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Albert King

Albert King is truly a "King of the Blues," although he doesn't hold that title (B.B. does). Along with B.B. and Freddie King, Albert King is oneof the major influences on blues and rock guitar players. Without him, modern guitar music would not sound as it does -- his style hasinfluenced both black and white blues players from Otis Rush and Robert Cray to Eric Clapton and Stevie Ray Vaughan. It's important tonote that while almost all modern blues guitarists seldom play for long without falling into a B.B. King guitar cliché, Albert King never does --he's had his own style and unique ton ...read more

Albert King is truly a "King of the Blues," although he doesn't hold that title (B.B. does). Along with B.B. and Freddie King, Albert King is oneof the major influences on blues and rock guitar players. Without him, modern guitar music would not sound as it does -- his style hasinfluenced both black and white blues players from Otis Rush and Robert Cray to Eric Clapton and Stevie Ray Vaughan. It's important tonote that while almost all modern blues guitarists seldom play for long without falling into a B.B. King guitar cliché, Albert King never does --he's had his own style and unique tone from the beginning.

Albert King plays guitar left-handed, without re-stringing the guitar from the right-handed setup; this "upside-down" playing accounts for hisdifference in tone, since he pulls down on the same strings that most players push up on when bending the blues notes. King's massive toneand totally unique way of squeezing bends out of a guitar string has had a major impact. Many young white guitarists -- especially rock &rollers -- have been influenced by King's playing, and many players who emulate his style may never have heard of Albert King, let aloneheard his music. His style is immediately distinguishable from all other blues guitarists, and he's one of the most important blues guitariststo ever pick up the electric guitar.

Born in Indianola, MS, but raised in Forrest City, AR, Albert King (born Albert Nelson) taught himself how to play guitar when he was a child,building his own instrument out of a cigar box. At first, he played with gospel groups -- most notably the Harmony Kings -- but after hearingBlind Lemon Jefferson, Lonnie Johnson, and several other blues musicians, he solely played the blues. In 1950, he met MC Reeder, whoowned the T-99 nightclub in Osceola, AR. King moved to Osceola shortly afterward, joining the T-99's house band, the In the Groove Boys.The band played several local Arkansas gigs besides the T. 99, including several shows for a local radio station.

After enjoying success in the Arkansas area, King moved to Gary, IN, in 1953, where he joined a band that also featured Jimmy Reed andJohn Brim. Both Reed and Brim were guitarists, which forced King to play drums in the group. At this time, he adopted the name Albert King,which he assumed after B.B. King's "Three O'Clock Blues" became a huge hit. Albert met Willie Dixon shortly after moving to Gary, and thebassist/songwriter helped the guitarist set up an audition at Parrot Records. King passed the audition and cut his first session late in 1953.Five songs were recorded during the session and only one single, "Be on Your Merry Way" / "Bad Luck Blues," was released; the othertracks appeared on various compilations over the next four decades. Although it sold respectably, the single didn't gather enough attentionto earn him another session with Parrot. In early 1954, King returned to Osceola and re-joined theIn the Groove Boys; he stayed inArkansas for the next two years.

In 1956, Albert moved to St. Louis, where he initially sat in with local bands. By the fall of 1956, King was headlining several clubs in thearea. King continued to play the St. Louis circuit, honing his style. During these years, he began playing his signature Gibson Flying V, whichhe named Lucy. By 1958, Albert was quite popular in St. Louis, which led to a contract with the fledgling Bobbin Records in the summer of1959. On his first Bobbin recordings, King recorded with a pianist and a small horn section, which made the music sound closer to jumpblues than Delta or Chicago blues. Nevertheless, his guitar was taking a center stage and it was clear that he had developed a unique,forceful sound. King's records for Bobbin sold well in the St. Louis area, enough so that King Records leased the "Don't Throw Your Love onMe So Strong" single from the smaller label. When the single was released nationally late in 1961, it became a hit, reaching number 14 onthe R&B charts. King Records continued to lease more material from Bobbin -- including a full album, Big Blues, which was released in 1963-- but nothing else approached the initial success of "Don't Throw Your Love on Me So Strong." Bobbin also leased material to Chess, whichappeared in the late '60s.

Albert King left Bobbin in late 1962 and recorded one session for King Records in the spring of 1963, which were much more pop-orientedthan his previous work; the singles issued from the session failed to sell. Within a year, he cut four songs for the local St. Louis independentlabel Coun-Tree, which was run by a jazz singer named Leo Gooden. Though these singles didn't appear in many cities -- St. Louis, Chicago,and Kansas City were the only three to register sales -- they foreshadowed his coming work with Stax Records. Furthermore, they were verypopular within St. Louis, so much so that Gooden resented King's success and pushed him off the label.

Following his stint at Coun-Tree, Albert King signed with Stax Records in 1966. Albert's records for Stax would bring him stardom, bothwithin blues and rock circles. All of his '60s Stax sides were recorded with the label's house band, Booker T. & the MG's, which gave hisblues a sleek, soulful sound. That soul underpinning gave King crossover appeal, as evidenced by his R&B chart hits -- "Laundromat Blues"(1966) and "Cross Cut Saw" (1967) both went Top 40, while "Born Under a Bad Sign" (1967) charted in the Top 50. Furthermore, King'sstyle was appropriated by several rock & roll players, most notably Jimi Hendrix and Eric Clapton, who copied Albert's "Personal Manager"guitar solo on the Cream song, "Strange Brew." Albert King's first album for Stax, 1967's Born Under a Bad Sign, was a collection of hissingles for the label and became one of the most popular and influential blues albums of the late '60s. Beginning in 1968, Albert King wasplaying not only to blues audiences, but also to crowds of young rock & rollers. He frequently played at the Fillmore West in San Franciscoand he even recorded an album, Live Wire/Blues Power, at the hall in the summer of 1968.

Early in 1969, King recorded Years Gone By, his first true studio album. Later that year, he recorded a tribute album to Elvis Presley (Bluesfor Elvis: Albert King Does the King's Things) and a jam session with Steve Cropper and Pops Staples (Jammed Together), in addition toperforming a concert with the St. Louis Symphony Orchestra. For the next few years, Albert toured America and Europe, returning to thestudio in 1971, to record the Lovejoy album. In 1972, he recorded I'll Play the Blues for You, which featured accompaniment from the Bar-Kays, the Memphis Horns, and the Movement. The album was rooted in the blues, but featured distinctively modern soul and funk overtones.

By the mid-'70s, Stax was suffering major financial problems, so King left the label for Utopia, a small subsidiary of RCA Records. Albertreleased two albums on Utopia, which featured some concessions to the constraints of commercial soul productions. Although he had a fewhits at Utopia, his time there was essentially a transitional period, where he discovered that it was better to follow a straight blues directionand abandon contemporary soul crossovers. King's subtle shift in style was evident on his first albums for Tomato Records, the label hesigned with in 1978. Albert stayed at Tomato for several years, switching to Fantasy in 1983, releasing two albums for the label.

In the mid-'80s, Albert King announced his retirement, but it was short-lived -- Albert continued to regularly play concerts and festivalsthroughout America and Europe for the rest of the decade. King continued to perform until his sudden death in 1992, when he suffered a fatalheart attack on December 21. The loss to the blues was a major one -- although many guitarists have tried, no one can replace King'sdistinctive, trailblazing style. Albert King is a tough act to follow. « hide

Similar Bands: Stevie Ray Vaughan, Buddy Guy, B.B. King, Freddie King, Howlin Wolf

LPs
King of the Blues Guitar
01/01/2012

4.5
6 Votes
I'll Play The Blues For You
1972

3.9
5 Votes
Born Under A Bad Sign
1966

4.3
54 Votes
Live Albums
In Session
1999

4.5
20 Votes
Blues at Sunrise: Live at Montreux
1988

4.3
2 Votes
Compilations
The Very Best of Albert King
2007

4
1 Votes
Blues Masters: The Very Best of Albert King
1999

The Ultimate Collection
1993


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