb label boss Bob Krasnow, who jumped at the chance. The all-acoustic Buddy & the Juniors was recorded on December 18 of 1969, and on December 19, they mixed this album and the Vanguard date! While an acoustic pairing between Guy and Wells is a natural one, adding jazz pianist Mance -- a Chicago native whose early influences were the boogie-woogie recordings of Meade "Lux" Lewis and Albert Ammons -- to the mix was risky in terms of interpersonal dynamics, but in retrospect, proved a brilliant idea. The proceedings are informal and raw with plenty of fireworks. The first two tracks -- "Talkin' 'Bout Women Obviously" and "Riffin' (aka A Motif Is Just a Riff)" -- were the last two recorded. They are blazing, hairy, on-the-spot improvisational duets between Wells and Guy: the former offers lyrics in a back-and-forth extemporaneous style; the latter develops in intensity as it goes on. The playing by Guy and Wells is inspirational. "Buddy's Blues," the first interplay of the trio, has Mance digging deeply into the Otis Spann tradition, just rolling inside it, accenting lines, punching chords, and offering beautiful tags to Wells' harmonica lines. Wells' vocal on "(I'm Your) Hoochie Coochie Man" meets Guy's six-string head-on, with Mance comping and popping a melodic fill underneath each sung phrase. He introduces "Five Long Years" as a piano blues that gets countered in exponential grit by Guy's vocal and Wells' punchy harp; he shuffles, fills, trills, and blows straight at the keyboard, creating a forceful gale of dialogue. On the slippery boogie-woogie set closer, Wells' "Ain't No Need," the listener grasps the deep communication of this trio. Given how earthy, informal, and joyful this acoustic session is, it conveys everything right about Chicago blues...(AllMusic)