| | Guy CD Guy Discography of CDs
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This pivotal 1988 album combined old-school soul with the then-new art form of rapping, creating a whole new urban-music hybrid. Released almost 20 years later, this special edition contains six bonus tracks, and allows the public to rediscover the scintillating vocal harmonies of Guy.
One of the most seminal and influential releases of late '80s, Guy's self-titled debut album did more than its part to popularize new jack swing, a style that would soon become inescapable on urban contemporary radio. Teddy Riley didn't actually invent new jack swing with Guy -- he'd already gotten the ball rolling on Keith Sweat's 1987 debut Make It Last Forever -- but this album did more than any other to make it so incredibly popular in the R&B world. With their tough blend of hip-hop, R&B, and Gap Band-influenced funk, hits like "Groove Me" and "Teddy's Jam" defined new jack swing and served as the blueprint for countless new jack recordings in the late '80s and early to mid-'90s. One shameless Guy clone after another would pop up on urban radio, the vast majority of whom weren't even a fraction as inventive as Riley's distinctive trio. For anyone with even a casual interest in new jack, this CD is absolutely essential. [MCA issued a two-disc edition of the album in 2007.] ~ Alex Henderson
One of the most seminal and influential releases of late '80s, Guy's self-titled debut album did more than its part to popularize new jack swing, a style that would soon become inescapable on urban contemporary radio. Teddy Riley didn't actually invent new jack swing with Guy -- he'd already gotten the ball rolling on Keith Sweat's 1987 debut Make It Last Forever -- but this album did more than any other to make it so incredibly popular in the R&B world. With their tough blend of hip-hop, R&B, and Gap Band-influenced funk, hits like "Groove Me" and "Teddy's Jam" defined new jack swing and served as the blueprint for countless new jack recordings in the late '80s and early to mid-'90s. One shameless Guy clone after another would pop up on urban radio, the vast majority of whom weren't even a fraction as inventive as Riley's distinctive trio. For anyone with even a casual interest in new jack, this CD is absolutely essential. [Geffen issued a two-disc edition of the album in 2007, adding six extended mixes to the album's original tracklist.] ~ Alex Henderson
Additional Tracks; Special Edition
Audio Mixer: Timmy Regisford.
Audio Remixers: Teddy Riley; Gene Griffin; Timmy Regisford.
Recording information: Chung King Studios, New York, NY; Hillside Studios, Englewood, NJ; Quantum Studios, Jersey City, NJ; Sound Works Studios, New York, NY; Unique Studios, New York, NY.
Photographer: Gary Schultz.
Arrangers: Teddy Riley; Gene Griffin.Vibe (12/99, p.158) - Included in Vibe's 100 Essential Albums of the 20th Century - "...took the best of both worlds [retro-soul and new-school rap] and created new jack swing....changed the sound of black music forever." Guy Music | List Price | $17.96 (You save $0.77) | | Category | Rock/Pop Albums, R&B CDs, Rap, Soul/R&B, Urban Soundtrack, Pop | | Label | Geffen | | Orig Year | 1988 | | All Time Sales Rank |  43406  | | CD Universe Part number | 7449998 | | Catalog number | 000888402 | | Discs | 2 | | Release Date | Jul 17, 2007 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Producer | Teddy Riley; Gene Griffin; Teddy Riley; Gene Griffin | | Engineer | Dae Bennett; Dave Kowalski; Dennis Mitchell; Franklin D.; Jay Henry; Dae Bennett | | Additional Info | Special Edition |
Guy Music Review Average Rating: (5 out of 5 stars)  TEDDY IS A BONAFIDE GENIUS! Yep Yep!
Not sure if I can say sumthin bout this album that hasnt already been said, but I'll try. This "record" came out in an era when it was cool to simply be FRESH!! ...before it was all about being the baddest gangsta! They were great days, back in 87, 88. There was a lot of love and positivity and creativity around in R&B and Hip-Hop back then... sure u had your Ice Ts, your Too Shorts, your NWAs, your BDPs etc, which were harder, sometimes gangsta, and definitely bangin in their own rite, but the key was that there was a balance with this stuff and lotsa variety - not everything sounded the same. Lots of different styles could co-exist and as a result black music was progressing and cross-pollinating. Outta Manhattan, TR delivered his own blend of soul, gospel, east coast 80s hip-hop, washington go- go, jazz, funk, and more, using his favourite synths and drum machine sounds plus some well chosen samples, and showed thru his genius that u can make songs for every facet of your life, every mood, every feeling - the club, your car, your crib, the street, the times with the one u love, the times when u gotta leave the one u love, and put them all together on one LP. In doing so, he inspired a generation. Back then, with this album, and on others from Keith Sweat, Daddy Kane, Bobby Brown, Johnny Kemp, Heavy D, and others, the dude proved he could literally do it all! Although I'm sceptical these days on whether his internal "radar" is still wotking, I truly hope his upcoming projects with Guy, Blackstreet and MJ, and others can see him rediscover his creative magic, in whatever form that may be. It's important to note that I've lived in Melbourne, Australia all my life, which is about as far away from Harlem, the St Nicholas Projects, and "The Rooftop" as one could be, but its amazing how a soulful, funky urban sound created thousands of miles away can change your life. It changed my life and the lives of millions! Thanks TR ;-)
Submitted by Ruffmixer :-D (Melbourne, Down Under) 
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Purchase Guy CD To buy, Click on price to add to cart | Yarbrough & Peoples Best Of Yarbrough & Peoples CD (1997)
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Adrienne Young & Little Sadie recall Alison Kraus & Union Station in their combination of traditional country and bluegrass sounds with more contemporary tunes, topped by an expressive female singer. The band -- guitarist Tyler Grant, fiddler/mandolin player Clayton Campbell, acoustic bassist Amanda Kowalski, and percussionist Steven Sandifer -- backs Young, who plays guitar and banjo in addition to singing lead vocals on country hoedowns like "Leather Britches"; primitive-sounding recording techniques are even employed on occasion ("Satan, Yer Kingdom Must Come Down") to make the music sound like it comes from long in the past. But, having established its old-timey bona fides, the group proceeds to update things on country-pop songs like "Home Remedy," a duet between Young and Grant that speaks of love in racy modern terms (with "a healthy dose of lust"), and "Poison," which suggests the bandmembers may have U2 in their record collections and which might intrigue country radio programmers. This, then, is a band that covers a lot of bases, which may make it a good match for a younger country audience drawn to traditional music by O Brother, Where Art Thou? but also open to a hybrid approach. ~ William Ruhlmann
Adrienne Young, a seventh generation Floridian, homes in on a profound and personal style on Plow to the End of the Row, her debut solo album.The row in the title ain't Music Row; the album evokes a sheaf of antique folk music pulled out of grandma's piano bench, a hip east Nashville cafe and an Earth mother's lullaby - all held together with red clay. This americana singer/songwriter has a disarming appeal that crosses generations. Her songs hold enough old-timey and bluegrass influence to make traditionalists nod with approval while still incorporating a healthy measure of youthful edge. Adrienne won the songwriting contest in the Bluegrass category at Merlefest 2003 with Sadie's Song, which you can hear listed on this page. Price of CD includes album cover sticker, wildflower seeds and a lyrics booklet. For album reviews, see "press" at adrienneyoung . For tour dates, see "calendar" at adrienneyoung . NOTE FROM ARTIST:This record made itself. It is the culmination of numerous collaborations with the most profoundly talented folks I know. They have influenced me greatly and taken me to places I never would have reached ...
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While New York's Robbers on High Street gained a lot of comparisons to the Strokes and Franz Ferdinand after the release of their first full-length, Tree City, it is Spoon that they turn to for their sophomore album. Not that hints of this didn't exist before, but it's amplified even more greatly here, and most of the tracks on Grand Animals sound as if they were borrowed directly from the Austin band's discarded sketches. Because while lead singer Benjamin Trokan has a voice and delivery style very reminiscent of Spoon's frontman, his words aren't quite up to par with those of Britt Daniel, who's able to tell intimate, interesting stories without sounding clichéd or forced. Not that Trokan's lyrics are bad, but they don't compare to Daniel's in the slightest, either trying too hard to be like him ("The Fatalist" and "Crown Victory" both sound like they were written after spending a lot of time with Gimme Fiction), or just plain mediocre ("The Ramp," "You Don't Stand a Chance"). Perhaps if they were put more often to compositions that weren't ripped directly from the Spoon songbook the lyrics wouldn't come across as weak (and the times where the band does take an alternate musical route, like in "Guard at Your Heel" and "Your Phantom Walks the Rail," they work well), but because of their musical choices, Robbers on High Street make that comparison inevitable, and therefore they must also face the consequences of having shown themselves so unmistakably as a lesser band. Yes, there are horns, yes there are string-sounding keyboards and plenty of falsetto (resembling Spacehog's frontman Royston Langdon, strangely enough) to try to set them apart, and it all sounds fine, but it's not more than ...
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