Albert King - Born Under A Bad Sign - AudioSoundMusic
Albert King - Born Under A Bad Sign - AudioSoundMusic
Albert King - Born Under A Bad Sign - AudioSoundMusic
Albert King - Born Under A Bad Sign - AudioSoundMusic

Albert King - Born Under A Bad Sign

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Albert King - guitar, vocal [click here to see more vinyl featuring Albert King]

Andrew Love, Wayne Jackson, Joe Arnold (The Memphis Horns); Booker T. Jones, Isaac Hayes (p); Steve Cropper (g); Donald "Duck" Dunn (b); Al Jackson, Jr. (dr)

Written by Booker T. Jones (A1), William Bell (A1), R.G. Ford (A2), Jerry Leiber (A3), Mike Stoller (A3), A.C. Williams (A4), Albert King (A5), Al Jackson Jr. (A6), Booker T. Jones (A6), C. Wells (A6), Donald Dunn (A6), Steve Cropper (A6), Ivory Joe Hunter (B1), Albert King (B2), David Porter (B2), Sandy Jones (B3), Deadric Malone (B4), Ray Noble (B5)


1 LP, standard sleeve

Original analog Master tape : YES

Heavy Press : 180g

Record color : black

Speed : 33 RPM

Size : 12'’



Record Press : Pallas

Label : Speakers Corner

Original Label : Stax

Recording : March 1966 - June 1967 at Stax Studios, Memphis (TN)

Production : Jim Stewart

Originally released in 1967

Reissued in Jan 2018


Tracks : 

Side A

                1. Born Under A Bad Sign

                2. Crosscut Saw

                3. Kansas City

                4. Oh, Pretty Woman

                5. Down Don’t Bother Me

                6. The Hunter

Side B

                1. I Almost Lost My Mind

                2. Personal Manager

                3. Laundromat Blues

                4. As The Years Go Passing By

                5. The Very Thought Of You


Reviews :

« Albert King recorded a lot in the early '60s, including some classic sides, but they never quite hit the mark. They never gained a large audience, nor did they really capture the ferocity of his single-string leads. Then he signed with Stax in 1966 and recorded a number of sessions with the house band, Booker T. & the MG's, and everything just clicked. The MG's gave King supple Southern support, providing an excellent contrast to his tightly wound lead guitar, allowing to him to unleash a torrent of blistering guitar runs that were profoundly influential, not just in blues, but in rock & roll (witness Eric Clapton's unabashed copping of King throughout Cream's Disraeli Gears). Initially, these sessions were just released as singles, but they were soon compiled as King's Stax debut, Born Under a Bad Sign. Certainly, the concentration of singles gives the album a consistency -- these were songs devised to get attention -- but, years later, it's astounding how strong this catalog of songs is: "Born Under a Bad Sign," "Crosscut Saw," "Oh Pretty Woman," "The Hunter," "Personal Manager," and "Laundromat Blues" form the very foundation of Albert King's musical identity and legacy. Few blues albums are this on a cut-by-cut level; the songs are exceptional and the performances are rich, from King's dynamic playing to the Southern funk of the MG's. It was immediately influential at the time and, over the years, it has only grown in stature as one of the very greatest electric blues albums of all time. » AllMusic Review by Stephen Thomas Erlewine 

It took more than four decades of patient hard work until a discriminating congregation could proclaim Albert King as one of the three kings of the electric blues, alongside B. B. King and Freddie King. Albert had a tough but highly motivated beginning, playing blues on a guitar he had made himself. Later he bought a really good instrument, then came a couple of promising songs, and a series of successful singles made under a contract with Stax Records in Memphis. Finally, late in life, King landed on the sunny side with "Born Under A Bad Sign". The album became one of the most influential recordings in the history of the blues. King’s music was appreciated by white people too, which smoothed his path out of small clubs and on to big live events.

Right from the title song, he travels along familiar tracks in the blues world, occasionally making a detour to hectic, soulful realms ("Crosscut Saw") and letting himself be carried away by strident winds ("Kansas City"). Over and over again, the musicians surprise one with ever new sound colourings, as in the hum and buzz of "Oh, Pretty Woman", the brusque admonitory "Down Don’t Bother Me", or the swinging fiddling of "The Hunter".



Allmusic : 5 /5 , Discogs   4,64 / 5  , Rate Your Music : 3,83 / 5

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