Roy Buchanan

Roy Buchanan, 1972
This is the one. Buchanan’s bittersweet rendition of “Sweet Dreams” became an instant classic, as did his signature tune—the haunting, “The Messiah Will Come Again.” “I always dug the middle Eastern-sounding harmonics on ‘Pete’s Blue,’” says Campilongo. “That tune really shows Roy’s genius and uncompromising emotional energy. I listen to that solo at least once a year, just to check back and remind myself what the electric guitar is all about.”

Second Album, 1973
“If Buchanan albums were movies, then his first two records would be The Godfather and The Godfather II,” says Campilongo about Buchanan’s follow-up to his brilliant Polydor debut. Every cut here is essential, but highlights include “Five String Blues” (Buchanan broke a string in the middle of the take, but finished flawlessly, hence the title), “Tribute to Elmore James,” and “Thank You Lord” (breathtaking waterfalls of sound, courtesy of his amazing circular picking technique).

American Axe: Live in 1974, 2003
Although 1975’s Live Stock is generally considered Buchanan’s definitive live document, for my money, this is the better bet. The sound isn’t as polished as Live Stock, and the vocals are occasionally horrid, but you can feel the volume of Buchanan’s Fender Vibrolux bouncing off of the club’s walls, and rattling the audience’s fillings. His solo flourish before “Johnny B. Goode” is absolutely stupefying.

That’s What I Am Here For, 1974
“‘Roy’s Bluz’ is Buchanan’s slow blues tour de force,” says Campilongo. “Roy throws in everything but the kitchen sink.” This album includes Buchanan’s blistering version of “Hey Joe,” that just might make you ask, Jimi who?

In the Beginning, 1974
With pressure to deliver more sales, Buchanan’s albums start to become slicker and more orchestrated. “But don’t miss ‘Wayfaring Pilgrim,’” urges Campilongo. “It’s a study in unaffected, vibrato-free guitar, before Roy lets it all hang out, making his guitar seemingly weep, then explode. That song unfolds like a movie with a surprise ending.”

Loading Zone, 1977
With Stanley Clarke producing, the processed guitar sounds get in the way of the great double-billing of Steve Cropper and Buchanan as they trade licks on “Green Onions.” But “Adventures of Brer Rabbit and Tar Baby” is wonderful.

My Babe, 1981
“All of Roy’s records are worth a listen,” says Campilongo. True, but the vocal-heavy, My Babe, is definitely not one of his best efforts. However, “Dizzy Miss Lizzy” shows that there couldn’t have been a Danny Gatton without a Buchanan.

Dancing on the Edge, 1986
Props to Alligator Records founder Bruce Iglauer for giving Buchanan a new lease on life in 1984. But, compared to his classic work, the Alligator years were tilted more towards rock stylings and tones, with flangers and delays a prominent part of his sound.