1 comments about Hard Bargain.

1. This cd is a collection of outtakes, alternate versions, and various rare tracks from King's stretch at Stax records. It says a lot about the quality of King's recordings that these leftover tracks are better than most bluesmen's greatest hits! Absolutely no one could bend strings like Albert King, and Stax always provided him with a first-rate backing band. Usually outtakes albums like this are only recommended for fans who already own the other releases, but I would totally recommend "Hard Bargain" for ANYONE interested in hearing some great blues.

3 comments about Born Under a Bad Sign.

1. ... and under a half moon on the decline: This is one amazing blues album, doubtlessly one of the greatest ever recorded, and one of the most influential records in all of music history. Because in 1966-67, when Albert King got together on a total of no more than five days with the legendary Booker T. Jones and the MGs, Isaac Hayes, and a recording team of the likewise legendary Stax records to produce this album, the blues was quietly on its way out; in danger of being sidelined by psychedelia and the rock music revolution started by the Beatles and the Rolling Stones. That this did not happen is due, not least, to Albert King and "Born Under a Bad Sign."
   
   Already seasoned musician when the album was recorded, Mississippi-born and Arkansas-raised Albert (Nelson) King was a man who perfectly understood to employ minimal construction to maximum effect; to fully exploit even the most basic elements of a blues tune and use his exquisite sense of timing, and subtleness on the one hand and emphasis on the other, rather than dazzling the listener by a frenzied race all over the fretboard. ("He can take four notes and write a volume," renowned guitarist Mike Bloomfield once said about him.) This album is a perfect example of that style, and it promptly proved so influential that King's style would be taken up, in short order, by a whole new generation of guitar players, most notably Peter Green, Eric Clapton (listen to Cream's "Disraeli Gears," in particular its title track "Strange Brew," which unabashedly emulates, note-for-note, the guitar solo of "Personal Manager") and Jimi Hendrix, who like Albert King was a "leftie" and in the habit of turning his guitar upside down, with the bass strings at the bottom - and whose respect for King caused him to forever be reluctant to share a stage with his idol, although a lucky audience at San Francisco's Filmore West did see them appear together on the club's opening night.
   
   But this album did not only prove to be one of the most influential ones in electric blues in general; it also constitutes the cornerstone of Albert King's own musical legacy, with its Booker T. Jones/Al Bell-written title track, which has since been recorded by everyone from Paul Butterfield to its inclusion of the CD based on TV's "Simpsons;" and such songs as "Crosscut Saw," "Oh Pretty Woman," "The Hunter," "Personal Manager," and of course King's first Stax single, "Laundromat Blues." Partly R & B record, not least due to the participation of the Memphis Horns (Wayne Jackson, Andrew Love and Joe Arnold), who provide a frame and additional layers of sound to King's guitar, to the studio band (Steve Cropper, Donald "Duck" Dunn and Al Jackson, Jr.), the album is a product of its time only in the length of the songs, which are generally tied to the 3 1/2-minute limit set by the then-prevailing mandates of radio airplay. Yet, at heart, this is purely blues, from the title track's first powerful riff to the quiet mood of the closing "The Very Thought of You;" and from the feeling of being down and out (summed up, deadpan, in the title track's chorus: "If it wasn't for bad luck, I wouldn't have no luck at all") and the tale of a no-good woman who "kept on foolin' around till I got stuck on [her]" ("Oh Pretty Woman") to the grating guitar and verbal punches of the "Laundromat Blues" ("You better hear my warning ... I don't want you to get so clean, baby, you just might wash your life away"). Albert King's early gospel training shines through in every soulful note of songs such as "I Almost Lost My Mind" and "As the Years Go Passing By," and last but not least the album also includes King's own "Down Don't Bother Me" and the Jerry Leiber/Mike Stoller classic "Kansas City."
   
   Obviously feeling the need to convince an uncertain audience to give the record a try, Deanie Parker's 1967 liner notes summed up the prevalent blues cliches by recommending the album to anybody who had ever been hurt by a lover, deceived by their best friend or broke and "ready to call it quits" and promising: "Albert King has the solution if you have the time to listen ... he'll get through to you." Well, "solution" may be a bit over-optimistic - but there sure is plenty of feeling on this album, and some of the finest guitar solos ever recorded. And that in and of itself, as well as the name Albert King, should be more than enough of a recommendation to give the album a try.
   
   Also recommended:
   In Session
   Live Wire/Blues Power
   Blues at Sunrise: Live at Montreux



2. A true, all time classic. The personell, the music, the style. This album being out of print proves that the record industry is not a music industry.



3. An often overlooked classic, which features multiple blues "standards" , (soon to be cribbed by the likes of Eric Clapton, and Stevie Ray Vaughn) this pivotal electric blues record is in full swing on the excellently mastered (if overpriced) Mobile Fidelity edition. The kick of Alberts' rhythm section (here Booker T.and the MG's with Steve Cropper) really frees up the master to concentrate on his phenomenal soloing. This album needs to be bought, and quickly.

No comments about Mojo Mamas.

No comments about Blues Guitar Masters.

No comments about Blues Masters, Vol. 17 : More Post-Modern Blues.

2 comments about Foolish Man.

1. Although this is Ken's first solo outing, Saydak is not really a "young gun". For many years he's played a main role in the blues circuit being the man on the keys, the man behind bluesmen such as Johnny Winter, Lonnie Brooks, Bonnie Lee, Mighty Joe Young to name a few. Former member of the original band Big Shoulders where, for the first time, he's been not only the "man on the keys" but he's stepped out front as a lead singer too, showing us how good he can handle each song vocally. Now, his Delmark first solo release fully proves Ken's skills as a songwriter also. Yes, because -WATCH OUT - among a bunch of well chosen covers, what knocked me out here were his self penned tunes, each and every one is first rate: from "Mama Please" to "Shoppin' and snackin'" to the hymn to those who consider solitude as a healing balm, "Time I spend alone", these lyrics are witty, smart, full of humor and testify the attitude of this man to look deeply through human condition. Backed by ex Big Shoulders Ron Sorin on harp and Jon Hiller on drums, with some occasional bassist to complete the line up, Ken's gravel and sandpaper-like voice shines through a wide range of musical influences that go from traditional piano blues to some kind of New Orleans flavour throughout some jazzy feel too. My personal advice: don't pass this one by and check it out!



2. This is one of the finest performers I have ever heard live and his album reflects it. Many of his songs are originals, both musically entertaining and with thought provoking lyrics. Ken Saydak is a superb pianist and his voice reminds me of Eric Clapton. Get this album and try to catch this band live at Andy's Jazz Club in Chicago or elsewhere.

3 comments about To Know You Is to Love You.

1. An album often overlooked in B.B. King's long and prolific recording career; he began moving in a more soulful direction with his 1970 album "Indianola Mississippi Seeds", and continued this trend with his next two releases, "Guess Who" (1972), and this one. While the musical approach on "To Know You Is To Love You" is more soulful, King doesn't stray very far from his blues roots, as evidenced on the tracks "I Can't Leave" and his own "Thank You For Loving The Blues".

   In many ways, this album and "Guess Who" are nearly identical; both bearing distinctive horn arrangements, courtesy of the Memphis Horns. King latched onto the then-popular brassy, soul sound of the early 70's and it worked for him. The title track was co-written by Stevie Wonder and Syreeta Wright, and Wonder makes a guest appearance on keyboards on most of the album. My favorite track here is "Respect Yourself", with it's funky, guitar and bass-driven groove and socially-conscious lyrics sung with authority by King.

   Even as King was entering his third decade as a performer when "To Know You Is To Love You" was released in 1973, he proved that he was as fresh and vibrant as ever, and was able to effortlessly change with the times. Unfortunately, this and many of his 70's albums are becoming harder to find. This is a wonderful album, one worth seeking out; I recommend it highly!




2. I had this one back in college and the stylus on my turntable got a lot of action. Less known today than many of his earlier and later releases, the disc features some interesting work from the blues master. Stevie Wonder-penned tunes highlight the disc and King's soothing vocal delivery is a treat.

   B.B.King, like his name says, reigns!




3. This has never dated. BB King meets Memphis Horns.Probably his best vocal performance coupled with sublime blues licks. Backing vocalists also shine in what is a Great Blues/Soul crossover album.

2 comments about Honeydripper's Duke's Mixture.

1. This is a perfect piano Blues album, featuring the talents of the great Roosevelt Sykes. There is not a weak song on this album. "Yes, Lawd", "Miss Ida B." and "Mislead Mother" are particularly enjoyable. To me, Sykes was better than all the rest; Memphis Slim, Sunnyland Slim, Eddie Boyd, etc. Do yourself a favor and pick this disc up!



2. Fantastic blues. Seminal. Good recording, modern fidelity (a lot of the great classics have poor tonal range.)

1 comments about Airbusters.

1. Hip Linkchain was a Chicago blues singer and guitarist who, like so many of his contemporaries, never achieved much fame in music. This CD, first released by Black Magic records in the late 80's, is his best. It was cut at two seperate sessions with a different band at each, and on each set everything clicks perfectly. Hip was in solid form throughout, his lowdown singing and tough guitar are both great on every cut, and the majority of the song's were written by him, not just covers of the same old standards. The CD also features a live cut at the end, a version of the old chestnut "Diggin' my Potatoes".
   Hip Linkchain never received much recognition for his talents, and since he died in 1989 it will be hard to shine a light on his career. There are a few other of his CD's availiable but this is definitely the first one to get.

1 comments about Jungle Swing.

1. Amazing album! If you know anything about the blues you will truly enjoy this album. Johnny brought Stevie Ray up through the ranks and taught him the ropes, Stevie later returning the favor and playing on Johnny's "Texas Twister" album right after he blew up and made a guest appearance on David Bowie's smash "Let's Dance."
   
   This marks Johnny's last and probably best album. Johnny's entire personnel spanning his entire career make an appearance. From Bobby Kyle and Joel Perry to Johnny himself, you are in blues guitar heaven. The rhythm section is simply schmokin' and tight as hell. A must have for any blues aficionado!