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Buddy Guy and John Mayer.

John Mayer has a nice guitar solo in this

Duration : 6:09

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B.B. King & Buddy Guy
“I Can’t Quit You Baby”,
at B.B. Kings Blues Club

Dig the way Buddy screams and has fun!

Duration: 2:58

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The new Buddy Guy, a must have!

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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, All Music Guide

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Sweet Home Chicago live in Houston, Texas

Duration: 5:44

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Voodoo Chile live in Houston, Texas

Duration: 2:28

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B.B. King is coming within an hour and a half of me and Buddy Guy is coming within a couple. I can't decide which to see (I've never seen either one of them before)! I would just go and see both, but I've been going to a lot of concerts lately and I just can't afford both.

I'm leaning towards Buddy Guy but I just don't know….who would you choose?

My honest answer, even though you said that you can't afford it is to see both. You've been going to a lot of concerts lately- what's one more? Buddy Guy is who I'd pick if it were only one I could attend (like if they fell on the same day). But even though B.B. King still tours regularly- I'd definitely try to catch him also. Every time he has came around, there's always been a reason why I couldn't go. I'm gonna kick myself hard if he stops touring for that. I couldn't go for financial reasons to see Johnny Cash- then he quit touring. That is a huge reason why I squeak by just to see my idols. Buddy Guy will put on the better show, I believe as he's got the energy to lay it down plus he's just a great showman. Go to both. If that is not AT ALL feasible- well, my vote is with the rest of these folks- Buddy Guy. Sacrifice sucks…

Whereas on 1993’s Feels Like Rain Buddy Guy flirted with pop and RB 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,