Beautiful Agony Laternative

Roy BUCHANAN - " That's What I'm Here For "(1973) by Bruno Miguel

The true and only Master of the Telecaster

Difficult to believe that under her father looks like a quiet, country and asked, hiding a real phenomenon and artist, craftsman, electric guitar (he also showed on some occasions he was not armed with acoustic ).

Roy Buchanan born September 23, 1939 of Scottish parents, Arkansas (Ozaki), became interested in early music and thus began a professional career early. In 56, a first group, "Heartbeats" ( with future Jefferson Airplane drummer ), which will make a very brief appearance in a movie ( Rock, Pretty Baby ) in 57-58, he accompanied Dale Hawkins (Mr. "Suzie Q") in the studio, replacing James Burton . The records show that Buchanan was already an accomplished guitarist. In 1960 he went to Canada to accompany a moment the singer Ronnie Hawkins (cousin of Dale), whose members later formed the group The Band. Then, after his marriage he began the tour on standby. Roy took as a result of the costume studio musician, which allowed him to approach different styles.

same time, Roy went in search of new sounds, even inspired by the example of Link Wray by slashing the membrane of the HP amplifier to create a natural distortion. In 1965, it no longer, he went back on the road. A tumultuous road. And already, at the time, very personal style of Roy did not go unnoticed. Quite avant-garde, his playing was sometimes described as alien. And for good reason. With the help of his Fender Telecaster Blonde (lovingly dubbed Nancy he would bought a passer, and would have been the trigger effect of irréssistble want to go back to the adventure ), Buchanan was exploring the depths of high frequencies, not hesitating to reach his goal, to play notes beyond the sleeve, and plucking the strings near the bridge (see photo -cons). Unadorned he managed to extricate harmonics assassinnes whistled, the monstrous and subtle bends, and always with an appropriate musicality. Nothing was done randomly, to amuse the gallery. Roy also uses the volume knob (the technique looks simple but requires a perfect coordination is therefore essential to use the switch with the little finger while plucking the strings), plus incidentally that of the tone, to make his guitar weep. His mastery was such that sometimes one could believe he used a wah-wah. Sometimes they were dizzying bends which arrived to replace a pedal-steel, sometimes huge and staccattos tightrope. And sometimes, it combined everything, relaxed, with disconcerting ease. All without external assistance, without artificial embellishment, without technological tool other than a Fender Vibrolux, volume pushed donf. This is certainly the secret of a percussive sound. And thanks to this lack of equipment, it was easy to reproduce its effects and sounds in concert. In fact, he was a guitarist who only used his emotional reach to succeed as other effects come painfully to perform with electronic gadgets

But Roy remained as confidential, even if the legend that Roy would have been contacted ( with other ) by the Stones to take the vacant place of Brian Jones. Charlie Daniels even made him a record contract, but disappointed with the result Roy opposed to its output (this is the album "The Prophet" recently published). Then came the turn of his publishing house, due to a conflict with Roy, who refused then publishing his first album "Buch and The Snake Stretcher's (which included three compositions for his first album) . It was not until 1971, thanks to a television report of 90 minutes (!) Which had been devoted entitled "The Best Unknown Guitarist In The World", he was signed by a major label (Polydor). Followed an article in Guitar Player in '72, where he even coverage.

Thus, in 1972, after have managed the feat of completing the Carnegie Hall without a disc to her credit, only with a growing reputation, word-of-mouth, released an eponymous first album, hesitating between a country-rock, beautifully made, and a blues-rock cleaner (nothing heavy). A first test on the whole good, not transcendent, but with two superb instrumental "Sweet Dreams " finesse and restraint, and especially "The Messiah Will Come Again" (also taken by Gary Moore on "After the War ) - listening below -. Everything is there: feeling, technique, emotion & class, nothing that justifies the title of the CD purchase. Sublime.



The 'Second Album "came out quickly in the wake, at 73. The orientation is definitely more blues-rock, harder, purified.

Roy had triggered the fifth and the white-hot blues from his Telecaster incandescent there are fly. With a dashing "Tribute To Elmore James " where Roy made the fart licks stamped "King of Slide", but no bottleneck here! The album is better, but still has a shortcoming: Roy is not cons by a great singer (to put it mildly), he mumbles more than he sings. The effect is nice in small doses, but for lack of size, prevents some of the songs to rise to higher dimensions. Paradoxically, however, Roy appeared on stage systematically intimidated in front of a microphone, an attitude bordering on autistic. Apparently the man wished to be more present at the microphone, but it will never happen to cross a barrier inside. Like countless guitarists, Roy expressed primarily through his instrument, the tool allowed her to externalize, to release a lock.

The same year, " That's What I Am Here For " opera a slight turn significantly reducing the benefit of instrumental songs. Where previously a singer Annex manifested in one or two pieces, the remaining few being played by Roy, this album marks the arrival of a singer, Billy Price, full time, or almost. Price will remain, for many, the best singer of all Roy's career. Price is a singer in a blues crossroad elegant, hardly sophisticated, and soul-white Blue-eye-Soul . Her powerful voice and subtle, affected, made more to the music of Buchanan. On a more melancholy, almost tragic. This allows the music of Roy to be more accessible, and to approach other more melodic heaven. If the album starts on a good blues-rock, but lacking more sturdy seat, the cover of "Hey Joe " (dedicated to the memory of Jimi Hendrix) is beautiful, friendly and personal time. A poignant tribute, " sung (or rather told) by Roy, climbing gradually in intensity to finish in a défouloir cascades of notes pressed. Point Wah-wah, tremolo or here, Roy does not need to sing his guitar. In the 70's, it became a recurring basis of his stage repertoire. However, besides this recovery, the interest of the album lies mainly in the compositions enjoying the presence of Price.

" Home is Where I Lost Her " and "Please Do not Turn me Away," striking in their appearance highly melodic, adorned with a plaintive edge with lightning attacks of Nancy, even if it fits beautifully in the register, so that it seems sometimes tears (another specialty of Roy). Or the title track, a kind of soul-rock relatively powerful.

The excellent performance of Dick Heintze piano contributes significantly to the high content of the disc. Although this since 72, with the first album, Heintze is highlighted and enriched as well, to great effect, the compositions.

With this training, follow the famous "Live Stock "Generally considered a must.

In the end, difficult to define the style of Roy Buchanan. Say it is the result of years to play Rock'n'Roll pioneer, an approach to country music, a search of his personal immersion in the blues, an interest in the Gospel and Soul, and a special character. Later, he even Tatera jazz-rock (with Ray Gomez). For many years, by a desire to want to compartmentalize everything, journalists had filed in a Southern rock and even Redneck (?). Why not? While some of his music is undoubtedly South, but the relationship with the Allman and Lynyrd example, are tiny. No, Buchanan was rather a compendium of American music, American early, coupled with a formidable guitarist, with his distinctive, immediately recognizable and unique style. It is indeed surprising that someone as seemingly introverted balance of sentences, as riotous chorus of guitars.

Roy Buchanan: the true and only Master of the Telecaster! (according to Jeff Beck, Andy Summers, Jimmy Tachery & Gary Moore).

Roy died August 28, 1988 in Fairfax, Virginia. Binned for drunkenness (two theories: driving while intoxicated and following the complaint of his wife while Roy was in crisis, under the influence of alcohol), he would be there hanged. It was written that his family refuted this, because according to them he was not suicidal, knowing more than his career had taken a second breath.

Billy Price earned a good reputation, first in the Keystone Rhythm Band, Soul singer (-white) talented. Fred Chappelier, big fan of Buchanan, invited him to record a tribute album, "Chappelier Fred & Friends - A Tribute to Roy Buchanan." The current passing between the two, a second album, this time to his own compositions, was born (Night Works). And recently, a live album (for this purpose: http://ledeblocnot.blogspot.com/2010/08/fred-chapellier-billy-price-live-on.html # comments ).

1. My Baby Says She's Gonna Leave Me (3:21)
2. Hey Joe (5:26) - in memory de Jimi Hendrix par Billy Cox
3. Home is Where I Lost Her (4:27)
4. Rodney's Song (4:31)
5. That's What I Am Here For (2:31)
6. Roy's Bluz (5:59)
7. Voices (2:27) - Dick Heintze
8. Please Don't Turn Me Away (4:46)
9. Nephesh ( 3:27)