Buchanan, Roy

Vinyl Records and Rare LPs:

A Street Called Straight
Used - LP - SD 18170
1976 Original. Cut Corner. Appears Glossy, Unplayed. First Copy We Have Had In Stock In 15 Years. “Under The Direction Of Arif Mardin, And Sporting The Same Combo That He Had Been Using During His Practically Incessant Touring, This Disc Is Infinitely Stronger Than His Previous Non-Live Effort, In The Beginning (1974). The Core Unit Of John Harrison (Bass), Malcolm Lukens (Keyboards), And Byrd Foster (Drums/Vocals), Are Augmented By A Host Of All-Stars Such As Andy Newmark (Drums), Will Lee (Bass), Billy Cobham (Percussion), The Brecker Brothers Horn Section, And Vocals From Former Rascals' Member Eddie Brigati. Perhaps Mardin's Mid-'70s Success, Creating Soul And Funk-Oriented Platters, Encouraged Him To Take The Artist In A Similar Course. Buchanan Definitely Sounds Not Only In His Element Throughout This Title , But He Rises To The Occasion, Providing Some Of His Most Incendiary Licks And Aggressive Instrumental Interaction In A Studio Setting. This Also Manifests Itself With A Bounty Of Self-Penned Compositions. Rather Than Including One Or Two Of His Own Pieces In An Album Consisting Of Primarily Cover Material, Nine Of The 11 Cuts Are, At The Very Least, Co-Written By Buchanan. As Always However, It Is His Unmistakable, If Not Singular Fretwork That Truly Coalesces A Street Called Straight. The Frenetic Opening Whine Of "Running Out" Immediately Sets The Tone As Buchanan's Guitar Sings With A Woozy Fluid Intonation, Perfect For His Expressive And Emotive Leads. The Middle-Eight Solo Is A Prime Example Of His Uncanny Ability To Switch From Sharp, Jagged, And Sinister, To A String-Stretching, Bluesy Intonation. This Contrasts The Backbeat-Laden "Keep What You Got" Funkfest, And The Noir Combination Of Acoustic And Electric Textures On Billy Roberts "Good God Have Mercy." The Reading Of Jimi Hendrix' "If Six Was Nine" Is An Almost Natural Extension Of The Original, With A Brooding And Slinky Rhythm. While Some Purists May Consider The Overproduction Slick, Mardin's Creation Is An Undeniable Improvement Over His Prior Non-Live Outings.” Lindsay Planer, AMG. more
Dancing On The Edge
New - LP - AL 4747
Sealed 1986 Original With Custom Hype Sticker On Shrink. Features The Vocals Of Delbert McClinton On Three Tracks. more
Hot Wires
New - LP - AL 4756
Sealed 1987 Original. more
In The Beginning
Used - LP - PD 6035
1974 Original With Shrink-Wrap Intact. Small Corner Bump And Rubs. Few Light Dent Marks To Top Seam, With Two Tiny Holes. more
In The Beginning
Used - LP - PD 6035
1974 Original. Saw Cut. Small Saw Cut. Edge Wear With Moderate Cover & Ring Wear. Vinyl Shows Few Cobweb Like Marks But Plays Well. more
Live In Japan
New - LP - MPF 1105
Glossy Unplayed Copy Of This 1977 Japan Only Original With Obi And Insert. Small Cut Corner. “Live In Japan Is Said To Have Been Roy Buchanan's Favorite Of All His Platters, And Ironically, It Was Never Issued Stateside. However, As Word Spread, The Title Became An Essential Addition To His Discography. Fact Is That It May Have Never Come Out At All, Had There Not Been A Loophole In Buchanan's Contract With Former Label Polydor, Giving Them Control Over His Non-North American Output. Joining The Guitarist For His 1977 Tour Of Japan Are John Harrison (Bass), Malcolm Lukens (Keyboards), And Byrd Foster (Drums/Vocals). The Immaculate Fidelity Immediately Separates Live In Japan From Most Other Releases In His Canon. The Enthusiastic, Yet Typically Reserved Japanese Audience Is First Treated To A Laid-Back And Stretched-Out Reading Of Booker T. & The MG's' "Soul Dressing." The Backing Trio Provide A Rock-Solid Bed For Buchanan's Sinuous Interjections And Spacious Melody Lines. "Sweet Honey Dew" Is A Perfect Vehicle For Some Incendiary String Shredding, Although The Actual Tune Is Somewhat Of A Derivation Of A Standard Blues Riff. Perhaps More Fitting Is The Rousing Rendition Of Larry Williams' "Slow Down," Uncovering The Nimble Accuracy Accompanying The Sonic Kick In Buchanan's Piercing Fret Work. Contrasting This Is The Lengthy Jam On "Blues Otani," As The Ensemble Ably Improvise In And Around The Guitarist. Live In Japan Concludes With An Intimate And Affective "Sweet Dreams," Which May Well Have Been The Artist's Unofficial Anthem, As His Unique Interpretation Undoubtedly Made It A Signature Piece. If You Own But One Concert Recording Of Buchanan, Let It Be This One, As You Will Not Be Disappointed.” Lindsay Planer, AMG. more
Live Stock
Used - LP - PD 6048
1975 Red Label Original, Slight Hint Of Ring Wear, Appears Unplayed. more
Live Stock
Used - LP - PD 6048
Near Mint 1975 Original Still In Shrink Wrap. more
Live Stock
Used - LP - PD 6048
1975 Red Label Original, Slight Hint Of Ring Wear & Light Wear To Top Seam. more
Loading Zone
Used - LP - SD 18219
1977 Original Featuring Stanley Clarke, Steve Cropper, Will Lee And Others. Appears Unplayed. more
Loading Zone
New - LP - SD 19138
Sealed Second Catalog Number (Originals Were SD 18219). No Bar Code On Back. Small Saw Cut. Features Stanley Clarke, Steve Cropper, Will Lee And Others. more
Roy Buchanan
New - LP - PD 5033
Sealed 1972 Textured Cover Original. “The Recording And Production On This, Roy Buchanan's First Record For Polydor, Is Delightfully Bare, Sparse In Ornamentation, And Full Of Bum Notes And Aborted Ideas That Would Be Deleted On Most Commercial Releases. It Is A Loose, Highly Improvised Affair That Amply Demonstrates Why The Leader Is One Of The Underappreciated Giants Of Rootsy Guitar. Straddling Country, Blues, And Traditional Rock & Roll, Buchanan's Playing Is Fiery And Unpremeditated. His Tone Is Delightfully Raw And Piercing, His Solo Ideas Impetuous And Uncluttered. On The Instrumental Tracks, Such As His Famous Reading Of "Sweet Dreams" Or Buchanan's Own "The Messiah Will Come Again," One Can See Why He Was Such An Influence On Jeff Beck, Another Master Of The Instrument Known For His Genre-Blending And Ragged Spontaneity. The Main Focus On This Record Is Buchanan's Wailing Guitar, Punctuating The Vocals With Bluesy Cries And Country Moans. The Strongest Track On Roy Buchanan Is "The Messiah Will Come Again." This Song Opens With Buchanan's Mumbled Spoken Word Intro Over Quiet Organ And Then Yields To Spine-Tingling, Sorrow-Laden Telecaster That Cries And Screams In Existential Torment Before Giving Way In Turn To Percussive Flurries That Make Less Sense As Melodic Improvisation Than As Cries Of Passion. This Is Raw Guitar Playing And Music Making, Not For The Faint Of Heart. Fans Of Blues Or Country Guitar, Or Those Just Curious Why Jeff Beck Would Dedicate "'Cause We've Ended As Lovers" From Blow By Blow To Buchanan, Would Do Themselves A Favor By Picking Up This Album.” Daniel Gioffre, AMG. more
Roy Buchanan
Used - LP - PD 5033
1972 White Label Promo. Sterling In Dead Wax With 1C/1C Stampers. Appears Unplayed. “The Recording And Production On This, Roy Buchanan's First Record For Polydor, Is Delightfully Bare, Sparse In Ornamentation, And Full Of Bum Notes And Aborted Ideas That Would Be Deleted On Most Commercial Releases. It Is A Loose, Highly Improvised Affair That Amply Demonstrates Why The Leader Is One Of The Underappreciated Giants Of Rootsy Guitar. Straddling Country, Blues, And Traditional Rock & Roll, Buchanan's Playing Is Fiery And Unpremeditated. His Tone Is Delightfully Raw And Piercing, His Solo Ideas Impetuous And Uncluttered. On The Instrumental Tracks, Such As His Famous Reading Of "Sweet Dreams" Or Buchanan's Own "The Messiah Will Come Again," One Can See Why He Was Such An Influence On Jeff Beck, Another Master Of The Instrument Known For His Genre-Blending And Ragged Spontaneity. The Main Focus On This Record Is Buchanan's Wailing Guitar, Punctuating The Vocals With Bluesy Cries And Country Moans. The Strongest Track On Roy Buchanan Is "The Messiah Will Come Again." This Song Opens With Buchanan's Mumbled Spoken Word Intro Over Quiet Organ And Then Yields To Spine-Tingling, Sorrow-Laden Telecaster That Cries And Screams In Existential Torment Before Giving Way In Turn To Percussive Flurries That Make Less Sense As Melodic Improvisation Than As Cries Of Passion. This Is Raw Guitar Playing And Music Making, Not For The Faint Of Heart. Fans Of Blues Or Country Guitar, Or Those Just Curious Why Jeff Beck Would Dedicate "'Cause We've Ended As Lovers" From Blow By Blow To Buchanan, Would Do Themselves A Favor By Picking Up This Album.” Daniel Gioffre, AMG. more
Roy Buchanan
Used - LP - PD 5033
Beautiful 1972 Textured Cover Original. Cut Corner. Light Spine And Bottom Seam Wear. “The Recording And Production On This, Roy Buchanan's First Record For Polydor, Is Delightfully Bare, Sparse In Ornamentation, And Full Of Bum Notes And Aborted Ideas That Would Be Deleted On Most Commercial Releases. It Is A Loose, Highly Improvised Affair That Amply Demonstrates Why The Leader Is One Of The Underappreciated Giants Of Rootsy Guitar. Straddling Country, Blues, And Traditional Rock & Roll, Buchanan's Playing Is Fiery And Unpremeditated. His Tone Is Delightfully Raw And Piercing, His Solo Ideas Impetuous And Uncluttered. On The Instrumental Tracks, Such As His Famous Reading Of "Sweet Dreams" Or Buchanan's Own "The Messiah Will Come Again," One Can See Why He Was Such An Influence On Jeff Beck, Another Master Of The Instrument Known For His Genre-Blending And Ragged Spontaneity. The Main Focus On This Record Is Buchanan's Wailing Guitar, Punctuating The Vocals With Bluesy Cries And Country Moans. The Strongest Track On Roy Buchanan Is "The Messiah Will Come Again." This Song Opens With Buchanan's Mumbled Spoken Word Intro Over Quiet Organ And Then Yields To Spine-Tingling, Sorrow-Laden Telecaster That Cries And Screams In Existential Torment Before Giving Way In Turn To Percussive Flurries That Make Less Sense As Melodic Improvisation Than As Cries Of Passion. This Is Raw Guitar Playing And Music Making, Not For The Faint Of Heart. Fans Of Blues Or Country Guitar, Or Those Just Curious Why Jeff Beck Would Dedicate "'Cause We've Ended As Lovers" From Blow By Blow To Buchanan, Would Do Themselves A Favor By Picking Up This Album.” Daniel Gioffre, AMG. more
Roy Buchanan
New - LP - 831-413-1
Sealed 1985 Reissue. “The Recording And Production On This, Roy Buchanan's First Record For Polydor, Is Delightfully Bare, Sparse In Ornamentation, And Full Of Bum Notes And Aborted Ideas That Would Be Deleted On Most Commercial Releases. It Is A Loose, Highly Improvised Affair That Amply Demonstrates Why The Leader Is One Of The Underappreciated Giants Of Rootsy Guitar. Straddling Country, Blues, And Traditional Rock & Roll, Buchanan's Playing Is Fiery And Unpremeditated. His Tone Is Delightfully Raw And Piercing, His Solo Ideas Impetuous And Uncluttered. On The Instrumental Tracks, Such As His Famous Reading Of "Sweet Dreams" Or Buchanan's Own "The Messiah Will Come Again," One Can See Why He Was Such An Influence On Jeff Beck, Another Master Of The Instrument Known For His Genre-Blending And Ragged Spontaneity. The Main Focus On This Record Is Buchanan's Wailing Guitar, Punctuating The Vocals With Bluesy Cries And Country Moans. The Strongest Track On Roy Buchanan Is "The Messiah Will Come Again." This Song Opens With Buchanan's Mumbled Spoken Word Intro Over Quiet Organ And Then Yields To Spine-Tingling, Sorrow-Laden Telecaster That Cries And Screams In Existential Torment Before Giving Way In Turn To Percussive Flurries That Make Less Sense As Melodic Improvisation Than As Cries Of Passion. This Is Raw Guitar Playing And Music Making, Not For The Faint Of Heart. Fans Of Blues Or Country Guitar, Or Those Just Curious Why Jeff Beck Would Dedicate "'Cause We've Ended As Lovers" From Blow By Blow To Buchanan, Would Do Themselves A Favor By Picking Up This Album.” Daniel Gioffre, AMG. more
Roy Buchanan
Used - LP - PD 5033
Beautiful 1972 White Label Promo Housed In A Textured Jacket Still In Shrink Wrap. "Sterling" Machine Stamped In Dead Wax With 1B/1B Stampers. Appears Unplayed. “The Recording And Production On This, Roy Buchanan's First Record For Polydor, Is Delightfully Bare, Sparse In Ornamentation, And Full Of Bum Notes And Aborted Ideas That Would Be Deleted On Most Commercial Releases. It Is A Loose, Highly Improvised Affair That Amply Demonstrates Why The Leader Is One Of The Underappreciated Giants Of Rootsy Guitar. Straddling Country, Blues, And Traditional Rock & Roll, Buchanan's Playing Is Fiery And Unpremeditated. His Tone Is Delightfully Raw And Piercing, His Solo Ideas Impetuous And Uncluttered. On The Instrumental Tracks, Such As His Famous Reading Of "Sweet Dreams" Or Buchanan's Own "The Messiah Will Come Again," One Can See Why He Was Such An Influence On Jeff Beck, Another Master Of The Instrument Known For His Genre-Blending And Ragged Spontaneity. The Main Focus On This Record Is Buchanan's Wailing Guitar, Punctuating The Vocals With Bluesy Cries And Country Moans. The Strongest Track On Roy Buchanan Is "The Messiah Will Come Again." This Song Opens With Buchanan's Mumbled Spoken Word Intro Over Quiet Organ And Then Yields To Spine-Tingling, Sorrow-Laden Telecaster That Cries And Screams In Existential Torment Before Giving Way In Turn To Percussive Flurries That Make Less Sense As Melodic Improvisation Than As Cries Of Passion. This Is Raw Guitar Playing And Music Making, Not For The Faint Of Heart. Fans Of Blues Or Country Guitar, Or Those Just Curious Why Jeff Beck Would Dedicate "'Cause We've Ended As Lovers" From Blow By Blow To Buchanan, Would Do Themselves A Favor By Picking Up This Album.” Daniel Gioffre, AMG. more
Second Album
New - LP - PD 5046
Factory Sealed 1973 Original. “Roy Buchanan's Second Album (1974) Was Recorded Less Than Six Months After Completing His Self-Titled Major-Label Debut, Roy Buchanan (1972), And Sported A Slightly Amended Version Of The Snakestretchers — Featuring Ned Davis (Drums), Dick Heintze (Keyboards), Teddy Irwin (Rhythm Guitar), Chuck Tilley (Vocals/Rhythm Guitar), And, Replacing Pete Van Allen, Don Payne (Bass). The Vibe Is Much In Keeping With The Previous Effort, Albeit Decidedly More Blues-Based. Likewise, The Arguably Misplaced Countrified Cuts Have Been Dispensed With, As The Musicians Concentrate More Specifically On Traditional Blues And Original Compositions. Once Again, The Choice Of Covers Is Not Only Impeccable, But Has Been Significantly Personalized By The Guitarist's Unique Sensibilities And Inimitable Timbre. "Five String Blues" Leads The Pack, Revealing The Meticulous Craftsmanship That Buchanan Places Upon Each Intonation, As His Precision Is Never Obscured Within The Flurry Of Unleashed Notes. While Less Technical Than Emotive, Buchanan's Gift For Interpretation Is Nothing Short Of Spellbinding, As The Reading Of Erskine Hawkins' "After Hours" Demonstrates. "Tribute To Elmore James" Is An R&B-Laden Rocker With Copious Nods To James' Slide Fretwork As Well As Buchanan's Own Well-Placed Emphasis. Yet Another Facet To This Aggregate Is The Funkier Midtempo "I Won't Tell You No Lies." Sadly, The Snakestretchers Tenure Concludes On This LP. By The Time Of Buchanan's Follow-Up, That's What I Am Here For (1974), Undue Influences Would Recast The Guitarist's Rhythmic Support To An Increasingly Lessened Ensemble Effect.” – Lindsay Planer, All Music Guide more
Second Album
Used - LP - PD 5046
Near Mint 1973 Original. “Roy Buchanan's Second Album (1974) Was Recorded Less Than Six Months After Completing His Self-Titled Major-Label Debut, Roy Buchanan (1972), And Sported A Slightly Amended Version Of The Snakestretchers — Featuring Ned Davis (Drums), Dick Heintze (Keyboards), Teddy Irwin (Rhythm Guitar), Chuck Tilley (Vocals/Rhythm Guitar), And, Replacing Pete Van Allen, Don Payne (Bass). The Vibe Is Much In Keeping With The Previous Effort, Albeit Decidedly More Blues-Based. Likewise, The Arguably Misplaced Countrified Cuts Have Been Dispensed With, As The Musicians Concentrate More Specifically On Traditional Blues And Original Compositions. Once Again, The Choice Of Covers Is Not Only Impeccable, But Has Been Significantly Personalized By The Guitarist's Unique Sensibilities And Inimitable Timbre. "Five String Blues" Leads The Pack, Revealing The Meticulous Craftsmanship That Buchanan Places Upon Each Intonation, As His Precision Is Never Obscured Within The Flurry Of Unleashed Notes. While Less Technical Than Emotive, Buchanan's Gift For Interpretation Is Nothing Short Of Spellbinding, As The Reading Of Erskine Hawkins' "After Hours" Demonstrates. "Tribute To Elmore James" Is An R&B-Laden Rocker With Copious Nods To James' Slide Fretwork As Well As Buchanan's Own Well-Placed Emphasis. Yet Another Facet To This Aggregate Is The Funkier Midtempo "I Won't Tell You No Lies." Sadly, The Snakestretchers Tenure Concludes On This LP. By The Time Of Buchanan's Follow-Up, That's What I Am Here For (1974), Undue Influences Would Recast The Guitarist's Rhythmic Support To An Increasingly Lessened Ensemble Effect.” – Lindsay Planer, All Music Guide more
Second Album
Used - LP - PD 5046
1973 Original. Vinyl Appears Glossy. Tiny Corner Ding “Roy Buchanan's Second Album (1974) Was Recorded Less Than Six Months After Completing His Self-Titled Major-Label Debut, Roy Buchanan (1972), And Sported A Slightly Amended Version Of The Snakestretchers — Featuring Ned Davis (Drums), Dick Heintze (Keyboards), Teddy Irwin (Rhythm Guitar), Chuck Tilley (Vocals/Rhythm Guitar), And, Replacing Pete Van Allen, Don Payne (Bass). The Vibe Is Much In Keeping With The Previous Effort, Albeit Decidedly More Blues-Based. Likewise, The Arguably Misplaced Countrified Cuts Have Been Dispensed With, As The Musicians Concentrate More Specifically On Traditional Blues And Original Compositions. Once Again, The Choice Of Covers Is Not Only Impeccable, But Has Been Significantly Personalized By The Guitarist's Unique Sensibilities And Inimitable Timbre. "Five String Blues" Leads The Pack, Revealing The Meticulous Craftsmanship That Buchanan Places Upon Each Intonation, As His Precision Is Never Obscured Within The Flurry Of Unleashed Notes. While Less Technical Than Emotive, Buchanan's Gift For Interpretation Is Nothing Short Of Spellbinding, As The Reading Of Erskine Hawkins' "After Hours" Demonstrates. "Tribute To Elmore James" Is An R&B-Laden Rocker With Copious Nods To James' Slide Fretwork As Well As Buchanan's Own Well-Placed Emphasis. Yet Another Facet To This Aggregate Is The Funkier Midtempo "I Won't Tell You No Lies." Sadly, The Snakestretchers Tenure Concludes On This LP. By The Time Of Buchanan's Follow-Up, That's What I Am Here For (1974), Undue Influences Would Recast The Guitarist's Rhythmic Support To An Increasingly Lessened Ensemble Effect.” – Lindsay Planer, All Music Guide more
Strange Kind Of Feeling
New - LP - FT 017
Sealed, Long Out Of Print 2002 180gm HQ. A Peak Period Recording From 1975 Of The Late Electric Blues Virtuoso With An Extraordinary Rendering Of Henry Mancini's "Peter Gunn Theme" Setting The Tone For This Excellent Collection Which Features Some Buchanan's Own Songs Along With Some Strident Covers, Including Jimi Hendrix's "Foxy Lady" And "Hey Joe" Plus Steve Cropper's "Green Onions." more
That's What I Am Here For
Used - LP - PD 6020
1973 Original, Saw Cut. Stray 1 1/2" Black Marker Line On Front Jacket, Hint Of Ring Wear. Appears Unplayed. more
When A Guitar Plays The Blues
Used - LP - AL 4741
1985 Original In Glossy, Unplayed Condition. Features Vocals By Otis Clay On Two Cuts Plus Vocals By Gloria Hardiman On One Song Plus Steele "Sonny" Seals, Tenor Sax On One Track. His Startling Comeback Record. more
When A Guitar Plays The Blues
Used - LP - AL 4741
1985 Original. Some Cover Edge Creasing And Light Edge Wear. Features Vocals By Otis Clay On Two Cuts Plus Vocals By Gloria Hardiman On One Song Plus Steele "Sonny" Seals, Tenor Sax On One Track. His Startling Comeback Record. more
When A Guitar Plays The Blues
Used - LP - AL 4741
1985 Original. Vinyl Is NM, Cover Is VG+ more
You're Not Alone
New - LP - SD 19170
Sealed 1978 Orginal, Clean COH. more
You're Not Alone
Used - LP - SD 19170
1978 Original With Clean COH. more

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