1	Sweet Dreams 	3:33
2	I Am A Lonesome Fugitive 	3:43
3	Cajun 	1:34
4	John's Blues 	5:04
5	Haunted House 	2:44
6	Pete's Blue 	7:15
7	The Messiah Will Come Again 	5:53
8	Hey, Good Lookin' 	2:16

Bass – Pete Van Allen
Drums – Ned Davis
Lead Guitar – Roy Buchanan
Organ, Piano – Dick Heintze
Rhythm Guitar – Teddy Irwin
Vocals – Chuck Tilley (tracks: A1 to B1, B3), Roy Buchanan (tracks: B2)

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. There is a slight Michael Bloomfield influence felt in Buchanan's blues playing, most evident in the first chorus of "John's Blues" and the quasi-Eastern ornamentations on "Pete's Blue." He plays with pitch, placing notes in unexpected places, constantly keeping the listener guessing. The country tracks, such as "I am a Lonesome Fugitive" and Hank Williams' "Hey, Good Lookin'," benefit greatly from Chuck Tilley's understated vocals. Despite Tilley's presence, the main focus on this record is Buchanan's wailing guitar, which 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, AllMusic Review

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1	When a Guitar Plays the Blues		
2	Chicago Smokeshop			
3	Mrs. Pressure 		
4	A Nickel & A Nail 		
5	Short Fuse 				play
6	Why Don't You Want Me See 		
7	Country Boy				play
8	Sneaking Godzilla Through the Alley			
9	Hawaiian Punch 

Personnel: 
Roy Buchanan (vocals, guitar); 
Otis Clay, Gloria Hardiman (vocals); 
Criss Johnson (guitar); 
Steele "Sonny" Seals (tenor saxophone); 
Bill Heid (keyboards); 
Larry Exum (bass); 
Morris Jennings (drums).

WHEN A GUITAR PLAYS THE BLUES is one of Roy Buchanan's finest studio dates. A hand picked group of Chicago blues musicians--including Gloria Hardiman, who lends her gospel-charged soprano to "Why Don't You Want Me?," and the irrepressible Otis Clay, who tears it up on a version of O.V. Wright's "A Nickel And A Nail"--keep things at a high simmer. As always though, it is Buchanan's virtuosity that burns most brightly. While the fare here is primarily traditional hard-driving blues, the range of Buchanan's versatility and grab bag of effects (including double-string bends, over-the-top harmonics, snarls, scratches, and delicate, melodic underplaying) help transcend the genre. ---cduniverse.com

One of Buch's most distinguishing characteristics is his manipulation of tonality and volume-knob dynamics (his approach sometimes bear a resemblance to the complex, evocative shadings of avant-jazzster Bill Frisell), a quality particularly notable on the title cut, which opens with a quote from a Bach fugue. The full range of his instrumental power is on display on the pounding "Short Fuse," the Elmore James-influenced "Hawaiian Punch" and the epic "Sneaking Godzilla Through The Alley." In all, a superior set. Roy Buchanan was one of the best axe slingers of all time.Why he never got the reconition he truly deserved is beyond comprehension.I've had this album for a couple of years,and it sounds as fresh today as it did when i first bought it.From the title track (When a guitar plays the blues),to the last song on the album (hawaiian punch).this album is great.Being the first album that ROY produced and mixed himself,he said it felt like it was his first recod.And in his own words,this album is really me.he also thought this was the best album he had ever released.If you like great blues then this is a must own album. ---William J. Christian

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1. My Baby Is Sweeter 
2. Minor Changes 
3. Rambunctious 
4. Malaguena 
5. I Found You 
6. Let's Twist Again 
7. Park Boulevard Blues 
8. Custom Made 
9. After Hours 
10. Peter Gunn 
11. Chowbay 
12. Peace Cross 
13. My Baby Is Sweeter

Roy Buchanan (vocals, guitar)

This wonderful release contains live and alternate takes ranging from his early/mid sixties period through to the late '80s. To me, the most interesting stuff is the earlier material when Roy was a wild young guitar slinger with chops by the armfull raging full throttle each night at your local roadhouse. Of interest to Buchanan fans is the live showstopper Malaguena (including his take on "The Lonely Bull", "After Hours" and a radio spot for the Crossroads Lounge with Roy wailing in the background). You can smell the hot dogs and taste the beer!! You also hear Roy playing backup on regular bar fare like "Let's Twist Again" (a more rocking version, you will never hear. There is also the performance of a song he wrote for Judy, his future wife. Roy came of age during the heyday of the Ventures, Duane Eddy and Link Wray. None of these artists had Roy's technical credentials or ability to assimilate the blues and country music into rock and roll. He was a giant!! This is from the period when Roy was a sideman par excellence (people would come to hear the singer AND RETURN to hear Roy). Any guitar player, fan of the guitar or someone who just likes good music needs to pick up this album. The sound quality is not the best. However, you WILL forget that minor fault when you hear this genius rage on his tele. Prime Roy material which should form part of a foundation for any guitarist's CD collection. ---Samuel B. King, amazon.com

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01 - High Wire 
02 - That Did It 
03 - Goose Grease 
04 - Sunset Over Broadway 
05 - Ain't No Business 
06 - Flash Chordin' 
07 - 25 Miles 
08 - These Arms Of Mine 
09 - Country Boogie 
10 - The Blues Lover

Musicians:
Roy Buchanan - Guitar, Producer, Vocals
Stan Szelest - Keyboards
Larry Exum – Bass
Morris Jennings – Drums
Kanika Kress – Vocals
Johnny Sayles – Vocals

Master guitarist Roy Buchanan elevates his already astronomical musical standard on his third Alligator release, HOT WIRES. With his searing tone, fluid runs, screeching harmonics, dynamics experiments, and grab bag of scratches, wails, and noodles, Buchanan's Fender often sounds less like a guitar than a channel for highly articulate alien intelligence. As usual, Roy has backed himself with some of the finest blues and rock studio musicians--including guitarist Donald Kinsey (of the Kinsey Report) and vocalists Johnny Sayles ("That Did It") and Kanika Kress (on Otis Redding's "These Arms of Mine").

Though the band provides thunderous, spot-on backing on conventional blues workouts ("Ain't No Business") and rave-up instrumentals ("Country Boogie") alike, the spotlight is on Buch throughout, particularly on his own compositions, the acid surf "High Wire" and the pummeling "Flash Chordin'." HOT WIRES is yet another testament to the skills of this dazzling, unfairly under-recognized musician. ---Rovi

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01 - Peter Gunn
02 - The Chokin' Kind
03 - Jungle Gym
04 - Drowning On Dry Land
05 - Petal To The Metal
06 - You Can't Judge A Book By The Cover
07 - Cream Of The Crop
08 - Beer Drinking Woman
09 - Whiplash
10 - Baby, Baby, Baby
11 – Matthew

Musicians:
Roy Buchanan - Composer, Guitars, Producer, Vocals
Larry Exum - Bass
Donald Kinsey - Guitars
Delbert McClinton - Vocals
Stan Szelest – Keyboards

The wild and wooly, no-holds-barred version of Henry Mancini's "Peter Gunn" that opens this album reminds that Roy Buchanan is not your average blues-rock axeslinger. With a dazzling arsenal of chops and a tone that can, alternately, slice through granite and float like cumulous clouds, Buchanan's standing as a masterful technician seems to grow with each successive release, and DANCING ON THE EDGE is no exception.

The six instrumental and five vocal tracks here (featuring Texas R&B institution Delbert McClinton), though steeped in traditional blues, push at the limitations of the genre. For example, there's the ear-shattering jump country of "Petal to the Metal" and the expansive surf jam "Jungle Gym." DANCING rocks harder than most of Buch's releases, with the guitarist's sizzling six-stringery (check out the barrelhouse acid boogie of "Whiplash") backed by a crack studio band and McClinton's raw singing (check out "You Can't Judge a Book By the Cover"). Buchanan fans and worshippers of the blues guitar won't be disappointed by this one. ---Rovi

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