Albert King mp3 DVD

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MUZ02A0193

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Albert King mp3 DVD
===================
MUZ02A0193

46 mp3 albums (1962-2008) 526 mp3 songs Total Time: 39:06:18

GENRE: Soul-Blues, Electric Blues, Rhythm and Blues

01 - Albert King - The Big Blues (1962)
02 - Albert King - Born Under A Bad Sign (1967)
03 - The Doors & Albert King - Live Feel The Blues (1968)
04 - Albert King with Otis Rush - Door To Door (1969)
05 - Albert King - Jammed Together with Steve Cropper and Pop Staples (1969)
06 - Albert King - King Of The Blues Guitar (1969)
07 - Albert King - Years Gone By (1969)
08 - Albert King, Steve Cropper, Pop Staples - Jammed Together (1969)
09 - Albert King - Blues For Elvis (1970)
10 - Albert King - Lovejoy (1970)
11 - Albert King - The Lost Session (1971)
12 - Albert King - I'll Play the Blues For You (1972)
13 - Albert King - The Best Of Stax 68 73 (1973)
14 - Albert King - I Wanna Get Funky (1974)
15 - Albert King, Chico Hamilton & Little Milton - Montreux Festival (1974)
16 - Albert King - Albert (1976)
17 - Albert King - Truckload of Lovin' (1976)
18 - Albert King - Live (1977)
19 - Albert King - New Orleans Heat (1978)
20 - Albert King - Live Wire Blues Power (1979)
21 - Albert King with Little Milton - Chronicle (1979)
22 - Albert King - Blues Alley, D.C. (1981)
23 - Albert King - Crosscut Saw (1983)
24 - Albert King with Stevie Ray Vaughan - In Session (1983)
25 - Albert King - I'm In A Phone Booth Baby (1984)
26 - Albert King & John Mayall - The Lost Session (1986)
27 - Albert King - Blues At Sunrise - Live At Montreux (1988)
28 - Albert King - Let's Have A Natural Ball (1989)
29 - Albert King - Red House (1991)
30 - Albert King - Featuring Rory Gallagher [Live] (1992)
31 - Albert King - The Blues Don't Change 1974 (1992)
32 - Albert King - The Ultimate Collection CD1 (1993)
33 - Albert King - The Ultimate Collection CD2 (1993)
34 - Albert King - Blues Power [The Blues Collection Vol.26] (1994)
35 - Albert King - Funky London (1994)
36 - Albert King - The Tomato Years (1994)
37 - Albert King - La Force Tranquille Du Blues (1998)
38 - Albert King - Rainin' in California (1998)
39 - Bluesmasters - The Very Best of Albert King (1999)
40 - Albert King - Guitar Man (2001)
41 - Albert King - More Big Blues (2001)
42 - Albert King - Thursday Night In San Francisco (2001)
43 - Albert King & Freddie King - Blue On Blues (2002)
44 - Otis Rush with Albert King - Door To Door (2003)
45 - Steve Ray Vaughan And Friends - Solos, Sessions & Encores (2007)
46 - Albert King - The Big Blues [Remastered] (2008)

Albert King (April 25, 1923 – December 21, 1992) was an American blues guitarist and singer.

Discography:

Albums:
1962 The Big Blues, King Records
1967 Born Under a Bad Sign, Stax Records
1968 Live Wire/Blues Power, Stax Records
1969 Years Gone By, Stax Records
1969 King Of The Blues Guitar, Atlantic Records
1970 Blues For Elvis - King Does The King's Things, Stax Records
1971 Lovejoy, Stax Records
1972 I'll Play The Blues For You, Stax Records
1973 Blues At Sunset, Stax Records
1973 Blues At Sunrise, Stax Records
1974 I Wanna Get Funky, Stax Records
1974 Montreux Festival, Stax Records
1974 The Blues Don't Change, Stax Records
1974 Funky London, Stax Records
1976 Albert, Tomato Records
1976 Truckload Of Lovin' , Tomato Records
1977 I'll Play the Blues For You, Tomato Records (with John Lee Hooker)
1977 King Albert, Tomato Records
1979 New Orleans Heat, Tomato Records
1979 Chronicle, Stax Records (with Little Milton)
1983 San Francisco '83, (Recorded March 2-10 1983) Fantasy Records
1983 Crosscut Saw: Albert King In San Francisco, Stax Records
1984 I'm In A Phone Booth, Baby, Stax Records
1986 The Best Of Albert King, Stax Records
1986 The Lost Session, Stax Records (with John Mayall)
1989 Let's Have A Natural Ball, Modern Blues Recordings
1989 Live, Rhino Records
1990 Door To Door, Chess Records
1990 Wednesday Night In San Francisco, Stax Records
1990 Thursday Night in San Francisco, Stax Records
1991 Red House, Essential
1992 Roadhouse Blues, RSP Records

Posthumous releases
1993 The Ultimate Collection, Rhino Records
1993 So Many Roads, Charly Blues Masters
1994 The Tomato Years, Tomato Records
1994 Funky London, Stax Records
1994 Chicago 1978, Charly Records
1995 Mean Mean Blues, King Records
1995 Live On Memory Lane, Monad Records
1996 Hard Bargain, Stax Records
1997 Born Under A Bad Sign & Other Hits, Flashback Records
1998 Rainin' In California, Wolf Records
1999 Blues Power, Stax Records
1999 Live In Canada, Charly Records
1999 The Very Best Of Albert King, Rhino Records
1999 A Truckload Of Lovin': The Best Of Albert King, Recall Records (UK)
1999 Albert King with Stevie Ray Vaughan In Session, Stax Records (with Stevie Ray Vaughan)
2001 Guitar Man, Fuel 2000 Records
2001 I Get Evil: Classic Blues Collected, Music Club Records
2001 More Big Blues Of Albert King, Ace Records
2001 Godfather Of The Blues: His Last European Tour, P-Vine Records
2002 Blue On Blues, Fuel 2000 Records
2003 Talkin' Blues, Thirsty Ear Records
2003 Blues From The Road, Fuel 2000 Records
2003 Live '69, Stax Records
2004 The Complete King & Bobbin Recordings, Collectables Records
2006 Stax Profiles, Stax Records
2006 Albert King's King's Jump, Charly Records
2007 Heat Of The Blues, Music Avenue

Recording footnotes
Despite the same title, the 1972 and 1977 albums I'll Play The Blues For You differ in content, and the later one is a collection of previously released songs by King and John Lee Hooker.
In Session (1999) was actually recorded in 1983 with Stevie Ray Vaughan. An outtake from the sessions not used for the 1999 CD, "Born Under A Bad Sign", appears on Stax Records' compilation Albert King: Stax Profiles.
Talkin' Blues (2003) was recorded live in February 1978, and includes interviews with King.
King played guitar, and sang on the Finnish rock and blues guitarist, Albert Järvisen's solo 1990 album, Braindamage or Still Alive?.
King also was a guest on the 1990 album release by Gary Moore entitled Still Got the Blues.

DVD and videos
1995 Maintenance Shop Blues (VHS), Yazoo
2001 Godfather Of The Blues: His Last European Tour DVD, P-Vine Records
2004 Live In Sweden, Image Entertainment

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ALBUM REVIEW: Steve Ray Vaughan And Friends - Solos, Sessions & Encores (2007)

Posted by Ted Drozdowski / Ron Hart on 25th May 2010

The blues-rock guitar hero's flat vaults were about abandoned if he died in an August 27, 1990, helicopter crash. This set unearths a 1978 Austin affair clue of "You Can Accept My Husband" with Vaughan as additional dabble to his afresh girlfriend, accompanist Lou Ann Barton, but it's boilerplate compared to the ahead unreleased reside performances that compose this disc's heart. Vaughan contributes teeth-baring pentatonic solos to Lonnie Mack's "Oreo Cookie Blues" at Atlanta's Fox Theatre in 1986 and brings his bullish accent to the backward dejection piano stomper Katie Webster's "On the Run" at the 1988 New Orleans Jazz & Heritage Festival. Bonnie Raitt's abnormally bawl accelerate adds breeding to a "Texas Flood" from Bumbershoot 1985 in Seattle, and if Stevie's earlier affinity Jimmie Vaughan stops by Saturday Night Reside to play accent on a 1985 "Change It," li'l bro' squeezes out agreeable fireworks. But the best cut's a amazing '88 Jazz Fest battle with Texas Telecaster blaster Albert Collins that's awash with howling, annoyed addendum and machine-gun riffing. Both are in top form. The blow is adopted from Vaughan's bedfellow appearances on others' releases or antecedent retrospectives and awning matches with dejection godfathers B.B. Baron and Albert King, as able-bodied as Johnny Copeland and A.C. Reed, Jeff Beck, Austin barrelhouser Marcia Ball, cream guitar baron Dick Dale, and David Bowie, whose "Let's Dance" alien Vaughan to the boilerplate in 1983.

The latest afterward absolution in the Stevie Ray Vaughan archive is Solos, Sessions & Encores, a accumulating that appearance him mostly in a acknowledging role. Throughout the ‘80s, the Austin guitar slinger melded dejection and bedrock and he consistently paid accolade to those that came afore him. On this CD, Vaughan joins abounding artists with the fourteen advance breach amid the flat and onstage, six of which are ahead unreleased.

The aperture clue is taken from a achievement during the recording of the concert video B.B. Baron & Accompany – A Night Of Blistering Blues. B.B. introduces the admirers to “some new claret with the blues” as Vaughan trades vocals and leads with Albert Baron and harmonica amateur Paul Butterfield on Elmore James “The Sky Is Crying.” B.B. and Lucille are alleged to accompany in.

The next four advance acquisition Vaughan as a affair man. Marcia Ball sings “Soulful Dress,” the appellation clue from her 1984 release. Vaughan’s guitar is recognizable, but it’s the sax that takes the advance until Vaughan cuts apart on the additional bridge. Next up is Johnny Copeland’s “Don’t Stop By The Creek, Son,” a swamp dejection ankle that shuffles forth at quick pace. Vaughan calmly accouterment amid aggregate in and demography the advance on saxophonist A.C. Reed’s blue active “Miami Strut.” On Bill Carter’s “Na-Na-Ne-Na-Ney,” Vaughan allotment to his accustomed complete backed by a abundant horn section.

The anthology afresh focuses on reside performances. Off 2000’s SRV box set is the attenuate amusement of Vaughan and Jeff Beck trading licks on the latter’s “Goin’ Down” from the 1984 CBS Records Convention. It’s the a lot of activating clue as you can acquaint they are blame anniversary added to abundant heights.

The actual reside advance are getting appear for the aboriginal time. Vaughan accustomed Lonnie Mack as a ample access on his playing. He co-produced and played on Mack’s “Strike Like Lightning.” A reside adaptation of “Oreo Cookie Blues” is the atomic aural recording on the album, but even the “less than clear clear” complete can’t bassinet Vaughan’s accuracy from this 1986 New Year’s Eve appearance in Atlanta and you can apprehend the army bistro it up.

Vaughan fabricated his way to the 1988 New Orleans Jazz Festival and played with “swamp ankle queen” pianist Katie Webster on the song “On The Run” and traded some hot licks with Albert Collins on a absurd active jam alleged “Albert’s Shuffle.”

On Saturday Night Reside in 1985, Jerry Hall and Mick Jagger alien Vaughan, his brother Jimmy, and Double Trouble for a awning of Doyle Bramhall’s “Change It.” It’s Vaughan at his purest on this album, glottal the lyrics and creating such a admirable sound, a sad admonition of what we’ve lost.

The oldest clue in the accumulating is Lou Ann Barton’s “You Can Accept My Husband.” Vaughan was alive in Nashville in 1978 and with Barton and W.C. Clark they were accepted as Triple Threat Revue. Vaughan’s complete is instantly apparent and sounds so acceptable it makes the adviser what took so continued to get the man a almanac deal.

The anthology closes out with Vaughan alive with three legends. Bonnie Raitt sounds abundant arena accelerate guitar on “Texas Flood” at the 1985 Bumbershoot Festival. Vaughan duets with Dick Dale, the baron of the cream guitar, on Dale’s “Pipeline” for the cine “Back to the Beach” although they recorded separately. The final clue was Vaughan’s aboriginal accession to the majority of the accepted public, David Bowie’s “Let’s Dance.”

Solos, Sessions & Encores provides a abundant mix of styles and artists Vaughan formed with over the years. Some admirers will be aghast that alone bisected of the actual is new and Vaughan isn’t the focus, abnormally because the ample $19 retail price. However, throughout his career Vaughan consistently accustomed his influences and added performers, so it is simple to accept he would accept appear an anthology just like this to advice accompany absorption to others. For those that already own some of these tracks, cat-and-mouse until the new actual appears on iTunes or a agnate account would be a acceptable decision. Otherwise, you can’t go amiss abacus this disc to your collection.

Having been too adolescent to absolutely appreciate the force of John Lennon’s afterlife in 1980, the abortive afterlife of Stevie Ray Vaughan on August 27, 1990 apparent the aboriginal time I anytime absolutely mourned over the accident of a admired artist.

I’ll never overlook the day I heard the news. It was the summer amid my green and inferior year in top school, and I was alive the day about-face at my job ripping tickets at the bounded cine amphitheater in Newburgh, New York. There was this hair rocker who acclimated to man the airheaded claw admiral adjoining to the bump allowance two canicule a week. He was the guy who bankrupt the account to us that the Chicago-bound helicopter alteration the 35-year-old Vaughan and four added cartage comatose anon afterwards demography off afterward a massive gig aperture for Eric Clapton in East Troy, Wisconsin, abrogation no survivors.

Following Vaughan’s death, my tastes in music afflicted dramatically, the artefact of getting angry on to the sounds of Bad Brains, Fugazi, Jane’s Addiction, Faith No More, and fIREHOSE from accompany and compatriots who looked alfresco of our baby boondocks box for bold, new sounds. However, my roots in archetypal bedrock remained agilely intact. And no added abreast artisan beneath 40 batten to those roots like Vaughan, which, in turn, kept such albums as Couldn’t Stand the Weather and In Step as basic to my circadian alert as Repeater and Nothing’s Shocking. He was the aboriginal guitarist I got into alone on my own, accepting aboriginal witnessed the ability of his guitar arena on MTV aback in 1984 in the video for “Couldn’t Stand the Weather”. I was absorbed anytime since. And the actuality that I would never be able to apprehend that guitar afresh in any new ablaze afterwards August 27, 1990 was ultimately what brought me such affliction aloft the account of his demise.

Fortunately, the battery of reside recordings, box sets, DVDs, and anthological abstracts (in accession to 1990’s Family Style, the so-so posthumously-released collaborative anthology with brother Jimmie Vaughan) that accept been appear in the deathwatch of Vaughan’s casual ensured that admirers like myself would abide to accumulate Stevie Ray and his fiery, Hendrixian cast of bookish dejection arena in circling on our stereos. The man had a chiefly angry ability of his instrument, which, in turn, fabricated his casework a awful approved article aloft his ascent to acclaim in the 1980s. Everyone from David Bowie to Jackson Browne to the actual dejection legends he so acquiescently aching styles from, like Albert Baron and Buddy Guy, all capital a section of him.

The anew appear Solos, Sessions & Encores marks the aboriginal accumulation that showcases just how in appeal Vaughn’s abilities were. Gathering calm a acceptable bulk of his collaborative turns with a advanced array of acts that go aback to 1978, abounding of which accept never been appear clearly before, this set is a admirable emblem for his admirers who may or may not accept been acquainted of the guitarist’s assorted ambit of influences above the blues. Sure, there are affluence of advance on Solos that abatement into the actual brand he became such a behemothic in. But the amusement actuality is the capricious amount he covered getting on display.

The aboriginal track—a actively analgesic all-star jam of Elmore James’ “The Sky Is Crying” featuring Vaughn, Paul Butterfield, Albert King, and B.B. Baron from a recorded B.B. concert at the Ebony Showcase Amphitheater in Los Angeles about 1987—certainly lays the able groundwork. From there, you aswell get a brace of previously-unavailable onstage cameos from the 1988 New Orleans Jazz Festival, one with the Iceman, Albert Collins, on a rip through his signature “Albert’s Shuffle”, and afresh a affiliation with Crescent City dejection astronomic Katie Webster on her song “On the Run”. And Katie Webster isn’t the alone changeable Vaughan had lent his blaze to, as appearances on dejection pianist Marcia Ball’s 1984 Rounder release, Soulful Dress (where he solos on the appellation track), and Nashville accompanist Lou Ann Barton’s glossy awning of Irma Thomas’s “You Can Accept My Man” from 1978 are aswell noticeably featured here. You even get a abundant ahead unreleased reside affiliation with Bonnie Raitt on his own “Texas Flood” from the 1985 Bumbershoot Festival that could actual able-bodied go down as one of the best inter-gender guitar duels in bedrock history.

But what makes Solos, Sessions and Encores such a amusement is the advance that acquisition Vaughan alive above the dejection canon. Actuality you accept Stevie Ray arrest Meters-style blue R&B with acclaimed saxophonist A.C. Reed on the active “Miami Strut”, off Reed’s 1987 anthology I’m in the Amiss Business, abundant AOR for a barbaric reside yield on Jeff Beck’s “Goin’ Down” (with the man himself) during a 1984 CBS Records Convention in Honolulu, Hawaii, and even cream music on his nearly-forgotten accord with Dick Dale on Dale’s own signature beachcomber rocker “Pipeline”, from the Annette Funicello/Frankie Avalon 1987 accurate bomb Aback to the Beach. And who could anytime overlook Vaughan’s ambiguous assignment as David Bowie’s guitarist of best for his signature ‘80s anthology Let’s Dance, the accident appellation clue of which is featured noticeably at the end of this collection.

However, annihilation on Solos, Sessions and Encores bigger displays Stevie Ray Vaughan than his own material, as the wonderful, ahead unreleased achievement of “Change It”—from a 1985 adventure of Saturday Night Reside area Stevie performs his Soul to Soul basic with his brother Jimmie—so eloquently signifies.

Lord knows who Stevie Ray Vaughn might’ve gotten down with had he lived to see 2007. A delinquent acuteness could see him palling up with the brand of the White Stripes or Wilco, or conceivably even Drive-By Truckers, although coalitions with the brand of Jonny Lang and Robert Randolph assume added realistic. Sadly, we’ll never know. And behindhand of how abounding of these abstracts are released, they will never be added than a simple band-aid for the legions of admirers whose affection charcoal chipped from the account of that acute day in August of 1990.

TRACK LISTING
45 - Steve Ray Vaughan And Friends - Solos, Sessions & Encores (2007)

1 Sky Is Crying (With Albert King, B.B. King) 07:02 174 kbps 8.76 MB
2 Soulful Dress (With Marcia Bell 03:28 182 kbps 4.50 MB
3 Don't Stop By The Creek (With Johnny Copeland) 04:07 216 kbps 6.35 MB
4 Miami Strut (With A.C. Reed) 03:00 199 kbps 4.27 MB
5 Na-Na-Ne-Na-Nay 03:13 202 kbps 4.66 MB
6 Goin' Down (With Jeff Beck) 05:31 198 kbps 7.80 MB
7 Oreo Cookie Blues (With Lonnie Mack) 06:55 221 kbps 10.94 MB
8 On The Run (With Katie Webster) 05:34 180 kbps 7.17 MB
9 Albert's Shuffle (With Albert Collins) 07:10 207 kbps 10.59 MB
10 Change It (With The SNL Horns, Jimmie Vaughan) 04:27 187 kbps 5.94 MB
11 You Can Have My Husband (With Lou Ann Barton) 02:56 205 kbps 4.30 MB
12 Texas Flood (With Bonnie Raitt) 05:54 177 kbps 7.45 MB
13 Pipeline 03:03 202 kbps 4.41 MB
14 Let's Dance (With David Bowie) 07:37 208 kbps 11.35 MB
ALBUM REVIEW: Albert King - King Of The Blues Guitar (1969)

Posted by Perry Celestino on 24th Jan 2010

Atlantic's aboriginal vinyl copy of this was comprised of Albert's Stax singles -- a few from Born Under a Bad Sign, forth with "Cold Feet," "I Love Lucy" (two of King's patented monologues), and the admirable "You're Gonna Need Me." Great stuff. Even greater, though, is the CD reissue, which includes those singles (which didn't arise on any added LPs) and all of Born Under a Bad Sign.

These 17 tunes appear from King's a lot of abundant period, his 1966-68 administration at Memphis's Stax Records. Stax arch Jim Stewart had been afraid to assurance dejection artists because he acquainted beeline dejection wouldn't cobweb with Stax's patented Memphis soul. Ironically, the admixture of King's aciculate guitar wails with the activating rhythms of Booker T. & the MGs--the Stax abode band--was what set King afar from added bluesmen. The different alloy produced archetypal afterwards classic: Booker T. Jones' rolling piano propels "Laundromat Blues." Al Jackson's boom drag supports "Crosscut Saw." The active horns of Andrew Love, Wayne Jackson, and Joe Arnold emphasis "Born Under a Bad Sign." King's accomplished and aged vocals are a absolute bout for the soul-drenched music while his affecting cord aeroembolism bound out.

This was my actual aboriginal Albert King LP. It was appear as the acme of the 1960s Dejection Mania and so did actual able-bodied with white listeners. However, the anthology is absolutely a re-release of several singles and additonal affair actual that was done at Stax during 1966-1968. The absolute adventure is that Atlantic blanket the accomplished Stax archive beneath a able administration agreement. This advance eventually to Stax's absolute annihilation in the Mid-1970s.

The anthology is a abundant overview of King's aboriginal aeon with Stax. Actually, it is a bifold album- the seminal anthology "Born Beneath A Bad Sign", with additonal cuts. All benefit advance are originally from that Stax archetypal album-the a lot of affecting Black Dejection LP of the backward sixties.

The tunes awning his abstract such as "Laundromat Blues" Albert's aboriginal Stax absolution with his soulful bifold cord bends, "Overall Junction" a address active masterpiece, that clashing Albert Collins or Freddie King tunes has no primary melody "or head". He offers "Born Beneath A Bad Sign" a tune he recorded in one yield as an overdub to the MG's abetment track, "I Love Lucy" is a abundant archetype of his talking dejection abilities (he was one of the best) and the guitar is cool raw with superb bends! "Cold Feet" a tune accounting with bagman Al Jackson, Jr (who aswell helped him on "Night Stomp" and produced his acclaimed "Live Wire" set) it is a abundant talking dejection with a archive of King licks-it was his additional accomplished charting single. "You Sure Drive A Hard Bargain and You're Gonna Need Me" are afterwards cuts that were added on the absolution of the aboriginal LP. "Bargain" was a awning a addition R&B tune with a abundant Memphis Horns blueprint and "Need Me" is a self-penned Albert Archetypal that became the base for Otis Rush's "Right Place, Wrong Time".

"Crosscut Saw" is my claimed favourite with "Personal Manager" second. Crosscut Saw was an old 1940s tune which was accustomed a rumba exhausted and still was originally appear even admitting the aboriginal band had been damaged! "Manager" is a abundant advertise for King's soloing technique. It may even be too abundant for some people! "The Actual Thought of You" and "I Almost Lost My Mind" are abundant examples of Albert's Big Band Dejection roots and his abundant tenor articulate ability. Abounding humans are befuddled by these tunes as not getting absolutely blues, but they authenticate the versatility of this genre.

"The Hunter" is a acclaimed tune that was never a hit for Albert, but was on his Bad Sign LP. Ike and Tina Tuner afterwards recorded it with abundant success. "Oh Pretty, Woman" is a able tune that has been covered abounding times (Gary Moore, John Mayall) but was never in fact a hit for Albert. It was wrtitten by WDIA's A.C. Williams and demonstrates the abutting hotlink Stax had to Black radio play (Rufus Thomas was aswell a DJ there!). "As the Years Go Passing By" is one of Albert's best apathetic dejection numbers. The best yield of this tune is to be begin on the "Hard Bargain" CD appear afterwards his afterlife and has abounding outtakes from this period! No one absolutely knows who wrote the song or area it originally came from. Dedric Malone, addition DJ is accustomed with penning it.

Finally the blood-tingling instrumental, his aboriginal in stereo, "Funk-Shun" contains his acclaimed stop breach angle from his aboriginal tune "Won't Be Hanging 'Round" (Although this byword is never in fact articulate in the tune, a charactersitic he accept to accept abstruse if he played with Jimmy Reed!). It is great, but too short! This LP is a abundant all-embracing addition to the Albert King appearance of Blues. An capital allotment of any Dejection collection!
ALBUM REVIEW: Albert King - Jammed Together with Steve Cropper and Pop Staples (1969)

Posted by admin on 20th Jan 2010

Jammed Together is somewhat of a abruptness jam disc featuring three musicians with acutely little in common. Pops Staples, Steve Cropper and Albert King. Pops Staples, the baton of the Staple singers, started his abandoned career at the accomplished age of seventy. Pops played guitar with absurd activity for a man of seventy and his articulation has been declared as asperous and sweet, sometimes chiffon but abounding of soul. Pops appear two abandoned albums, both steeped in gospel, in accession to this jam afore his afterlife on December 19, 2000. Steve Cropper was a guitarist for the accepted R&B band, Booker T. & the MGs. Cropper was aswell a affiliate of the Blues Brothers Bandage of blur and recording fame. Albert King, was, well, Albert King, guitar extraordinaire. The guitar coaction amid these three performers is aboriginal rate, exciting, sometimes blue and never dull. The guitarists alloy with adapted brightness and it is generally harder to aces out which guitarist is arena the assorted solos. Vocal performances are kept to a minimum with anniversary aerialist singing advance on one song apiece. This is Stax Records agnate to Alligators "Showdown" featuring Albert Collins, Robert Cray and Johnny Copeland. Mighty acceptable stuff. The liner addendum are dispersed and, as abundant as I would like to acclaim the accomplished advancement band, their identities are not appear in the notes.

One affair is certain...when these guys said "Jammed Together", they MEANT it; what an alarming anthology this is! Here we accept two of the blues' ancient statesmen (Pop Staples & Albert King), and the adolescent "whippersnapper" (Steve Cropper) all accumulated in one place, and the after-effects are fantastic; there's no agnosticism that the three of them had a abundant time authoritative this album!

"Jammed Together" isn't an anthology of egoistic guitar solos and noodling to amuse egos; the appellation tells you all you charge to know: this is all meat, no filler, folks. Because anniversary of the three guitarists accept actual characteristic arena styles and tones, you can actually aces them out as you accept to it.

A abundant archetype of this can be heard on the agitation active "Big Bird", area Cropper, King and Staples anniversary absorb the left, average and appropriate stereo channels respectively, but the stereo break didn't absolutely charge to be done so you'll apperceive who is who; as I said, you'll actually be able to analyze them with anniversary abandoned turn.

In accession to the aces guitar playing, all three yield turns on vocals as well; King leads off with the Ray Charles archetypal "What I'd Say", Cropper turns in a attenuate articulate on "Don't About-face Your Heater Down", and Staples on the absolutely amazing "Tupelo", area his soulful vocals and brand tremelo-effected guitar accord the clue a swampy, apocalyptic feel and mood. It's actual accessible that this song afflicted John Fogerty of Creedence Clearwater Revival, as apparent by the CCR advance "The Midnight Special" & "Born On The Bayou" alone.

Released on the Stax characterization in aboriginal 1969, "Jammed Together" is a 18-carat blues/soul classic; get it now!

PS: Please sorry my bad english. Thanks.
ALBUM REVIEW: Albert King with Otis Rush - Door To Door (1969)

Posted by Wikipedia on 17th Jan 2010

Otis Rush (born April 29, 1935 in Philadelphia, Mississippi) is a dejection musician, accompanist and guitarist. His characteristic guitar appearance appearance a apathetic afire complete and continued angled notes. With agnate qualities to Magic Sam and Buddy Guy, his complete became accepted as West Side Chicago dejection and became an access on abounding musicians including Michael Bloomfield and Eric Clapton.

Rush is awkward and, clashing abounding awkward guitarists, plays a awkward apparatus strung backward with the low E cord at the bottom. He played generally with the little feel of his aces duke coiled beneath the low E for accession . It is broadly believed that this contributes to his characteristic sound. Other guitarists who restrung upside down cover Albert King and Dick Dale. He has a wide-ranging, able tenor voice.
ALBUM REVIEW: Albert King - Born Under A Bad Sign (1967)

Posted by Wikipedia on 12th Jan 2010

Born Under a Bad Sign is a dejection anthology by Albert King, recorded amid 1966 and 1967, and appear in 1967 by Stax Records. This was the aboriginal anthology Albert King recorded on Stax, and the appellation song became a dejection standard. King played a Gibson Flying V through a solid-state Acoustic amplifier; his accent on the additional song, "Crosscut Saw," was hailed in 2004 by Guitar Player as one of the "50 Greatest Tones of All Time."

Eric Clapton carefully apish the abandoned of "Crosscut Saw" for Cream's song "Strange Brew" and the bandage covered the appellation song for their 1968 anthology Wheels of Fire. British bandage Free covered "The Hunter" on their 1968 admission anthology Tons Of Sobs, and it was a concert basic of theirs, as apparent on their 1971 anthology Free Live!. In addition, Led Zeppelin congenital elements of "The Hunter" into "How Many More Times" from their self-titled 1969 admission album. The articulate melody from "As The Years Go Passing By" aggressive Duane Allman's agreement of the capital riff from "Layla" from Derek and the Dominos' Layla and Other Assorted Love Songs.[citation needed] Glenn Danzig covered "The Hunter" on Danzig.

In 2003, the anthology was ranked amount 499 on Rolling Stone magazine's account of the 500 greatest albums of all time.
ALBUM REVIEW: Albert King - The Big Blues (1962)

Posted by admin on 10th Jan 2010

The Big Blues is a Blues anthology by Albert King, appear in 1962 by King Records. Featuring mostly songs composed by Albert King himself, this was his aboriginal anthology and the alone one afore he active with Stax Records, area he would almanac a lot of albums forth his career.

Track listing

1. "Let's Have A Natural Ball" (King) – 2:55
2. "What Can I Do To Change Your Mind ?" (King) – 2:54
3. "I Get Evil" (King) – 2:31
4. "Had You Told It Like It Was (It Wouldn't Be Like It Is)" (Thompson) – 3:09
5. "This Morning" (King) – 2:12
6. "I Walked All Night Long" (King) – 2:56
7. "Don't Throw Your Love On Me So Strong" (King) – 3:00
8. "Travelin' To California" (King) – 3:05
9. "I've Made Nights By Myself" (King) – 2:40
10. "This Funny Feeling" (Toombs) – 2:37
11. "Ooh-Ee Baby" (King) – 3:58
12. "Dyna Flow" (King) – 2:52

Albert G-d blow his soul, was artlessly the best that anytime played a dejection guitar. As a jailbait in 1969 I played agency for him afore abutting BB King's band. NOBODY anytime outplayed him on a acceptable night. His absolute timing & accent and absolute on key in-tune aeroembolism never accomplished to affect me.

Maybe some could play added notes, but no one could play one agenda better'n him. As anon as you'd apprehend him, you'd apperceive it was him and not anyone abroad burglary his licks, as so abounding have. Arguably, he may accept played & acclimatized bigger on his Stax material, but he was no slouch actuality and was able-bodied on his way appear developing his signature acerbic complete that was so different and original. He was a great, affectionate and admirable animal getting as well.

PS: Please sorry my bad english. Thanks.
Everything: Albert King

Posted by admin on 8th Jan 2010

Albert King cut his aboriginal dejection for Parrot annal in 1952 and has apparent ups and downs in the about twenty years that followed, as he pursued the career of an burghal bluesman. In afterwards years he enjoyed periods of acceptance if he recorded for Bobbin and King, but it wasn't until he came to Stax in the mid-Sixties that his career jumped. His antecedent 45 absolution ("Laundromat Blues" "Overall Junction") accepted his animation and added releases (including his now archetypal Dejection Power album) accustomed him to accomplish the move into the Fillmore and white admirers "success" on the coattails of Butterfield and Mayall. His aesthetic capabilities, however, seemed to accept broiled up with the late-Sixties absolution of King Sings King which was a afflictive failure, as King attempted to capsize aboriginal Presley hits into his Born Under A Bad Sign (King's aboriginal and a lot of ablaze Stax album) format. With this, a lot of recent, absolution Albert King recaptures all that he abandoned.

From the aperture doom-laden guitar addition into "Honky Tonk Woman" through King's blues-ballad analysis of "Like A Road Leading Home" he convinces, both vocally and musically, that the blaze is still there. All that was bare was actual and a ambassador to bake it and Don Nix has done a accomplished job on both counts. Other outstanding tunes cover the "autobiographical" "Bay Area Blues," a gruff, slide-guitar about-face of Taj Mahal's "She Caught the Katy and Left Me A Mule To Ride," and the moralistic "Everybody Wants To Go To Heaven," the closing absolute a brilliant, high-register guitar solo. Speaking of guitar-work, analysis out King's rave-up acerbity on the uptempo "Going Back To luka," that flows, with a "Mystery Train" beat, and galvanizes the aspect of King's access to the blues. An access that, I trust, will aftereffect in added albums like this in the abreast future.

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