Entertainment Weekly - 6/2/95, p.56
"...his measured vocals and stinging guitar licks add an aura of menace to love-gone-wrong songs....the band's single-minded dedication to each tune's groove makes for mesmerizing listening..." - Rating: A-
Q - 6/95, p.1203 Stars
- Good - "...a quartet album with all the extra feel and group dialogue that live studio recordings allow..."
Down Beat - 9/95, p.473 Stars
- Good - "...Fans more fond of grit than grace will still find Cray has much to offer....Cray's musical strengths transcend the basic blues structure."
Vibe - 6/95, p.129
"...finally finds a happy medium between pop music and the blues. Eschewing the horn section that has often buried his immaculate guitar artistry, Cray has more room to showcase his ice-cold tone....Like all great bluesmen, Cray knows that it's not the notes you play, it's the ones you leave out."
Musician - 7/95, p.109
"...he's never really made it a point of showing off his vocal skills--until now....As always, the guitar playing is great...but it's just icing this time."
Living Blues - 9-10/95, pp.59-60
"...Cray is one of the most innovative and adventurous guitarists playing blues today. Eschewing common rock and blues affectations, he is a bluesman for the future....And Cray's voice has finally matured into an instrument suited to his material..."
SOME RAINY MORNING was nominated for a 1996 Grammy Award for Best Contemporary Blues Album.
Robert Cray/Robert Cray Band: Robert Cray (vocals, guitar); Jim Pugh (piano, organ); Karl Sevareid (bass guitar); Kevin Hayes (drums).
Audio Mixer: Steve Savage.
Recording information: Studio D, Sausalito, CA.
Illustrator: Keith Graves.
Photographer: Jeff Katz.
SOME RAINY MORNING is a typically expert set of modern blues and soul from a peerless master. Robert Cray's band certainly has the whole Booker T. & the M.G.'s thing down, too.
"Moan," the self-descriptive opener, occasions some of Cray's most stinging Otis Rush-derived guitar lines. "Enough for Me" alternates between vaguely Latin syncopation in the verses and straight shuffle in the solo sections. "Little Boy Blue" is decorated with shimmering soul guitar filigree and could pass easily for a lost Otis Redding song, and "Jealous Love" has an early '60s Chicago R&B feel a la Jerry Butler.