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Alternative & Indie - Released May 2, 1989 | Silvertone

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Alternative & Indie - Released August 7, 2009 | Silvertone

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Blues - Released June 15, 2018 | Silvertone

Hi-Res Booklet Distinctions Grammy Awards
Damn Right! Who could disagree? Of course Buddy Guy has blues in the blood! The Chicago guitar legend is saying it on this album:  The Blues Is Alive And Well ! At 81 years old, it seems better than ever, and has a lot to teach the youth. This is a punkier, rocker bluesman than the present generation, who knows how to bring the blues to a white audience. Old fashioned? The accusation would not offend Buddy Guy, who's just playing his guitar right. Here, the guitarist is discussing the blues with guests who have the stature to hold a conversation with him. Keith Richards and Mick Jagger of the Rolling Stones, Jeff Beck and James Bay feed his talent, and stay in perfect harmony with his genius. And what would be blues without talk of booze and old friends? On  CognacMuddy Waters, Buddy Guy seems to shed twenty years when he evokes.It's too late to sip a brandy with him, but now it's got Keith and others for company. Getting up in style, filling up on booze and the blues, dealing with a hand that can not end: that's the spirit of the blues. Beyond the music, there is a real discussion that starts between guitar riffs, piano chords and the singer's penetrating voice. Better than a trance, this is a stairway to the underworld opening up. And then there's such a captivating groove on  The Blues Is Alive And Well . It's a great declaration of love for the genre, which, through loneliness, poverty and suffering, remains a faithful friend, a life-saver, an intimate journal. Perhaps the album should be seen as a kind of passing-onward of the blues to the generations to come. Blue No More give a fair account of the idea. It's a duet where Buddy Guy is face-to-face singing with the Pearly Gates. It does not dampen his mood at all, because he knows that he is going to pick his baton. And James Bay echoes his master's words back to him: "I will not be blue no more". © Clara Bismuth / Qobuz
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Blues - Released November 11, 2005 | Silvertone

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Vocal Jazz - Released May 4, 2018 | Silvertone

Hi-Res Booklet Distinctions Qobuzissime
She loves Madeleine Peyroux and Melody Gardot and she doesn't care who knows it. But Hailey Tuck does have a little something of her own up her sleeve. It's a personal touch that makes this young Texan, who has made landfall in Paris, an attractive voice in its own right, and not a pale imitation of anyone else. Larry Klein, who produced her two idols, even agreed to put together the first album of this starlet who shares a hairdresser with Louise Brooks, and a wardrobe with Josephine Baker. Klein even put together a perfect and never over-produced backdrop, with the help of some five-star studio musicians like drummer Jay Bellerose (Elton John, Robert Plant) and guitarist Dean Parks (Joe Cocker, Steely Dan)… In terms of their repertoire, the eclecticism and quality of these covers also displays thoroughgoing good taste. And the fact that she revisits That Don't Make It Junk by Leonard Cohen, Cry To Me, made famous Solomon Burke, Cactus Tree by Joni Mitchell, Some Other Time by Leonard Bernstein, Underwear by Pulp, Alcohol by the Kinks, Junk by Paul McCartney, I Don’t Care Much from the soundtrack to Cabaret and indeed the wonderful Say You Don’t Mind by Colin Blunstone, Hailey Tuck deploys her voice intelligently and with a dash of retro in every word and every phrase. Let this beautiful and timeless Qobuzissime carry you away... © Max Dembo/Qobuz
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Blues - Released July 31, 2015 | Silvertone

Hi-Res Distinctions Grammy Awards
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Blues - Released June 15, 2018 | Silvertone

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Damn Right ! Who could disagree? Of course Buddy Guy has blues in the blood! The Chicago guitar legend is saying it loud on this album: The Blues Is Alive And Well! At 81 years old, he seems on better form than ever, and has a lot to teach the youth. This is a punkier, rockier bluesman than the present generation, who knows how to bring the blues to a white audience. Old fashioned? The accusation wouldn't offend Buddy Guy, who's just playing his guitar right. Here, the guitarist is discussing the blues with guests who have the stature to hold a conversation with him. Keith Richards and Mick Jagger of the Rolling Stones, Jeff Beck and James Bay feed his talent, and stay in perfect harmony with his genius. And what would be blues without talk of booze and old friends? On Cognac, Buddy Guy seems to shed twenty years when he evokes Muddy Waters. It's too late to sip a brandy with him, but now he's got Keith and others for company. Getting wasted in style, filling up on booze and the blues, dealing out a hand that can't ever end: that's the spirit of the blues. Beyond the music, there is a real discussion that starts between guitar riffs, piano chords and the singer's penetrating voice. Better than a trance, this is a stairway to the underworld opening up. And then there's such a captivating groove on The Blues Is Alive And Well. It's a grand declaration of love for the genre, which, through solitude, poverty and suffering, remains a faithful friend, a life-saver, an intimate journal. Perhaps the album should be seen as a kind of passing-onward of the blues to the generations to come. Blue No More gives a fair account of the idea. It's a duet where Buddy Guy is singing face-to-face with the Pearly Gates. It doesn't dampen his mood at all, through, because he knows that others down below will pick up his baton. And James Bay echoes his master's words back to him: "I won’t be blue no more". © Clara Bismuth/Qobuz
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Blues - Released March 6, 2003 | Silvertone

Arriving after the unexpected blast of raw energy that was 2001's Sweet Tea, 2003's Blues Singer could idealistically be seen as the acoustic flip side of that high-voltage, raw electric blues. Like Sweet Tea, Blues Singer is supposed to exist deep down within the Delta blues tradition, only finding Buddy Guy armed with an acoustic guitar and the occasional minimal accompaniment; it's even recorded at the same Mississippi studio that gave its name to the 2001 platter and is helmed by the same producer, Dennis Herring. If only it were that simple! Instead of being an extension or a mirror image of its predecessor, this record is a sleepy comedown from an exhilarating peak. Where Sweet Tea was filled with unpredictable song choices, this plays it safe, hauling out such familiar items as "Hard Time Killing Floor," "Crawlin' Kingsnake," "I Love the Life I Live," and "Sally Mae." And while this retains Jimbo Mathus on guitar, when other musicians pop up, it's not the lively Fat Possum crew, it's studio pros like Jim Keltner, or guest shots by superstars Eric Clapton and B.B. King. While this does afford listeners the rare opportunity to hear B.B. on acoustic, it gives the affair the audience-pleasing veneer that weighed down his mid-'90s efforts. Plus, when it comes right down to it, Guy simply is off on this record, with lazy, mannered vocals and by the book guitar. Despite a few good acoustic duet sessions with Junior Wells, acoustic blues is not really Guy's forte, and the highly disappointing Blues Singer illustrates exactly why. © Stephen Thomas Erlewine /TiVo
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Blues - Released March 4, 2005 | Silvertone

Distinctions The Qobuz Ideal Discography
This Grammy-winning comeback set brought Buddy Guy back to prominence after a long studio hiatus. There are too many clichéd cover choices -- "Five Long Years," "Mustang Sally," "Black Night," "There Is Something on Your Mind" -- to earn unreserved recommendation, but Guy's frenetic guitar histrionics ably cut through the superstar-heavy proceedings (Eric Clapton, Jeff Beck, and Mark Knopfler all turn up) on the snarling title cut and a handful of others. © Bill Dahl /TiVo
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Blues - Released May 15, 2001 | Silvertone

Apparently somebody took the criticisms of Buddy Guy's late-'90s Silvertone recordings to heart. They were alternately criticized for being too similar to Damn Right I Got the Blues or, as in 1998's Heavy Love, too blatant in bidding for a crossover rock audience. So, after a bit of a break, Guy returned in 2001 with Sweet Tea, an utter anomaly in his catalog. Recorded at the studio of the same name in deep Mississippi, this is a bold attempt to make a raw, pure blues album -- little reliance on familiar covers or bands, no crossover material, lots of extended jamming and spare production. That's not to say that it's without its gimmicks. In a sense, the very idea behind this record is a little gimmicky -- let's get Buddy back to the basics -- even if it's a welcome one, but that's not the problem. The problem is that the production is a bit too self-conscious in its stylized authenticity. There's too much separation, too much echo, a strangely hollow center -- it may sound rougher than nearly all contemporary blues albums, but it doesn't sound gritty, which it should. Despite this, Sweet Tea is still a welcome addition to Buddy Guy's catalog because, even with its affected production, it basically works. Playing in such an unrestricted setting loosens Buddy up, not just letting him burn on guitar, but allows him to act his age without embarrassment (check the chilling acoustic opener, "Done Got Old"). This may not showcase the showmanship of the artist live, the way Damn Right did, but it does something equally noteworthy -- it illustrates that the master bluesman still can sound vital and can still surprise. © Stephen Thomas Erlewine /TiVo
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Alternative & Indie - Released October 4, 2019 | Silvertone

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The eponymously titled sophomore album from British family folk trio Wildwood Kin follows their 2017 U.K. Top 40 album Turning Tides. Produced by Ian Grimble, the album sees the band deliver another collection of contemporary, alternative folk numbers. The Ed Harcourt-produced single "Never Alone" is included. © Rich Wilson /TiVo
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Jazz - Released June 11, 2003 | Silvertone

Arriving after the unexpected blast of raw energy that was 2001's Sweet Tea, 2003's Blues Singer could idealistically be seen as the acoustic flip side of that high-voltage, raw electric blues. Like Sweet Tea, Blues Singer is supposed to exist deep down within the Delta blues tradition, only finding Buddy Guy armed with an acoustic guitar and the occasional minimal accompaniment; it's even recorded at the same Mississippi studio that gave its name to the 2001 platter and is helmed by the same producer, Dennis Herring. If only it were that simple! Instead of being an extension or a mirror image of its predecessor, this record is a sleepy comedown from an exhilarating peak. Where Sweet Tea was filled with unpredictable song choices, this plays it safe, hauling out such familiar items as "Hard Time Killing Floor," "Crawlin' Kingsnake," "I Love the Life I Live," and "Sally Mae." And while this retains Jimbo Mathus on guitar, when other musicians pop up, it's not the lively Fat Possum crew, it's studio pros like Jim Keltner, or guest shots by superstars Eric Clapton and B.B. King. While this does afford listeners the rare opportunity to hear B.B. on acoustic, it gives the affair the audience-pleasing veneer that weighed down his mid-'90s efforts. Plus, when it comes right down to it, Guy simply is off on this record, with lazy, mannered vocals and by the book guitar. Despite a few good acoustic duet sessions with Junior Wells, acoustic blues is not really Guy's forte, and the highly disappointing Blues Singer illustrates exactly why. © Stephen Thomas Erlewine /TiVo
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Blues - Released June 1, 1999 | Silvertone

Buddy Guy revitalized his career when he signed with Silvertone Records in the early '90s. His first album for the label, Damn Right, I've Got the Blues, was a smash success, earning critical acclaim, awards, and sales hand over fist. Prior to that record, he was a legend only among blues fans; afterward, he was a star. Although it was a bit too rock-oriented and slick for purists, Damn Right was a terrific album, setting the pace not only for Guy but for modern electric blues in the '90s. As the decade wore on, Guy continued to make albums for Silvertone, some of them a little complacent, others quite excellent. Buddy's Baddest: The Best of Buddy Guy attempts to summarize those years in 14 songs, including three previously unreleased cuts. Not surprisingly, the compilers favor the Guy of Damn Right, featuring four songs from the record and three from its soundalike sequel, Feels Like Rain. Only two tracks from Slippin' In, his hardest blues record for the label, made the cut, while the fine live album Live! The Real Deal and the misguided Heavy Love are represented by a track apiece. In other words, a lot of good stuff remains on the original albums, which is doubly unfortunate since the three unreleased cuts are all throwaways. By relying so heavily on two records, Buddy's Baddest doesn't wind up being an accurate portrait of Guy's Silvertone recordings. That doesn't mean it's a bad listen, since the first ten songs are all very good and quite entertaining. However, anyone who has Damn Right but wants to dig deeper into Guy's Silvertone albums may prefer to pick up Feels Like Rain, which offers more of the same crossover Chicago blues, or Slippin' In, which is the real deal. © Stephen Thomas Erlewine /TiVo
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Blues - Released January 3, 1993 | Silvertone

On Buddy Guy's second Silvertone release, he continues the practice of guest appearances begun on Damn Right, I've Got the Blues. In this case, the notables include Paul Rodgers, Travis Tritt, and John Mayall. The finest combination comes when Bonnie Raitt joins Guy on John Hiatt's "Feels Like Rain." Raitt's gritty vocals and sweet slide guitar add a pleasing nuance to the bittersweet track, and it is ultimately the high point of the record. Certain critics and blues purists have derided Guy's search for mainstream success as evidenced by his penchant for guest appearances and non-traditional blues forms, but Guy sounds fantastic in these unconventional situations (witness his burning version of the Moody Blues' "I Go Crazy"). Guy's vocals, often under appreciated, really sell this song. As for his guitar playing, it is slightly below his usually high standards. He often sounds sloppy and unfocused, an extremely noticeable exception being his explosive solo on the John Mayall duet "I Could Cry," but his singing, especially on the soulful "Feels Like Rain," is full of character. Guy's backing band is top-notch, particularly bassist Greg Rzab, who plays both more actively and more melodically than most bassists working in the blues idiom. Guy has recorded better blues in his career, but on Feels Like Rain he shows that he is comfortable in more mainstream situations as well. The blues on this record often just sound flat for some reason, like Guy and his band are just going through the motions. But on up-tempo R&B tracks such as the Paul Rodgers duet "Some Kind of Wonderful" or Guy's pairing with Travis Tritt on "Change in the Weather," the bluesman sounds excited and fresh. It must be mentioned that the production is a bit on the thin side throughout, and many of the tracks simply do not pack enough punch. Despite this, the album is quite strong. Feels Like Rain is not the place to look for Guy the legendary blues guitarist, but, taken for what it is, it is extremely entertaining. © Daniel Gioffre /TiVo
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Blues - Released July 18, 2008 | Silvertone

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Alternative & Indie - Released September 1, 1989 | Silvertone

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Blues - Released December 14, 2012 | Silvertone

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Blues - Released October 24, 1994 | Silvertone

Whereas on 1993's Feels Like Rain Buddy Guy flirted with pop and R&B material, on Slippin' In, released one year later, he firmly reasserts his bluesness. From the very first track on, Guy lets his incomparable guitar loose. Throughout the album, he even experiments with Hendrix-esque effects on his guitar (perhaps at the prodding of producer/engineer Eddie Kramer), but the results never seem kitschy or gimmicky. Accompanied on half of the tracks by ex-Stevie Ray Vaughan associates Tommy Shannon and Chris Layton, the groove is deep and swinging. It makes you realize how much of Vaughan's signature sound lay in his rhythm section. There are only two original Guy compositions on Slippin' In, but since he has always been better as an interpreter than a writer, this is a non-complaint. Playing a superb foil to the leader is none other than Johnnie Johnson, whose solo on "7-11" simply takes over the track. The difference in sound quality between this album and Feels Like Rain is astounding. Whereas on Feels Like Rain the sound was often thin and unimpressive, über-engineer Kramer has created an ideal sonic space here for Guy's music. Some may feel that the individual instruments are too distinct, but for those who feel that the development of multi-tracking and other advances in recording technology are good things will not be disappointed. Also absent from Slippin' In is the rotating all-star casts of notables that appeared both on Damn Right, I've Got the Blues and Feels Like Rain. This is encouraging, because an artist of Guy's stature and caliber does not need celebrity appearances to make his records worth investigating, a fact which he proves masterfully on this album. © Daniel Gioffre /TiVo
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Pop - Released September 17, 1999 | Silvertone

Last Time Around -- Live At Legends is a fitting farewell to the late, great Junior Wells and his partnership, friendship and kinship with Buddy Guy that lasted decades. The album is a historic release in many ways. It reunites two blues legends who began their unique association in the 1950s. The album was recorded live in March 1993 at Buddy Guy's world-famous Chicago blues mecca Legends, and it's an acoustic document of many classic songs that made both Wells and Guy legends in their own right, such as "She's Alright" and "I've Been There," along with other classic blues standards such as "Hoochie Coochie Man" and "Key to the Highway," all delivered with a looseness and power that define both Guy and Wells. It also marks the last time the two ever played together. © Matthew Greenwald /TiVo
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Alternative & Indie - Released January 27, 2003 | Silvertone

Given the glut of Stone Roses compilations, it's easy to assume that there's already been a collection called The Very Best of the Stone Roses prior to this 2002 release, or at least one that does something similar to its career-spanning overview. No, this is the first disc to run from "Sally Cinnamon" to "Ten Storey Love Song," the first to sketch the band's great promise, glory days, and bewildering downfall. Though there are album versions of songs instead of singles on occasion on this collection, there's nothing rare and nothing that any Stone Roses fan doesn't already have. Nor does it shine as brightly as their debut. That said, the song selection can't be faulted, and the non-chronological sequencing proves that the Roses' lambasted second album did, in fact, have several excellent moments (all of which can be found here) that fit well next to the best of the debut. For that reason, it may be worthwhile for the hardcore, but this is truly for those that want all the singles on one, nicely packaged disc. © Stephen Thomas Erlewine /TiVo