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Marc Le Borgne

@marcthe_blues_man

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Le Blues, c'est la réalité de la vie exprimée par les mots et la chanson, l'inspiration, les sentiments et l'entendement. (W. Dixon)
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Professor Longhair - Mardi Gras In New Orleans 💙💙💙 🎙️New Orleans, 1949 💙 Roy Bird (Professor Longhair) , vocal -whistling 🎙️, piano 🎹 Robert Parker, alto sax 🎷 Charles Burbank, tenor sax 🎷 John Boudreaux, drums 🥁 "Mardi Gras In New Orleans" (recorded in 1949 for Atlantic, catalog number A-345) is one of Professor Longhair’s very first classics and arguably one of his most iconic tracks. Originally released on 78 rpm, the song perfectly captures the excitement and joy of the New Orleans Carnival. With its irresistible rhumba-boogie rhythm (a blend of boogie-woogie and Caribbean/Afro-Cuban clave influences), bouncy piano, and gravelly, good-natured vocals, Longhair literally invites us to join the party: "I’m goin’ to New Orleans, I wanna see the Mardi Gras..." Recorded with his New Orleans Boys, this 1949 version is rawer and more festive than later re-recordings. It has become a true unofficial anthem of Mardi Gras, played in the city streets every year during Carnival. It is a joyful, danceable, and timeless track that embodies the very soul of New Orleans Creole culture. An essential inclusion on the album "New Orleans Piano"! #professorlonghair #mardigrasinneworleans #atlanticrecords #neworleanspiano #marcthebluesman by @marcthe_blues_man
6
3 hours ago
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Buddy Guy - Let Me Love You Baby 💙💙💙 In this live clip from the DVD "Blues Masters – The Essential History of the Blues", Buddy Guy delivers a spirited rendition of his 1960 classic. The performance is electric, soulful, and full of energy typical of his concerts from the 1970s. Backed by an excellent band (likely the one from his 1970 Canadian tour): Buddy Guy – vocals & guitar Phil Guy – guitar A.C. Reed – saxophone Leroy Stewart – bass Roosevelt "Snake" Shaw – drums Buddy delivers a version that is longer, freer, and even more intense than the original Chess recording. His powerful voice and expressive guitar playing truly come into their own on stage, featuring soulful solos and that signature blend of soul, raw blues, and infectious joy. The groove is solid, the horns add warmth, and the connection with the audience is palpable. It is Buddy in his element: generous, virtuosic, and deeply rooted in the blues. It is a moment of pure joy for fans, demonstrating that "Let Me Love You Baby" remains a timeless track, capable of electrifying a venue decades after its creation. #buddyguy #philguy #letmeloveyoubaby #chessrecords #marcthebluesman by @marcthe_blues_man
8
4 days ago
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Buddy Guy - Ten Years Ago 💙💙💙 🎙️ Chicago, December 16, 1960 💙 Buddy Guy, vocal 🎙️, guitar 🎸 Junior Wells, harmonica 🎶 Otis Spann, piano 🎹 Jack Meyers, bass Fred Below, drums 🥁 Jarrett Gibson, tenor sax 🎷 Bob Neely, tenor sax 🎷 Donald Hankins, baritone sax 🎷 Recorded at Chess Studios in Chicago, this track appears on the B-side of the single "Let Me Love You Baby" (Chess 1784, released in March 1961). It is a fine example of classic Chicago blues—slow and deep—in which Buddy Guy expresses a regrettinged nostalgia regarding the passage of time. Buddy Guy (guitar and vocals) is backed by a blues "dream team" of the era: Junior Wells on harmonica, Otis Spann on piano, Fred Below on drums, Jack Myers on bass, and a horn section (Jarrett Gibson, Bob Neely, Donald Hankins). The lyrics, penned by Buddy Guy himself, evoke memories from ten years prior, life choices, mistakes, and that signature blues melancholy: "Just ten years ago / People what I would do / No one would ever know..." Guy’s guitar work is already expressive and deeply emotional, featuring the intense phrasing that would later become his trademark. #buddyguy #juniorwells #fredbelow #chessrecords #marcthebluesman by @marcthe_blues_man
2
7 days ago
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Johnny Hallyday - La musique que j'aime (version 1982) 💙💙💙 . 🎙️Enregistrement Paul Houdebine et Pierre Billon Studios Davout Réalisation Roger Loubet - Production Pierre Billon 💙 C’est une relecture intéressante et assez méconnue du grand classique de 1973. En 1982, sous la houlette de Pierre Billon (réalisation et production), Johnny réenregistre plusieurs de ses tubes avec des arrangements plus modernes, dans le cadre de la sortie de son intégrale et des réenregistrements de ses premiers titres Vogue. Cette version figure sur le 45 tours couplé avec « Noir c’est noir » (Philips 6010471). La version 1982 est plus produite, avec un son plus « studio des années 80 », une orchestration plus ample et un Johnny qui pose sa voix avec une maturité et une puissance différentes. Elle garde toute l’âme blues-rock du morceau, mais avec un côté plus « scène » et percutant, typique de l’énergie de l’époque. #johnnyhallyday #michelmallory #pierrebillon #mercuryrecords #marcthebluesman by @marcthe_blues_man
6
8 days ago
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Ike and Tina Turner - Baby Get It On 💙💙💙 🎙️Ike and Tina Turner performed March 7, 1975 on The Midnight Special 💙 In this performance filmed on March 7, 1975, for "The Midnight Special", Ike & Tina Turner perform "Baby Get It On," a funky, sensual track co-written by Ike (and featured on Tina’s solo album, "Acid Queen"). It marks one of their final television appearances together before their split. The song is rhythmic, groovy, and direct: Ike takes the lead vocals with his raspy, charismatic voice, while Tina brings explosive energy, feline dance moves, and powerful harmonies. The groove is irresistible a blend of funk-rock and R&B anchored by a catchy chorus ("Baby, baby, baby, get it on!") that instantly makes you want to move. Despite the couple's well-known personal tensions at the time, their onstage chemistry remains electric. Tina radiates, the band is tight and hard-hitting, and the full power of the Ike & Tina Turner Revue is palpable. It is an underrated track that proves once again why they were considered one of the hottest live acts of the 1970s! #ikeandtinaturner #babygetiton #themidnightspecial #marcthebluesman by @marcthe_blues_man
5
9 days ago
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Elvis Presley - Green, Green Grass Of Home 💙💙💙 🎙️Recorded in RCA Recording Studios, Hollywood,March 10, 1975 💙 Elvis Presley, vocal 🎙️ James Burton, lead guitar 🎸 John Wilkinson, rhythm guitar 🎸 Charlie Hodge, acoustic guitar and harmony vocals🎙️ Duke Bardwell, bass Ronnie Tutt, drums 🥁 Glen D. Hardin, piano 🎹 David Briggs, clavinet J.D. Sumner and The Stamps, harmony vocals 🎙️ On March 10, 1975, at RCA Studios in Nashville, Elvis Presley recorded one of the most moving ballads of his "Today" era. "Green, Green Grass of Home," written by Curly Putman in 1965, tells the story of a man returning home after a long absence—only to realize, in the final verse, that it is actually the dream of a prisoner facing execution. This poignant twist transforms a nostalgic country song into a genuine human drama. Elvis, then 40 years old, delivers a profound and moving performance. His voice, at once warm and fragile, carries a melancholy that resonates perfectly with his own life story. Backed by his regular studio musicians (including James Burton on guitar), he lends the track an almost cinematic quality. The song was released on the album *Today* in May 1975 and quickly became a staple of Elvis's live shows. On stage, he often performed it with a special intensity, as if the song held a personal resonance for him. To this day, this version remains one of the finest and most touching covers of the standard—a moment of pure emotion in the King's discography. 💙👑 #elvispresley #greengreengrassofhome #curlyputman #rcarecords #marcthebluesman by @marcthe_blues_man
3
11 days ago
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Snooky Pryor & Moody Jones - I'm Getting Tired 💙💙💙 🎙️ Recorded at Modern Studios, 55 W. Wacker Drive, Chicago, 28th April, 1952 💙 Snooky Pryor, vocal 🎙️, harmonica 🎶 Moody Jones, guitar 🎸 Alfred Elkins, string bass Alfred "Fat Man" Wallace, drums 🥁 Recorded on April 28, 1952, at Modern Studios in Chicago for the J.O.B. label, "I'm Getting Tired" is an excellent example of raw, authentic post-war Chicago blues. Snooky Pryor delivers powerful, expressive vocals and harmonica work, backed by Moody Jones on guitar, Alfred Elkins on bass, Alfred "Fat Man" Wallace on drums, and on other tracks from the session likely Sunnyland Slim on piano. Clocking in at around two and a half minutes, the song follows a classic blues structure: Pryor voices his weariness regarding his partner's behavior through simple, direct lyrics ("I'm getting tired, baby, 'bout the way you do..."), all set to a slow, driving groove. Snooky’s harmonica playing is particularly moving, featuring melodic phrases and sustained notes that underscore the narrator's fatigue and frustration. This session captures a busy period for Pryor and Moody Jones, two key figures of the Maxwell Street scene who helped lay the groundwork for the Chicago electric blues sound. While "I'm Getting Tired" did not achieve major commercial success at the time, it remains a gem cherished by traditional blues enthusiasts for its authenticity and emotional intensity. A genuine little classic from the early 1950s! #snookypryor #moodyjones #alfredelkins #jobrecords #marcthebluesman by @marcthe_blues_man
2
12 days ago
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Forrest City Joe - Ash Street Boogie 💙💙💙 🎙️Recorded in Chicago, December 2, 1948 💙 Forrest City Joe, harmonica 🎶 J.C. Cole, guitar "Ash Street Boogie" by Forrest City Joe is a genuine gem of late 1940s Chicago blues. An energetic, danceable instrumental clocking in at around two minutes and fifty seconds, it showcases the exceptional talent of Joe Bennie Pugh (1926–1960) better known as Forrest City Joe. Hailing from Hughes, near Forrest City, Arkansas, this self-taught harmonica player was a devoted disciple of Sonny Boy Williamson I; he emulated Williamson’s expressive style while developing a voice of his own one that was both raw and virtuosic. Recorded on December 2, 1948, during his only session for Aristocrat Records (the label that would become Chess), the track features guitarist J.C. Cole, whose understated, slightly jazzy playing does not always quite match Joe’s intensity. Consequently, "Ash Street Boogie" remained unreleased at the time, only to be rediscovered later on compilations. It perfectly embodies the boogie-blues sound: a driving rhythm, a harmonica that "speaks," and an irresistible groove that evokes the bustling streets and juke joints of both the Delta and Chicago. Although regarded as one of the finest harmonica players of his generation, Forrest City Joe unfortunately had a limited recording career. He died tragically in a car accident in Arkansas at the age of just 33. #forrestcityjoe #ashstreetboogie #memoryofsonnyboy #chessrecords #marcthebluesman by @marcthe_blues_man
0
13 days ago
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J.B. Lenoir - Tax Payin' Blues 💙💙💙 🎙️Recorded September 2nd, 1966 at Sound Studio, Chicago, III. under the supervision of Willie Dixon 💙 J.B. Lenoir, vocal 🎙️, guitar 🎶 Fred Below, drums 🥁 Recorded on September 2, 1966, “Tax Payin’ Blues” is a powerful and socially conscious track by J.B. Lenoir, one of Chicago blues’ most distinctive voices. Accompanied only by the legendary Fred Below on drums and produced by Willie Dixon, this recording captures Lenoir in an intimate, acoustic setting that highlights his raw expressiveness and storytelling.Over a hypnotic mid-tempo groove, Lenoir delivers his lyrics with a mix of irony and frustration, voicing the everyday struggles of the working man crushed by taxes, bills, and economic hardship. His distinctive high-pitched, emotive voice and sharp acoustic guitar work give the song a direct, almost journalistic edge. This track perfectly embodies the socially aware blues Lenoir championed in his later years (alongside classics like “Alabama Blues” and “Vietnam Blues”).These 1965–66 sessions were made for European release (thanks to German promoter Horst Lippmann) and stand out for their sparse, honest sound—unusual for Chicago blues at the time. Willie Dixon gave Lenoir complete artistic freedom, allowing him to tackle racism, war, and social injustice head-on. Dixon even added backing vocals on some tracks from the session. #jblenoir #fredbelow #taxpayinblues #wiliedixon #marcthebluesman by @marcthe_blues_man
0
14 days ago
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Robert Nighthawk - Someday 💙💙💙 🎙️Chicago, 30 June 1964 💙 Robert Nighthawk, vocal 🎙️, guitar 🎸 Walter Horton, harmonica 🎶 Lafayette Leake, piano 🎹 Buddy Guy, guitar 🎸 Jack Meyers, bass Clifton James, drums 🥁 On June 30, 1964, in a Chicago studio, the blues whispered its name with rare intensity. On "Someday," Robert Nighthawk slides across his guitar strings the way one might caress an old wound. His raspy, resigned voice carries an elegant pain—one that seeks not to weep, but to understand. Surrounding him are giants: Buddy Guy ignites a scorching solo, full of fire and light; Big Walter Horton makes his harmonica wail like the wind in the city’s damp alleyways; Lafayette Leake distills noble, swaying piano notes, while Jack Meyers and Clifton James lay down a deep groove that is at once solid and airy. In "Someday," Nighthawk promises no paradise. He simply sings of the fragile hope of a man who has seen it all and lived it all, yet continues to believe that one day... perhaps. A timeless track where suffering transforms into pure beauty. One of the finest moments in Chicago electric blues. 💙🎸🙏🏼 #robertnighthawk #buddyguy #bigwalterhorton #chessrecords #marcthebluesman by @marcthe_blues_man
11
16 days ago
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Otis Spann - The Blues Don’t Like Nobody 💙💙💙 🎙️1966 💙 Otis Spann, vocal 🎙️, piano 🎹 Willie Dixon, upright bass 🎻 S.P. Leary, drums 🥁 In this magnificent 1966 clip, Otis Spann delivers an intimate yet powerful performance. Accompanied by the legendary Willie Dixon on upright bass and S.P. Leary on drums, he performs as both singer and pianist, without a guitarist to back him up. From the very first notes, his piano sings featuring a rich, rounded touch and that signature left-hand rolling rhythm that drives the Chicago blues pulse. His right hand responds with soulful melodic phrases, gliding over the blue notes with natural expressiveness. What strikes the listener most, however, is his voice: raspy, warm, and deeply soulful. He performs "The Blues Don’t Like Nobody" with disarming sincerity, almost as if he were talking to himself. There is no grandstanding, no unnecessary flourishes just the blues in its purest form. You can sense the experience of a man who spent years backing Muddy Waters: a quiet authority, a rock-solid groove, and that rare ability to make the piano weep. It is a moment of grace where Otis Spann fully embodies the soul of the blues: simple, profound, and deeply moving. A true gem! 💎 #otisspann #williedixon #spleary #americanfolkbluesfestival #marcthebluesman by @marcthe_blues_man
11
18 days ago
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Elvis Presley - That's All Right 💙💙💙 🎙️Recorded July 5, 1954 at Sun Studio, Memphis, Tennessee 💙 Elvis Presley, guitar, vocal 🎙️ Scotty Moore, electric guitar 🎸 Bill Black, upright bass Today, July 5, we celebrate the anniversary of a historic moment: on July 5, 1954, Elvis Presley recorded "That’s All Right" at Sun Records studios in Memphis. Born from a casual, impromptu jam session during a break, this track became Elvis’s first single and for many the true kick-off of rock ‘n’ roll. With that unique voice, irresistible rhythm, and youthful energy, a 19 year old truck driver had changed music forever. Happy birthday, "That’s All Right"! 🎸✨💙☀️ #elvispresley #scottymoore #billblack #sunrecordcompany #marcthebluesman by @marcthe_blues_man
11
20 days ago
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