Personnel: Buddy Guy (vocals, guitar); David Grissom (electric & slide guitars); Scott Holt (guitar); Reese Wynans (piano, organ); Johnnie Johnson (piano); Tommy Shannon, Greg Rzab (bass); Chris Layton, Ray "Killer" Allison (drums); Suzanne Maso, Emily Maso, Monica Maso, Carey Reisz, Anne Markovich, Kelley Flynn, Hillary Faeta, Brian Moravec, Bill Potocki, Dave Komie, L. Daniel Roman, Rob Davis, Buffy Holt, Davin Reddington, JC Clements, Jason Blankenship, Annette McKee, Frank Blinkal, Jay Reil, Mike Homberger, Garrett Mudd, Buddy Guy Band, "Blind Willie" Lambchop, Lily Angela Maso (background vocals).

SLIPPIN' IN won a 1996 Grammy Award for Best Contemporary Blues Album.

Personnel: Buddy Guy (vocals, guitar, background vocals); David Grissom (guitar, acoustic guitar, slide guitar); Scott Holt (guitar); Reese Wynans (piano, organ, programming); Johnnie Johnson (piano); Chris Layton, Ray Allison (drums); Anne Markovich, Emily Maso, Crazy Dave Komie, Hillary Faeta, Carey Reisz, Frank Blinkal, Annette McKee, Bill Potofki, Brian Moravec, Mike Homberger, Lily Maso, Suzanne Maso, Jay Reil, Garrett Mudd, Blind Willie Lambchop, Rob Davis (background vocals).

Audio Mixers: Eddie Kramer; Mike Krowiak; Brian Sperber.

Recording information: Arlyn Studios, Austin, TX; Chicago recording Company.

Photographer: Caroline Greyshock.

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, ber-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

Having made the obligatory star-studded blues albums with a generous sampling of his more famous children, Buddy Guy's record company apparently felt secure enough in the guitarist's new-found celebrity to trust him to carry an entire session on his own formidable shoulders.

Certainly the elder bluesman's previous two albums were none too shabby. DAMNED RIGHT, I GOT THE BLUES was a best-selling media event, and FEELS LIKE RAIN won a Grammy for "Best Contemporary Blues Album," but SLIPPIN' IN ranks with the best work Guy's ever done. It focuses attention on Guy's soaring, over-driven guitar and quivering vocals. Guy's near-lunatic intensity on "Please Don't Drive Me Away" and Lowell Fulson's "Love Her With A Feeling" should prove instructive to young guitarists who seem to think Eric Clapton, Jimi Hendrix and Stevie Ray Vaughn emerged full-blown from the foam.

But Buddy Guy has too much range and sensitivity to simply up and go wild, as on a playful cover of "Shame, Shame, Shame" where he reprises the good time boogie of Jimmy Reed. On "7-11" his tone is sweet and caressing as he forgives (least way, he tries) his baby for going wild, while on his own "Cities Need Help," Guy patiently generates intensity as tender pleadings become bellowing gusts of frustration and rage. And on his poignant rendition of Charles Brown's "Trouble Blues," Guy and the legendary pianist Johnnie Johnson evoke a smoky blue aura of longing and regret.

Rolling Stone (12/29/94-1/12/95, p.181) - "...Buddy Guy proves unstoppable....Guitarists from Clapton to Van Halen have marvelled at Guy's Strat work...; if anything, his singing...is even more eloquent, fiery and fully human..."

Entertainment Weekly (11/18/94, p.106) - "...Eric Clapton, listen up: Here's a way to play the blues in the '90s without shellacking the music with a thin coat of irony. Guy's go-for-the-throat versions of songs...showcase his slashing guitar and jagged vocals..." - Rating: A-

Down Beat (12/94, p.52) - 4 Stars - Very Good - "...[SLIPPIN' IN] advances his reputation as one of the best--if not THE best--blues guitarists alive. With no two solos remotely similar, Guy flexes his muscle and torches this set, whether he's offering smoldering leads on the slow tunes or scorching licks on mid- and uptempo numbers..."

Vibe (11/94, p.139) - "...Guy doesn't just play the blues, he preaches its gospel through the stinging sounds of his Stratocaster..."

Musician (12/94, p.91) - "...[Buddy Guy's] soul-on-fire theatrics recall prime Hendrix...."Slippin' Out, Slippin' In" approaches brilliance, with Guy's fury and the party groove of Denise Lasalle's cheatin' tune meshing perfectly..."

Living Blues (11-12/94, p.65) - "...Guy unleashes a genuine blues album--one that should please even those diehards who prize his 1960's Chess catalog over anything he's cut since..."