Personnel: Robert Cray (vocals, guitar); Albert Collins (guitar); Jim Pugh (piano, organ, xylophone); Karl Sevareid (bass); Kevin Hayes (drums).

The Miami Horns: Edward Manion (tenor & baritone saxophones); Mark Pender (trumpet).

Recorded at Studio D, Sausalito, California.

SHAME + A SIN was nominated for Best Contemporary Blues Album in the 37th Annual Grammy Awards.

Personnel: Robert Cray (vocals, guitar); Albert Collins (guitar, harmonica); Karl Sevareid (guitar, bass guitar); Edward Manion (tenor saxophone, baritone saxophone); Mark Pender (trumpet); Jim Pugh (piano, organ, xylophone); Kevin Hayes (drums).

Audio Mixer: Steve Savage.

Recording information: Studio D, Sausalito, CA.

Photographer: James Fee.

This time, Cray veered back toward the blues (most convincingly, too), even covering Albert King's "You're Gonna Need Me" and bemoaning paying taxes on the humorous "1040 Blues." Unlike his previous efforts, Cray produced this one himself. Also, longtime bassist Richard Cousins was history, replaced by Karl Sevareid. ~ Bill Dahl

1993's SHAME + A SIN found Robert Cray changing gears on a few different musical levels as old friends left and new ones arrived to help with the creative process. Cray put himself in the captain's chair by replacing long-time producers Bruce Bromberg and Dennis Walker. He also played all the guitar parts on the record after the departure of the woefully underrated Tim Kaihatsu. Also, the Miami Horns took over for the more well- known Memphis Horns, who were out of the picture for the first time in almost a decade.

The result was a record that leaned more towards the Chicago blues of Chess Records and less towards the soul of Stax and Hi Records. Cray's self-penned "1040 Blues" can easily be mistaken for an obscure Howlin' Wolf cover whereas Willie Dixon would have been proud to lay claim to the amusing "I'm Just Lucky That Way" and "Stay Go." Elsewhere, Cray is joined by long-time mentor and friend Albert Collins on the R&B-flavored "You're Gonna Need Me." Always a master at referencing heartbreak in a relationship, Cray used "Don't Break This Ring" to plead for another chance, with "Up And Down" serving as the negative aftermath full of solitude and pain.

Rolling Stone (11/11/93, p.73) - 3 Stars - Good - "...The highlights on SHAME capture everything that's great about [Robert] Cray....Cray's more a lover than a fighter, and on `Shame' he generates sensual heat by playing a tender vocal off choppy keyboards..."

Q (12/93, p.108) - 4 Stars - Excellent - "...Cray's solos [on SHAME] bristle with with active imagination, and most of the songs are immediately memorable..."

Down Beat (2/94, p.59) - 3 1/2 Stars - Good Plus - "...Cray's impeccably controlled Stratocaster acts as a dagger that jabs the heart again and again, while his singing is at once tough and tender...suggests the power of music as a personal healing agent...."

Vibe (11/93, p.114) - "...[Robert] Cray's singing on [SHAME + IT'S A SIN] is a revelation. His voice has acquired a slight quaver....with SHAME, [Cray's] finally made his case..."