ROY BUCHANAN - When A Telecaster … I was introduced to Roy by a cousin of mine. Reich became Buchanan’s manager and engineered gigs up and down the East Coast, culminating in an appearance on June 21, 1972, at New York City’s Carnegie Hall. Ultimately, the name on the headstock of Fritz’s guitars was changed to “Fritz Bros.,” since the endorsement deal with Buchanan was no longer viable. He put in nearly two years in the Philly area with Bob Moore and the Temps, the house band at Dick Lee’s Musical Bar in Belmawr, New Jersey, where Seymour Duncan got to know him (see sidebar). Waiting on the MJT relic body and Musikraft Blackguard neck to come next. Guitarists Roy Buchanan and Danny Gatton were both known for stupefying feats of technical prowess on the Fender Telecaster; both have been called the “best unknown guitarist” in the … He’d lived the first era of rock and roll, 1956 to ’63, but his roaming days seemed gone for good. This is at the beginning of everything. WNET television producer John Adams read Zito’s reprinted piece in Rolling St one, took a close look for himself and moved ahead with a documentary on Buchanan. I first suspended the brass bridge saddles and bridge plate over Muriatic Acid (HCL) that I purchased in Lowes. He had eclectic … Photo by J.D. These were bleak days. Zito immortalized the Crossroads by describing it as “…dark and musty and the waitresses constantly pick up your beer bottle to ask if you want another.” Zito observed that, “Buchanan reacts to [attention] with a…disinterest that creates its own mystique. T he last time I saw Roy in 1988, we had a conversation about what makes him fall in love with a guitar. Original Roy Buchanan Bluesmasters came in three variants: Buchanan endorsed the Standard, which had a alder body, maple neck, and ebony fretboard. He’d also traded in his Gibson hollowbody for a Telecaster. These nods might embarrass or seem ridiculous to Buchanan, were he still alive, for his modesty and matter-of-factness matched his musical talent. Only a country as big and great as America – so full of promise and heartbreak – could submerge and disguise a talent as amazing as Buchanan’s. Roy Buchanan. There’s no way to debunk that! When Orwig stranded the band in Oklahoma City it was every man for himself. Roy obtained an enormous advance and went into the studio to record A Street Called Straight, a reflection of his struggle to stay sober and clean. His edgy, dead-thumb intro and his Scotty Moore-style cascading notes still sparkle. The blackguard neck has been ordered from Musikraft to my specs. Roy was playing with Bob Moore and the Temps at a South Jersey club called Dick Lee’s. Despite the reviews, Buchanan toured with perhaps his best band ever, including a blue-eyed soul singer, Billy Price, bassist John Harrison (both from Pittsburgh), and drummer Byrd Foster. An attempt at producing his own album, My Babe (recorded at the Record Plant and distributed by the independent Waterhouse Records), fizzled. Waterslide decal added – damaged on purpose to match Roy’s. Locals had long known about him, and his reticence to record had already become mythic. The last guitar Roy Buchanan played regularly before his death was unique in many ways. Roy Buchanan is described on his Wikipedia page as a pioneer of the Telecaster sound.Guitarists the likes of Gary Moore, Danny Gatton, and Jeff Beck list him as an influence and if … He provided inspiration and appreciation for tone and technique, and his absence has left a definite void. His urban explorations in Los Angeles, Shreveport, Chicago, Toronto and Washington, D.C. provided access to blues, rhythm and blues, and jazz. Buchanan took a hiatus from recording. He could play virtually anything he imagined, and his imagination knew few boundaries. The guitarist’s reinvigorated career led to professional management and tours followed. Roy was a guitar hero in Southern Jersey and is the reason many of my old guitar buddies play a Telecaster today. Pickups on all models were EMGs, and Buchanan was also enthusiastic about the Fritz-designed active circuitry in the guitars. Near the end, Mrs. Presher found out that Leroy had never learned to read music. It was a very, very frightening experience,” he said. The next time Iglauer saw Buchanan, at the Aragon Ballroom in Chicago, his amplifier blew a fuse in the middle of his set and Iglauer adroitly stepped forward to change it, an act that cemented a trust between the two men – and a recording deal. The Bridge pickup is a 100% accurate in every way as a recreation of Roy Buchanan’s 1953 Tele® That he nick-named “Nancy.” This pickup in his guitar would not give us an OHM meter reading, yet it still worked all these years! Close-up of Roy’s ’53 Telecaster “Nancy” bridge plate serial number 2324. Utilizing a five-way toggle and push/pull tone pot, a player can command any combination of pickups. 1960, a Stratotone variant), and the Gibson-made Carson Robinson guitar from the first half of the century. The record included “Reelin’ and Rockin,’” a pure swing number. Newer Telecasters used surgical rubber tubing, but in the early 50s Fender used springs for neck pickup mounting. Roy Buchanan. Buchanan and Reich settled on the idea of a live album to satisfy the remaining provisions of Polydor’s contract. December 21, 2013. At the time he played a ’53 Telecaster, worn and beat. “He interested the hell out of me. May not be the right way to pray, He was cruisin’ down his own lane.”. On my tribute I will be incorporating as many of these things as possible. Roy lent his explosive guitar work to dozens of records on Dick Clark’s Swan label in Philadelphia with various artists, including the Temps, and under his own name. While hanging out with a band called The Sidekicks, guitarist Mike Burke and I would visit Roy when he played at another club in Wildwood. Marvin and Paul Kirkland hired Leroy to play lapsteel in their band, The Waw Keen Valley Boys, in ’50 or ’51. The press took note. Robbie Robertson had been gone since The Last Waltz in ’76, and Richard Manuel had ended his fight with his own demons in March of ’86, when he hung himself in a shower using his own belt. But [he should have acknowledged Roy] in some way.”, By this time, Jeff Beck had encountered Buchanan and his Telecaster-fueled American roots music. The next day I went to Polydor with Roy’s manager, Jaye Reich Jr., to talk to the A&R department and to see the studio. Rock and roll required a lot of sweat and blood to make it good. Some of the aging and the finish was done by Matt Jenny at MJT. One was a guitarist named Roy Buchanan. Second Album offered a number of deep blues, including Buchanan’s remake of his old favorite, “After Hours,” some old time rock and roll, a country number, plus another autobiographical piece, an intimate portrait of Buchanan’s sanctified inner life titled “Thank You Lord:”, “Thank you Lord, saw your sunshine today, I started gathering parts to build a Roy Buchanan “Nancy” Telecaster tribute. That story, though it is just one man’s life, has wider implications. If he felt like getting from here to there, it didn’t matter how he got there. We suggest you use these in a 2nd guitar for fun and to see (like Roy did) what you can create with their seductive sound! It shipped should have it in a few days. The fingerboard and back of neck are basically done. Mounted bridge and Don Mare “Nancy” Pickups. I have repro springs and screws for neck pickup on order. After returning from England, I visited Roy and his family in Virginia and whenever I saw him play, I’d record copies of his live performances. He told me about turning my amp around and to mic from the back for a smoother tone. Other Products. Clarke allegedly advised Buchanan not to play any upstrokes during the sessions. The neck pickup repro screws and springs have shipped and I should have them in a few days. But Bill Orwig had a scheme.”. He is using pictures I sent over of the “real” Nancy. The common complaint was this: “All the bass is gone and now it sounds treble-y ~ and now I can’t get any ohm readings ~ yet it’s still working, but it’s a total treble bomb”. After his “discovery” by various media in 1971 – 15 years after he began his professional career, a career that seemed permanently stalled – and recording and touring offers poured in, Buchanan told an interviewer, “This star business scares the hell out of me.”. Roy recorded another song with Bobby Gregg around ’62 called “Potato Peeler,” where he played one of the first pick harmonics on record. Buchanan brought home demos to develop original compositions, as well. At that gig, I went backstage and we talked about a European tour Roy was doing, and how we should meet in England after he toured Germany (where his song “Sweet Dreams” was getting airplay). On the contrary, it was often the gut-grabbing immediacy, the attention-demanding, trebly nature of his Telecaster sound that took country, blues, rock and roll, or anything else he tried someplace it hadn’t been. I have tried to closely copy the real Nancy as close as possible except for two things. Beyond Blues: Roy Buchanan’s Tele Tricks. On a personal level, Buchanan’s renewed success seems to have re-awakened old demons, as well. “Robbie was super good for his age, but Roy had been out there longer. Jerry Garcia of the Grateful Dead touted Buchanan’s “…amazing chops.” Jeff Beck learned Telecaster techniques from him, became a friend, and continues to hold him in awe. So the story of Roy Buchanan’s life and times follows a hard road riddled with pathos. Leroy "Roy" Buchanan (September 23, 1939 – August 14, 1988) was an American guitarist and blues musician. “Country mojo” could be a powerful thing. Photo by Seymour W. Duncan. This is the same neck I used on my other Blackguard Project that I was quite happy with. Roy could definitely "overplay," but Man, what soul. This uneven effort, produced by Arif Mardin, contained several great tracks including a version of Hendrix’s “If Six Was Nine,” and “Good God Have Mercy,” by Billy Roberts (who wrote “Hey Joe”) specifically for Buchanan. More Than a Signature Instrument At age nine, Leroy’s folks got him a red Rickenbacker lapsteel and lessons from Mrs. Clara Louese Presher, an itinerant music teacher from nearby Bakersfield. Weights in just under 7 lbs. roy buchanan sweatshirts & hoodies. By 1970 Buchanan had resumed playing for lounge crooner Danny Denver at The Crossroads bar in Bladensburg, and it was from there, with his ’53 Tele doing the talking, that word of Roy’s talents finally spread. Roy Buchanan – Bluesmaster He dispensed his own brand of “country mojo” at will and, for the most part, people bought it. But I want to thank you anyway”. I normally would never put a Fender decal on anything Fender did not make. Mounted the aged jack cup. Leroy took lessons for three years. “When I left Alabama, my business license expired, and I never renewed it,” Fritz recently told VG. View credits, reviews, tracks and shop for the 2009 CD release of "When A Telecaster Plays The Blues" on Discogs. I’ve always been the boss.”, Besides, Hawkins added, Buchanan seemed to be getting into mind games. One has to admire his humanity, even as forces beyond his control swept him up and pushed him onto center stage. BUCK CANNON BAND. I read according to Roy this guitar had the sound of a Gibson les Paul a Stratocaster and a Telecaster … But for 4 years steady I’ve chased that sound. He was the master. Any 3-way Fender switch could have done, but I got caught up in the moment bought this vintage part. “But I brought all of my equipment to Nashville and I had some leftover parts.”, During his tenure with Gibson (a little over four years), Fritz set up the company’s repair center and the Bluegrass Division’s factory on Church Street in downtown Nashville. The affiliation with Lynne actually germinated prior to Fritz’s departure from Gibson, so it proved an easy transition for the veteran luthier/guitarist. (born in ’26), Betty (’33), Leroy (’39), and Linda Joan (’44). This band can be seen briefly in the loopy period film, Rock, Pretty Baby. If he didn’t pick it, he plucked it with his other fingers. Relic process started adding scratches, etc. “Somehow we carved out this compromise that Roy and his band would come to New York and record exactly what they wanted to.”, The Siegel-Buchanan partnership resulted in the eponymous Roy Buchanan (recorded in July ’72 and rush-released a month later) and Second Album (recorded in October ’72 and released in early ’73). Roy Buchanan had something musical to say – something deep inside him, often beautiful and too often painful – and it only came out when he had a guitar, preferably his ’53 Tele, in his hands. Les Paul himself stopped by to investigate rumors of Buchanan’s genius, and was amazed. Thanks to Don, I think the unique tone that Nancy has is nailed as close as you could get to the real thing (without the use of Roy Buchanan’s talent of course). Throughout the ’60s Buchanan’s reputation grew in the D.C. area as he gigged with Danny Denver, the British Walkers (an all-American group looking to cash in on the British craze), the Kalin Twins, and a numbing procession of other groups. this sound! The documentary shined a spotlight directly on Buchanan, who was too broke to protest. Some more aging is still needed on headstock. Then, I soaked them in a concoction of vinegar, salt and coffee. Buchanan later told journalist Tom Zito that at this point he turned down – through Daniels – a job offer from the Rolling Stones stemming from Brian Jones’ death in July 1969. Other guitarists were always there, trying to get a glimpse of Roy and his many tricks, and I always laughed when Roy would turn his guitar just enough to be out of view. This 1983 52 Reissue Telecaster is uncharacteristically light and has one original pot and one swapped out as Roy always did to get the taper he demanded. This project was started as a tribute to Roy Buchanan that did so much for the Telecaster, the Blues, Rock and Roll and music in general. It was never meant to be an exact clone. I saw them.” The Fairfax County coroner’s report did not mention bruises on Buchanan’s head. Over the next half-dozen years he rarely fielded his own combo, often relying on pickup bands for a tour or one night. The newer ones are manufactured with thinner metal. The Roy Buchanan … With very little Bass, it was still very loud and extra trebly, almost like a hand held AM transistor radio. I bought a set of original 50s Telecaster dome knobs that look very much like the ones on Roy Buchanan’s Nancy. And the ubiquity of cocaine in the early ’80s added a dash of danger. If you need to test your pickups with meters, the Neck is going to be around 6.1 OHMs. I’ve thought about that conversation often and decided to put everything that he told me into this Roy Buchanan … Following it illuminates the travails of this country’s working musicians, the men and women who are somehow compelled night after night to produce joy for millions, despite the overwhelming odds that such a pursuit virtually guarantees perpetual anonymity, poverty, and perhaps, an early grave. There were no rules with Roy. As it turned out, however, it could not banish demons, or bend steel bars. Performance-wise, these pickups are not as versatile as a normal set. A sense of place is important. Roy would play various clubs in Wildwood and Ocean City. One of the reasons I wanted to do this project was the availability of Don Mare’s ‘2324’ Nancy pickups that are clones of the ones in Roy’s Nancy. The LP proved more consistent than its predecessor, though less brilliant. Adding a bit more aging process to the bridge plate. According to Don Mare this was the style Roy had installed in the real Nancy. In the ’60s, only a few companies made strings, and almost all had wound G strings that were hard to bend. Real Name: Leroy Buchanan. Minnie tried to improve her children’s lives by getting Leroy music lessons. 1953 Telecasters used “no name” Kluson Tuners. I was 13 years old, and Roy invited me to watch him play a jam session at the club. Leroy was about 12 years old and night after night he stole the show. Our first meeting held a glimpse of how bright our friendship would be. Buchanan recorded one take at a languid pace, another at a raging clip. Buchanan played constantly to feed them, but he sometimes tarried after gigs, disappearing for days, aggravating an already fractious domestic situation. Robertson later recalled his first encounter with the bohemian ace guitarist. Most modern Telecasters use staggered pole pickups. Nancy’s 3-way switch was wired: I would like to thank all the great people at TDPRI for information and inspiration. That fall, Buchanan made a third LP, That’s What I’m Here For, produced by Reich, which proved uneven and was roundly condemned by Rolling Stone. “We had a similar love of rhythm and blues and down home rock and roll, so we hit it off real well,” said Dryden. This article originally appeared in VG August 1999 issue. Judy became incensed and called the police. Great demo below from Don Mare of these pickups thru an early ’70s Fender silverface Vibrolux Reverb (CTS alnicos, with a decent blackfaced-job). Glad I found these at an affordable price. MY PERSONAL "Buck Cannon band's" ROY BUCHANAN 2324 NANCY CLONE PARTS GUITAR IS FOR SALE, from DON MARE PICKUPS = AKA BUCK CANNON 1- PARTOCASTER, WARMOUTH BOAT NECK, WARMOUTH BODY, 2324 DON MARE PICKUPS, duplicate caps as in Roy's 53 Tele … I used to get calls about pickups doing that in the field and we would offer replacements. I will need to do some more aging on the headstock. I know Roy wanted to record with Jeff, but time and circumstances never allowed it. I want this to be a nice tribute to the guy who was so important to the Telecaster and to music. Added some more scratches like the “real” Nancy bridge plate. Through a combination of Scottish taciturnity, deep shyness, a sensitive spirit, a rural upbringing and a journeyman’s cynicism, Buchanan carved out a crooked path for himself, one strewn sometimes with obstacles of his own making. My family went to Dick Lee’s the next Sunday to watch the jam and to see the guitarist everybody was talking about. These decals are made for restoration purposes only. Their first album, Buch & The Snakestretchers (Bioya 519), was released in ’71, followed by Roy Buchanan and the Snakestretchers (Bioya) in ’72. I bought original early 1950s dome knobs I will be using as well. He’s playing a contemporary Tele, having retired his beloved ’53 from touring. He’d flirted with the guitar when he was about five years old, learning a few chords. Buchanan was a simple country boy who, despite life’s hardships and disappointments, wished to live a private life. Joined: Apr 11, 2017 Location: Indiana USA. I am using pictures I came across on the Internet to emulate the actual Nancy as a tribute. In the summer of ’61, while playing in Virginia with a band of friends dubbed the “Bad Boys,” Buchanan married Owens and his wandering days were numbered. The country boy “runnin’ wild;” comfortable in sneakers and a straw hat at Lowell Memorial Auditorium, Lowell, Massachusetts, in June ’76. I watched Roy while sitting atop a stack of Coca Cola boxes under the bar. Of course, Hawkins had a reputation for picking guitarists, and a litany of greats filled that spot before and after Buchanan: Sonny Jones, James Burton, Carl Adams, Kenny Paulsen, Scotty Moore, and Hank “Sugarfoot” Garland, to name a few. !Love this so much!! I usually used Roy’s ’53 Telecaster and his 4 X 10 Fender Bassman amp. It’s because of that failing pickup, and the neck was nicely spec-ed from the factory. At some point rocker Charlie Daniels signed Roy to record a studio album for Polydor Records, and they assembled enough tracks in Nashville, but Buchanan canned the LP, complaining that Daniels had made him sound too much like everyone else (four tracks turned up on Polygram’s 1992 collection, Sweet Dreams). 92832 (714) 738-6545 will mount new exhibit on the Telecaster in March. treb/7 Forward=Neck Clean He pioneered numerous techniques, from the pinched harmonic (or “squealer”) to his manipulation of the Telecaster’s simplified tone and volume controls to produce wah-wah effects that predated pedals by a decade. Critics loved both albums, though sales did not measure up to Polydor’s expectations, leading to Siegel’s departure. ‘I’m only a guitar player,’ he says, scoffing at praise others heap on him.”. The signed Telecaster is expected to bring $75,000-$100,000 in a sale of fine musical instruments. Post was not sent - check your email addresses! Roy himself would one day tell the fib that his father had been a preacher, a story repeated ever since by writers who never asked questions (J.D. The Rolling Stones, so it is said, asked Buchanan to join their band (he is said to have declined). Nonetheless we must allow room for warmth, humor, and compassion because he himself so often exuded those traits. I was lucky enough that my Google searches paid off as I found a vendor that reproduced these screws and springs. He was that damn good. The Life and Times of Roy Buchanan Buchanan tore the phone from the wall and walked out. Photo by Robert Berman.When Robertson asked where he’d learned his licks, Buchanan told him he was half wolf. WHY?…. Leroy "Roy" Buchanan (September 23, 1939 – August 14, 1988) was an American guitarist and blues musician. Fritz Brothers Flyer promoting the Roy Buchanan Guitar. Sorry, your blog cannot share posts by email. Roy sang “Roy’s Bluz” and “I’m Evil,” both incendiary blues songs that showcased his ability to shred an audience to pieces. But the Roy Buchanan Bluesmasters might be the rarest members of the “proper name brand” instrument club, because each one was handcrafted by a small guitar company that was active for about seven years. Quick & Free Delivery in 2-14 days ~ Be the first to write a review. By 1960 Buchanan based himself out of Washington, D.C., and that year he recorded two versions of “After Hours,” sometimes referred to as “the black national anthem” (waxed first by the Erskine Hawkins Orchestra in 1940, Buchanan modeled his own version on Jimmy Nolen’s 1956 take for Federal Records, where Nolen’s guitar follows the original piano solo). And he loved it said he had never played anything like it. It’s the same on the actual guitar Nancy because of the faulty yet functioning Bridge pickup. Hawkins’ band played Toronto, where his cousin, Arkansan turned Torontonian Ronnie Hawkins, ruled Yonge Street – the town’s entertainment strip. He took listeners to places of ineffable beauty, or seared them with tortured blues.

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