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Blues. Albert King. Born Under The Bad Sign.

Тема: Blues

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Re: Blues. Albert King. Born Under The Bad Sign.
Автор: john lee hooker   Дата: 09.08.06 20:48:09   
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2SergeK:

>2john lee hooker:
>>Не знаю, чей текст
>Там сцылочка, уважаемый!
ссылку вижу, аффтара нет...Поэтому не знама, чей текст :-(
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Re: Blues. Albert King. Born Under The Bad Sign.
Автор: john lee hooker   Дата: 09.08.06 21:06:54   
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Вот интересная статья с забавными фактами, стыбринная из MOJO CLASSIC Blues Heroes ( http://www.mojo4music.com )Вот интересная статья с забавными фактами, стыбринная из MOJO CLASSIC "Blues Heroes" ( http://www.mojo4music.com )
ВLUЕ ВLООDED
Famous for his Flying Vs and cutting put-downs, Albert King was more than just a hero figure for Hendrix and Clapton. The heavyweight bluesman was rated by R&B fans and hippies alike.
WORDS* INTERVIEWS CHARLES SHMR MURRAY

MOUNTAINOUSSOUTHPAW blues guitarist Albert King was both literally and metaphorically a giant of the blues. Literally, because he was physically a very big man - six foot four, weighing somewhere between 250 and 300 pounds - and metaphorically because, as the late critic Robert Palmer put it, "his impact was as inescapable among blues players as John Coltrane's influence was in jazz." Not only was his guitar style one of the defining voices of postwar electric blues but, thanks to his association wtth the heyday of Stax Records and the gold-plated, copper-bottomed Memphis grooves supplied by Steve Cropper, Isaac Hayes, Booker T and the rest of the McLemore Avenue studio posse, he was also a regular presence on the US R&B charts during the second half of the '60s. Of the six singles he released during his first two years with the label, only one failed to rack up a Top 50 placing.
Albert King died in 1992, aged 69, but in his prime he was the idol of Eric Clapton, Jimi Hendrix, Stevie Ray Vaughan and Gary Moore; the latter wrote a tribute to him. King Of The Blues. He was B.B. King's near-contemporary and his closest rival forthe adulation of the white rockers and blues players who helped spread both men's reputations beyond the urban ghettos of the US. The two even shared the same birthplace and a similar propensity for namingtheir Gibson guitars: Albert's trademark Flying V was Lucy; B.B.'s various 335s and 355s were always Lucille. Albert claimed his was named after US TV star Lucille Ball, that his Lucy was named before B.B.'s Lucille. Connoisseurs of
irony may also relish the fact that Albert King was the name of B.B. King's father, though Albert the guitarist, despite occasionally (and untruthfully) claiming B.B. as his half-brother, was actually born Albert Nelson.
King was also a favourite on the underground ballroom circuit, starting out in February 1968 as the opening act on a Fillmore West bill headlined by jimi Hendrix and John Mayall's Bluesbreakers (then featuring Mick Taylor on guitar). 'The least contrived, certainly the most 'old-fashioned' of the three, Albert King was nonetheless the only consummate artist among them," enthused Rolling Stone. "The only one who could play on the full emotional range of his audience with as much facility as he used to sustain a note on his guitar." By June he was back at the Fillmore, this time as a headliner, to cut Live Wire/Blues Power, appearing on the album sleeve with a flower in his mouth, looking as big and peaceful as Ferdinand The Bull and cementing his newfound status as a hippie favourite.
Every Albert King show began pretty much the same way. His band would strike up his intro music - Herbie Hancock's composition.
Watermelon Man—and Albert would stroll on stage, puffing on his pipe, hat on head. He would remove his hat, place it carefully on top of his amp, pick up his Flying V, listen to the band for a while to check the groove he wanted was in place, then let loose with one of those patented, stinging two-note riffs, simultaneously full and piercing, trebly and rich. It rarely took him more than a single chorus to have the entire hall hanging on his every note.

HIS PERSONALITY WAS as big as his sound and physical frame. Anecdotes clung to him like barnacles. John Lee Hooker used to delight in telling the story of how a female fan once approached King brandishing a camera and asked fora photo. He turned away, growling, "Buy my album, there's a picture of me on that!" He was renowned for publicly berating soundmen and backup musicians who weren't giving him what he wanted to hear; one bassist was fired on stage. There was also the time in 1983 when he was recordings TV special with up-and-coming guitar hotshot Stevie Ray Vaughan. Back then Stevie Ray was all over the radio with the incandescent Albert King-style licks he'd sprayed on to David Bowie's current smash single, Lef s Dance. Albert knew Stevie Ray well from years of Austin jam sessions in the legendary Antone's blues bar, but this was a public showcase and he was in full-on head-cutting competitive mode. "Yeah, I heard you doin' my shit on there," he told the younger man, on-camera. "I'm gonna go up there and do some of your'n."
Later on, during the lunch break, SRV heard Albert asking if anybody had an emery board. He didn't give it another thought until, later on,when he was playing a solo, he looked up to see Albert disdainfully filing his nails. "[He was] sort of giving me this sidelong glance," Vaughan later told Dan Forte. "I loved it! Lookin' at me like, Uh-huh, I got you swingin' by your toes. He's a heavy cat".
You're probably thinking, Wow, what a mean, cranky, old sod. Yet he could also be compassionate and generous. During their respective periods of substance-abusing dark nights of the soul, both Eric Clapton and Stevie Ray Vaughan received informal counselling and words of warmth and wisdom from the man they both acknowledged as an absolute master. It was all part of the paradoxical dialectic of both the man and his music; of his bigfat croon and mean slicing guitar; of a left-handed guitarist playing a right-hand-strung guitar. As former Guitar Player editor Tom Wheeler once put it in a liner note, "Albert King is the Muhammad Ali of blues guitar - a heavyweight with finesse, a bruiser with grace, a master of both the knockout and the nuance." Or, as a female fan plrt it rather more succinctly at one of his celebrated '60s shows,
"How can he sing so sweet and play so dirty?'
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Re: Blues. Albert King. Born Under The Bad Sign.
Автор: john lee hooker   Дата: 09.08.06 21:09:35   
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продолжение...

One of 13 children, Albert Nelson -the man who would be Albert King-was born on 25 April 1923, in Indianola, Mississippi. His preacher father abandoned the family when Albert was five, andin1931 his mother relocated her brood to Forest City, Arkansas, just across the Mississippi river. Like many young guitarists, he started out with a 'diddley-bow": a length of wire pulled from a broom and secured at both ends to the wall of a shack. When he was 18, he invested $125 in an electric guitar he found in a pawnshop in Little Rock. He loved the swing bands of the era, including Woody Herman and the Dorsey Brothers, and vocal groups both secular and sacred, such as the Mills Brothers and the Golden Gate Quartet Like many other youngguitaristsofhis generation, though, his main man was T-Bone Walker. "I wanted to play like him for a longtime," he once confessed.
Yet he didn't Despite being left-handed, he never re-strung his guitar to accommodate the. left-handed approach to conventional playing.
Throughout his musical life, his instruments remained strung backwards, with the low strings closest to his.toes and high strings atthe top. Most guitarists bend strings upwards from the bottom; Albert bent his down from the top. Playing a right-handed guitar without reversing the strings is an idiosyncrasy he shared with fellow southpaws Otis Rush, Bobby Womack and -would you believe?- Bob Geldof. It's one reason he sounded the way he did, another being his unusual minor-key tuning.
When it came to day jobs, Albert drove a bulldozer: Albert Goldman later wrote, "He boasts he could pick up a carpet without scratching the floor." He also gained musical experience wherever he could, playing guitar in jump bands, singing lead tenor in a touring gospel outfit called The Harmony Kings, based in South Bend, Indiana and briefly, during a stay in Gary, Indiana, hometown of the Jackson 5, playing drums behind Jimmy Reed. (Incidentally, another distinguished singer-guitarist, the late Son Seals, later served a stint as Albert's drummer, claiming to have played on Live Wire/Blues Power, though the credits suggest otherwise.)
ALBERT WAS 30years old when he made his recording debut, cutting a ь solitary single, Bad Luck Blues/Be On Your Merry Way for Chicago's tiny Parrot label. The single went nowhere, so Albert went back to his bulldozer. Relocating to St Louis, he tried his luck again, this time with the Bobbin label. His records sold well enough for the company to keep recording him, though chart success proved elusive until Bobbin was absorbed by the Cincinnati-based King label, forwhom James Brown had scored his early hits. His first King single, the slow
blues Don't Throw Your Love On Me So Strong, appeared in the lower reaches of the R&B charts in 1962, prompting the release of his first album. The Big Blues, which incorporated both King and Bobbin sides.
These records rendered Albertan influential guitar voice even before his more celebrated Stax period. In 1965, a young Eric Clapton, fresh out oftheYardbirds and ready to join up with John Mayall, borrowed a copy of The Big Blues from blues superfan Ray Topping; Mike Bloomfield, Clapton's US equivalent, even adopted Don't Throw Your Love On Me So Strong as a signature song, eventually recording it some years later on The Live Adventures Of Mike Bloomfield And Al Kooper.Somewhere along the line, Albert acquired the guitar which would become his trademark forthe rest of his life.
In an attempt to shake off their stodgy, conservative image, Gibson had introduced theFlyingVin 1958. However, it failed to catch on, and the company dropped it from-their catalogue thefollowingyearafter manufacturing barely 100 instruments. One went to Lonnie Mack, one ended up with Dave Davies of The Kinks and one became Albert . King's Lucy. When his original V was eventually retired it was replaced by a succession of custom-built copies with his name pearl-inlaid on the fretboards. Apart from the anomalous cover photo of his final Stax album,which depicted him with a white Stratocaster, he never played anything else. "Albert's such a monster," wrote Albert Goldman, "that he makes that long Flying V look like a country fiddle."
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Re: Blues. Albert King. Born Under The Bad Sign.
Автор: john lee hooker   Дата: 09.08.06 21:14:03   
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конец...конец...

After that things slowed up again, apart from a few inconsequential 1965 singles forthe obscure Coun-Tree label. Then, one day in 1966,Albert walked into the record store occupying the foyer of a converted cinema on East McLemore Avenue in Memphis, Tennessee.
Estelle Axton (the 'ax1 of Stax Records' founding dynasty; her brother Jim Stewart was the'Sf), who ran the company's retail operation, had been trying to persuade both her sibling and The MGs guitarist Steve Cropper, the label's de facto A&R boss, that Stax ought to add some blues to its catalogue. 'They didn't think blues would sell," she reminisced. "I tried to convince [them] by showing/them/ how many records I was selling on these different artists like Little Milton, Bobby 'Blue' Bland and junior Parker."
After an Indiana-based songwriter named Sandy Jones had recently come in right off the street with a song called Laundromat Blues, "Miz Axton" even had a hot blues tune ready to go, just waiting forthe right artist to cut it. Now, big as life and trying to hustle himself a new record deal, here was Albert King, whose work Miz Axton knew from stocking his records in the shop. Said Axton: "I said, Well, if s gonna take a lotof convincing,'cause we're doing R&B, not blues. But the first thing they're gonna tell you is that if you've got a song the' re gonna listen to you. It just so happens I've got one. So I let him hear Laundromat Blues."
THE REST IS history. BookerT&The MGs drummer Al Jackson Jr adopted the new arrival as his personal production project. Albert cut the song with the Stax house band, and by April, Laundromat Blues was at 29 on the R&B chart, even though Albert- only notionally literate, and having to memorise lyrics rather than read them-forgot the last verse during the session. His summer follow-up, the funk-rocking Oh Pretty Woman, failed to chart, but that was the last time he and the Stax crew missed.
'The guys at Stax," Albert told writer Alan Paul in the last major interview before his death, "were real good for playing with different grooves
and helping me find the right one. I liked playing with them because they were good ideas people: they'd twist things around into different grooves. It worked real good."
It did indeed. Those funky grooves gave Albert's records a hot, contemporary R&B feel which no other bluesman could match. Crosscut Saw, Born Under A Bad Sign, Cold Feet and I Love Lucy followed Laundromat Blues into the charts. What's more, Eric Clapton's 1967 solo on Cream's Strange Brew quoted Albert's Oh Pretty Woman solo note for note, while the following year Cream covered Born Under A Bad Sign on the Wheels Of Fire album. Jimi Hendrix and his pal Buddy Miles even had a party piece where they'd sing Albert King solos in perfect unison.
Naturally, it couldn't last. The original Stax crew started to disintegrate under a variety of pressures: the turf wars engendered by their 1967 European package tour; the death of Otis Redding; the assassination of Dr Martin Luther King Jr; the rift with their distributor and collaborator, Atlantic, all described with characteristic verve and insight in Peter Guralnick's Sweet Soul Music. Some of Stax's greatest triumphs still lay ahead-longtime company backroom boy Isaac Hayes' breakthrough to superstardom with Shaft, Black Moses and the rest; the massive Wattstax concert where Albert was one of the performers - but the skids were under the jewel of Memphis soul.
Cut at Muscle Shoals and in Los Angeles, as well as in the classic Stax studio in the back of the old movie theatre, production of Albert's records passed from Al Jackson to others, including Don Nix, Henry Bush and Allen Jones. Album concepts too became increasingly strained, not least the Elvis tribute album, King Does The King's Things. And while his last great Albert King album for Stax, I Wanna Get Funky, was cut in 1972, it didn't meander out into the stores until 1977, two years after the now-bankrupt company finally closed its doors.
Like a great bluesman should, Albert just kept on going. He stayed on the road, cut a few live albums, made new records for smaller labels such as Tomato, Utopia and Fantasy. The older he got, the harder he found it to learn new, original material. The last all-new album released in his lifetime was 1984's I'm In A Phone Booth, Baby, the title track of which provided a boost for an up-and-coming singer/songwriter/guitarist named Robert Cray.
A SIT TURNED out, Albert outlived his protege Stevie Ray Vaughan by not much more than a year, dying in Memphis of a massive heart attack in December 1992. He'd been talking about retirement foryears, but never quite got around to it. "I've got my bus all outfitted for fishing," he told Alan Paul. "I'm going to drive all over the South - Mississippi, Alabama, Arkansas, Tennessee - anywhere there's fish."
His final creative act was to team up with one last collaborator, playing on guitarist Gary Moore's Still Got The Blues. He was full of warm words for his new young friend: 'To me, Gary and Stevie Ray Vaughan were two of our best young players. I was sure hurt when we lost Stevie. I wanted to see him and Gary hook up together. I wanted to see that concert. I don't care where it was; I would have caught a plane." But he also sounded a warning note: "I told him to slow it down, double up on his licks-play every other one—so thatyou could feel what he's doing. If you play too fast or too loud, you cancel yourself out."
Albert King was one of the grand archetypes of postwar blues guitar. B.B.King, who'll be 80 this year, is the last remaining giant of his generation; even Buddy Guy—once referred to as one of the "younger bluesmen"-- is almost 70. Mean, moody and magnificent, he was the Robert Mitchum of the blues. Every blues player worthy of the name dips into the Albert King lick-bag now and again, but nobody ever quite captured the essence of his sound, The King is dead. Long live The King.
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Re: Blues. Albert King. Born Under The Bad Sign.
Автор: Bog   Дата: 09.08.06 21:23:25   
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Не знаю если бы я хотел проиллюстрировать заигрывание Кинга с фанком я бы все-таки вспомнил не I’ll Play The Blues For You, а I Wanna Get Funky этот альбом более подходит для подобной иллюстрации.
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Re: Blues. Albert King. Born Under The Bad Sign.
Автор: john lee hooker   Дата: 09.08.06 21:28:59   
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2Bog:

>Не знаю если бы я хотел проиллюстрировать заигрывание
>Кинга с фанком я бы все-таки вспомнил не I’ll
>Play The Blues For You, а I Wanna Get Funky этот
>альбом более подходит для подобной иллюстрации.

Бить можэт...Но фсётки заигрывания у Альберта, мне показалося, были робкими. Фсё жэ оба Вами названных альбома обращены были больше к тхэ блюзу. Чуть меньше соула. Ну и фанка совсе чуток.
Внимание  
VIDEO!!!
Автор: SergeK   Дата: 13.09.06 01:15:11   
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KING & VAUGHAN IN SESSION 1


KING & VAUGHAN IN SESSION 2


KING & VAUGHAN PLAY STORMY MONDAY

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Re: Blues. Albert King. Born Under The Bad Sign.
Автор: SergeK   Дата: 06.10.06 23:15:18   
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Stevie Ray Vaughan - Albert King- 1983 In Session Stormy Monday


Don't Lie To Me


Born Under A Bad Sign


Matchbox Blues

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Re: Blues. Albert King. Born Under The Bad Sign.
Автор: SergeK   Дата: 02.03.07 21:19:04   
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Внимание  
Re: Blues. Albert King. Born Under The Bad Sign.
Автор: SergeK   Дата: 26.03.07 02:16:51   
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Albert King & Gary Moore- Stormy Monday '90


Albert King - 1981 - Born Under A Bad Sign


Albert King at the 1975 Memphis Blues Festival.

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Re: Blues. Albert King. Born Under The Bad Sign.
Автор: SergeK   Дата: 09.04.07 20:45:35   
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Albert King - Why Are You So Mean to Me

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Re: Blues. Albert King. Born Under The Bad Sign.
Автор: SergeK   Дата: 11.04.07 01:14:24   
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Внимание  
Re: Blues. Albert King. Born Under The Bad Sign.
Автор: SergeK   Дата: 12.04.07 11:11:20   
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Albert King - Move to the Outskirts

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