This compendium could not be considered the final word on
Roy Buchanan
(guitar), as it would take more than two CDs just for his contributions as a session stalwart. However, until his catalog is given a thorough overhaul,
Sweet Dreams: The Anthology
(1992) is a satisfying overview of the man once dubbed "The Best Unknown Guitarist in the World." The collection kicks off with four previously unissued selections circa the aborted
Nashville
under the direction of
Charlie Daniels
. Although the project, tentatively dubbed "The Prophet," was eventually shelved,
Buchanan
's delicately pungent fretwork is unmistakably the centerpiece. His moods contrast from the
blues
-rocker
"Baltimore"
to the luminous, shredding electric leads that complement
Daniels
' acoustic guitar on
Leonard Cohen
's
"Story of Isaac."
The eponymous
(1972) and appropriate follow-up,
Second Album
(1973), were documented within a five-month span in the summer and fall of 1972 with a band that was alternately known as
the Snake Stretchers
. In fact,
and company recorded and released
Buck & The Snake Stretchers
(1971), an infamous platter packaged in (no lie) a burlap sack and sold at
's gigs. Underscoring those earliest titles are the gritty and sinuous
"Pete's Blues,"
the alternately haunting and searing solos on
"Messiah Will Come Again,"
a blistering rendering of
Erskine Hawkins
'
"After Hours,"
as well as the original
"Five String Blues."
While this material is uniformly excellent, by contrast, it is the concert cuts that seem to truly unfetter
. The nine-plus minute
"Down By the River"
that is exclusive to this compilation takes the
Neil Young
tune to a whole new space. There are also equally inspired moments on later studio sides -- like the rousing
"Green Onions"
from
Loading Zone
(1977) recruiting
Donald "Duck" Dunn
(bass) and
Steve Cropper
Booker T. & the MG's
. The same is true of the ballsy, driving reading
Joe Walsh
"Turn to Stone,"
which was initially issued on
You're Not Alone
(1978).
concludes with the fascinating
"Dual Soliloquy,"
a previously unissued extemporaneous instrumental that is nothing short of a study in
's emotive techniques and flawlessly pure
timbre
. As such, it is both the highlight of this collection as well as an apt bookend to the artist's unquestionable talents. ~ Lindsay Planer