Albert+king

Albert King recorded a lot in the early '60s, including some classic sides, but they never quite hit the mark. They never gained a large audience, nor did they really capture the ferocity of his single-string leads. Then he signed with Stax in 1966 and recorded a number of sessions with the house band, Booker T. & the MG's, and everything just clicked. The MG's gave King supple Southern support, providing an excellent contrast to his tightly wound lead guitar, allowing to him to unleash a torrent of blistering guitar runs that were profoundly influential, not just in blues, but in rock & roll (witness Eric Clapton's unabashed copping of King throughout Cream's Disraeli Gears).

All of King's recordings for the Bobbin label are on this 22-track disc, including everything from his 1959-1963 singles for the label and previously unissued alternate takes of "Why Are You So Mean to Me," "The Time Has Come," and the previously unissued "Blues at Sunrise." While these are decent journeyman urban blues/R&B, they're not up to the level of his subsequent recordings for Stax. Albert King just sounds too much like the records another King – B.B. King, that is – was making during the same era. There are similar horn arrangements and alternation of stinging guitar with smooth, confident vocal phrasing. It's a tribute to Albert King's abilities, in a way, that it does sound confident, and not the work of an imitator, despite the similarities.

Originally titled King Does the King's Thing, here's Albert King adding his own touch to a batch of Elvis Presley tunes. Because King's style is so irreducible, the concept actually works, as he fills this album with his traditional, high-voltage guitar work and strong vocals. That isn't surprising, since four of the nine tunes on here originally started as R&B hits covered by Presley, including an instrumental version of Smiley Lewis' "One Night." No matter what the original sources may be, though, this is a strong showing in King's catalog.

A value-added combination of four of the blues guitar legend Albert King's albums, dating from the 1970s to the 1990s, this two-disc best-of notably includes his 1979 Allen Toussaint-produced set NEW ORLEANS HEAT, as well as the workmanlike R&B of 1977's KING ALBERT. Among the highlights are a reworking of Toussaint's "Get Out My Life Woman" and the guitarist's own "Born Under a Bad Sign," and there's also the bonus of King's unlikely yet frequently performed version of Ray Noble's standard "The Very Thought of You," with full string accompaniment. As you'd expect from a chronicle of the master's late-period work, funky, fatback rhythm, horns, and stinging guitar work predominate, overlaid with King's good-natured, relaxed baritone vocals.

Albert King doesn't require much of an introduction, he was one of the 'Three Kings of the Blues' and arguably next to B.B. he was perhaps the most popular of the many genuine blues guitarists to have been adopted by the rock world during the mid-1960s. Albert began playing in the late 40s and made his first recordings in 1953 and it is these early sessions that are the focus of this outstanding collection from Jasmine. Includes tracks "Blues At Sunrise", his fine version of Tampa Red's "Little Boy Blue" and his hit song "Don't Throw Your Love On Me So Strong" plus many other superb tracks. Albert King influenced many artists including Mick Taylor, Eric Clapton, Mike Bloomfield and Stevie Ray Vaughan. This then is Albert King's first tentative steps towards global popularity compiled in chronological order and with fully detailed liner notes.

Originally recorded for the Canadian television program In Session in 1983, this was a historic meeting of two artists that has been proven to be a very special moment This famed live jam session by Albert King and Stevie Ray Vaughan has proven to be an evening that will never be forgotten. "It was evident from the first choruses," writes liner notes author/musicologist Samuel Charters, "that they were playing for each other. And that was the best audience either of them could ever have. The music never lost its intensity, its quality of something very important being handed back and forth and there was time for Stevie and Albert to see where their ideas took them."

Whether you're a fan of Albert King or just enjoy listening to the blues every now and then, you will definitely appreciate this album. This album was discovered in the Stax vaults when their tape collections were handed over to Fantasy Records in the 1980s. It was never released because it didn't sound like Stax, or the Blues at the time. The set was recorded at Wolfman Jack's home studio in L.A. in just one day August 20, 1971 and features a line up that was to become part of Mayall's Jazz-Fusion ideas in the 1970s. This LP is very different. Albert plays totally raw and unplugged here - no effects or feedback, just straight-up picking and fiddling. Mayall contributes all of the song's frameworks and King wrote the lyrics- mostly from his other songs and his expansive knowledge of old blues lyrics from Johnson, Brown, Robert Nighthawk, Elmore James, and many more!

Albert King - Live '69
EAC+LOG+CUE | WV: 279 MB | Full Artwork | 5% Recovery Info
Label/Cat#: Tomato Rec. # TOM-2068 | Country/Year: US 2003
Genre: Blues | Style: Electric Blues

Recorded at a single show on May 29, 1969, in Madison, WI's 400-seat club The Cue, these tapes were first released in 2003. The performance finds Albert King, who had just turned 46, arguably at his career peak. Even though there are just five tracks, it's enough to understand why he remains one of electric postwar blues' most seminal figures. (…) this is prime King and an essential acquisition for all fans.