Remembering Albert King (1923-1992)

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Albert King: The Velvet Bulldozer of Blues

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Biography: From the Cotton Fields to Blues Royalty

Albert King (1923–1992), born Albert Nelson on April 25, 1923, in Indianola, Mississippi, emerged as one of the most influential blues guitarists of the 20th century. Raised in Forrest City, Arkansas, King grew up singing in a family gospel group but found his true calling in the blues. His early life was marked by manual labor—he worked as a bulldozer operator and even drove a tractor—earning him the nickname “The Velvet Bulldozer” for his raw power and smooth delivery.

King’s musical journey began in the 1950s. Self-taught on a homemade guitar, he adopted a unique approach: though left-handed, he played a right-handed Gibson Flying V upside-down, with the low E string at the bottom. This unorthodox technique shaped his distinct bending style and tone. After minor success with early singles like “Bad Luck Blues” (1953), King’s career skyrocketed in the 1960s when he signed with Stax Records. Backed by Booker T. & the M.G.’s, he recorded timeless tracks like “Born Under a Bad Sign” (1967), cementing his status as a blues icon.

Touring relentlessly into the 1980s, King influenced generations of rock and blues musicians, from Eric Clapton to Stevie Ray Vaughan. His towering presence—both physically (he stood 6’4”) and musically—left an indelible mark until his death from a heart attack on December 21, 1992.

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Music Style: The Bent-Note Blues

Albert King’s guitar style redefined blues phrasing and technique:

• String Bending Mastery: King’s signature move was his dramatic, fluid string bends, executed with his thumb instead of fingers. This created a vocal, weeping quality, particularly in his minor pentatonic runs.
• Call-and-Response: He intertwined his gruff, soulful vocals with guitar licks, mimicking conversational exchanges.
• Economy of Notes: Unlike flashy players, King prioritized emotion over speed, using sustained notes and strategic silence to build tension.
• Tone and Gear: His Gibson Flying V (“Lucy”) paired with a solid-state Acoustic Amplifier produced a sharp, cutting tone. He often tuned down a half-step and used a capo to transpose keys while retaining his signature licks.

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Licks and Harmony: The Albert King Box

King’s improvisational vocabulary centered on a handful of licks that became foundational for blues and rock:

• The Minor Pentatonic “Box”: He favored a specific fingering pattern in the minor pentatonic scale (e.g., the key of B minor using a capo on the 3rd fret for open G tuning). This “box” allowed him to bend strings effortlessly, as heard in “Crosscut Saw.”
• Bend-and-Release Licks: His solos often featured slow, quarter-step bends followed by sudden releases, creating a sighing effect (“As the Years Go Passing By”).
• Rhythmic Syncopation: King’s phrasing leaned heavily on off-beat accents, syncopating with the rhythm section to enhance groove.

Harmonically, King stuck to 12-bar blues structures but infused them with:

• 9th and 13th Chords: Adding jazz-like extensions for depth.
• Unison Double-Stops: Playing two strings in unison for a fuller sound.

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Influences: Roots and Reverberations

• Early Inspirations:
• T-Bone Walker: King admired Walker’s smooth single-note lines and stage presence.
• Blind Lemon Jefferson and Lonnie Johnson: Their Delta and urban blues styles shaped his melodic sensibilities.
• Legacy of Influence:
• Eric Clapton: Covered “Born Under a Bad Sign” with Cream, calling King “the greatest blues guitarist ever.”
• Stevie Ray Vaughan: Emulated King’s bending technique and recorded “Texas Flood” in his honor.
• Jimi Hendrix: Borrowed King’s thumb-based bending for songs like “Voodoo Child.”

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Legacy: The Left-Handed Architect

King’s impact transcends genres:

• Blues-Rock Bridge: His Stax recordings became a blueprint for 1970s rock guitarists, including Joe Walsh and Gary Moore.
• Awards and Honors: Inducted into the Blues Hall of Fame (1983) and Rock and Roll Hall of Fame (2013).
• Cultural Icon: His songs have been sampled in hip-hop (e.g., Kanye West’s “The New Workout Plan”) and featured in films like Office Space (“Born Under a Bad Sign”).
• Educational Impact: His licks are studied in guitar curricula worldwide, epitomizing “less is more.”

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Notable Works

• Signature Songs:
• “Born Under a Bad Sign” (1967): Co-written by Booker T. Jones, this became a blues standard.
• “The Hunter” (1967): A gritty anthem later covered by Free and Led Zeppelin.
• “I’ll Play the Blues for You” (1972): A soul-blues masterpiece with aching vulnerability.
• Essential Albums:
• Born Under a Bad Sign (1967): The Stax debut that defined modern electric blues.
• Live Wire/Blues Power (1968): Captures King’s fiery stage presence.
• I’ll Play the Blues for You (1972): Blurs lines between blues, soul, and funk.
• In Session (1983): A legendary collaboration with Stevie Ray Vaughan.

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Filmography: Blues on Screen

Though not a film actor, King’s performances were immortalized in:

• Wattstax (1973): Performed “I’ll Play the Blues for You” at the historic Watts festival.
• The American Folk Blues Festival (1960s): European tours documented in DVD collections.
• Austin City Limits (1976 and 1987): Televised performances showcasing his raw power.

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Discography Highlights

• Early Career (1950s–1960s):
• The Big Blues (1962): His debut LP on King Records.
• Born Under a Bad Sign (1967): Landmark Stax release.
• 1970s Peak:
• I’ll Play the Blues for You (1972): Features the iconic title track.
• Albert (1976): Includes the funk-blues hybrid “Chump Change.”
• Late Career:
• San Francisco ’83 (1983): Live recording with soulful renditions of “Stormy Monday.”

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Documentaries and Videos

• Documentaries:
• The American Folk Blues Festival 1962–1966 (2003): Features King’s early European performances.
• Antone’s: Home of the Blues (2004): Highlights his influence on Austin’s blues scene.
• Iconic Performances:
• “Born Under a Bad Sign” (1967)
• “I’ll Play the Blues for You” Live (1972)

“In Session” with Stevie Ray Vaughan (1983), Live:

Track List:

1 – Born Under a Bad Sign – 01:15 2 – Texas Flood – 9:26 3 – Call it Storm Monday – 29:30 4 – Match Box Blues – 39:53 5 – Don’t Lie to Me – 47:28 6 – Pride and Joy – 57:45 7 – I’m Gonna Movie to the Outskirts of Town & Outro – 01:03:40

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Conclusion: The King’s Enduring Reign

Albert King’s legacy lies in his ability to distill raw emotion into every bent note and growling vocal. His innovative techniques bridged Delta blues with rock modernity, inspiring countless musicians to embrace simplicity and soul. As Stevie Ray Vaughan once said, “Albert taught me how to make one note cry.” From smoky juke joints to international stages, King’s music remains a testament to the power of authenticity—a bulldozer of sound that forever reshaped the blues landscape.