Buddy Guy Sweet Tea Blogspot

Torrent Cadsoft Envisioneer. Apparently somebody took the criticisms of 's late-'90s Silvertone recordings to heart. They were alternately criticized for being too similar to or, as 1998's, too blatant in its bid for a crossover rock audience. So, after a bit of a break, returned in 2001 with, 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 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, is still a welcome addition to.

One of Buddy Guy’s most uncompromising, unforgettable latter-day albums, Sweet Tea finds the Chicago-blues legend paying tribute to the Mississippi hill-country sound popularized by Fat Possum Records. Tackling tunes by blues heroes like Junior Kimbrough and Cedell Davis, Guy’s guitar work is raw, unhinged, and searing with indignation. When he rips into Kimbrough's 'Baby Please Don't Leave Me' or Davis' 'She Got the Devil in Her' atop overdriven bass and slam-bang drums, he sounds like a lion gnashing prey between its mighty teeth. One of Buddy Guy’s most uncompromising, unforgettable latter-day albums, Sweet Tea finds the Chicago-blues legend paying tribute to the Mississippi hill-country sound popularized by Fat Possum Records. Tackling tunes by blues heroes like Junior Kimbrough and Cedell Davis, Guy’s guitar work is raw, unhinged, and searing with indignation.