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When a Guitar Plays the Blues by Roy Buchanan (Cassette, Jan-1985, Alligator Records) 
When a Guitar Plays the Blues by Roy Buchanan (Cassette, Jan-1985, Alligator Records)

 
When a Guitar Plays the Blues by Roy Buchanan (Cassette, Jan-1985, Alligator Records)

Artist: Roy Buchanan
Release Date: Jan 1985
Format: Cassette
Record Label: Alligator Records
Genre: Blues
UPC: 014551474142
Product ID: EPID3531214
Description: 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). Recorded at Steelerville St...
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Track Listing
1. When a Guitar Plays the Blues
2. Chicago Smokeshop
3. Mrs. Pressure
4. Nickel & A Nail, A
5. Short Fuse
6. Why Don't You Want Me
7. Country Boy
8. Sneaking Godzilla Through the Alley
9. Hawaiian Punch

Details
Playing Time:43 min.
Contributing Artists:Gloria Hardiman, Otis Clay
Distributor:Ryko Distribution
Recording Type:Studio
Recording Mode:Stereo
SPAR Code:AAD

Album Notes
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).
Recorded at Steelerville Studios, Chicago, Illinois.
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.
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.

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