Customer Reviews

Born Under a Bad Sign

5 star:		(31)
4 star:		(4)
3 star:		(1)
2 star:		(0)
1 star:		(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

Pairing Albert 'King' Nelson with Booker T. Jones and his Memphis Group for the "Born Under A Bad Sign" sessions was a brilliant idea, commercially as well as artistically. The top-notch rhythm section of Donald "Duck" Dunn and Al Jackson, jr., add a muscular swagger to King's best-ever batch of songs without ever resorting to sleek and stereotypical funk, Steve Cropper adds sympathetic second guitar, and the sublimely well scored Memphis Horns compliment King's sizzling lead guitar lines perfectly.

This 1967 album was initially conceived as a series of singles recorded over 15 months between March of 1966 and June of 1967, but soon compiled and released in LP form to immediate critical acclaim.
"Born Under A Bad Sign" is Albert King at his most inspired, and most influential, too, a blueprint for young white guitarists like Eric Clapton, Stevie Ray Vaughan, and even Jimi Hendrix and Joe Walsh. And it's no wonder. This is an immensely strong and unusually varied collection, spanning swaggering R&B, passionate soul-blues, mid-tempo hardcore blues grinds, and smouldering slow numbers, and most Albert King-compilations contain at least half a dozen songs from "Born Under A Bad Sign".

True, some of King's sets are edgier than this, and songs like "As The Years Go Passing By" and the very delicate cover of Ray Noble's jazz ballad "The Very Thought Of You" could have had more bite, and the first half of the album is certainly stronger overall than the second.
But there are so many highligts here that it's hard to say anything against the common notion that "Bad Sign" is indeed King's best studio album. Songs like the oft-covered "Crosscut Saw", King's own "Down Don't Bother Me", the sizzling "Laudromat Blues", and the soulful and exquisitely arranged title track are among the all-time classics of mid-to-late 60s electric blues.

A terrific record, plain and simple. The only thing you have to be aware of is that Atlantic Records has a version of this album as well, titled "King Of The Blues Guitar", and that one includes ALL of the material that King recorded with Booker T & the MGs, not just the eleven sides that ended up on the album. Check that one out, too; it's not remastered like this one, but the sound is good enough, and the material is even stronger than on the Stax version.

It would appear that "King Of The Blues Guitar " contains the same tracks with additional songs thrown in. However this album was groundbreaking/trendsetting when it first was released.*I'm not seeking to use these terms flippantly as is the case with many reviewers.By the term "trendsetting" i mean to say it actually influenced thousands of guitarists including Eric Clapton who stole the lick from the intro of the title song as well as the melody for "Years Go Passing By" and used it for his intro to "Layla". The cover was striking and it's still rated as Albert's best ever release. "Personal Manager" for me is the standout track because Albert pulls out all the stops and ends up way past the 17 fret.

This is an exceptional blues album from Albert King. It includes such classics as Born under a bad sign, Oh pretty woman, the hunter, and Laundromat blues. Buy this album and listen to Albert's guitar sing and then you will recognize why such greats as stevie ray Vaughan and eric clapton site king as a major influence.

YIkes. So good it makes my hair stand on end.

"Born Under A Bad Sign," (1967), was a seminal, great hit-making record for blues giant Albert King, and was the first record he made when signed to the legendary Memphis-based Stax. It was a partnership made in musical heaven; the talent the record company threw at this release was extraordinary. Booker T. Jones, of the studio's "Booker T. and the MGs," co-wrote the many-times covered title song, as well as "The Hunter." King was, of course, a greatly talented guitarist, but the studio gave him Steve Cropper as backing guitar. Add Jones, and Isaac Hayes, as pianists; Donald ("Duck") Dunn on bass; Al Jackson Jr. on drums. And don't forget the wailing Memphis Horns: Wayne Jackson, Andrew Love, and Joe Arnold. Finally, I can't find it anywhere in print, but I believe I read/saw somewhere that the great stride pianist Champion Joe Dupree, who provided the same service on the Glasgow-born blues shouter Maggie Bell's magnificent take of the same song, provided the piano on King's "As the Years Go Passing By."

The title song here, King's signature tune, lives on, and has been covered by such talent as Eric Clapton, and Cream. "I Almost Lost My Mind," by Ivory Joe Hunter, and "The Very Thought of You," by Ray Noble, show King taking a quick trip through mainstream music. "Kansas City" was a Leiber-Stoller ditty. "Crosscut Saw" is a masterpiece of concision. And for funky blues, try "Personal Manager," which King himself had a hand in writing, or "Down Don't Bother Me," another one King wrote, on which his powerful attack and purity are well displayed. Or "Laundromat Blues," which was King's first hit single for Stax, in which we meet a musician who can be full of sass. And the moody "As the Years Go Passing By," by Deadric Malone, one of my all-time favorite songs, though I must admit I love it slightly better in Maggie Bell's femme-oriented version that was recorded on Atlantic inQueen of the Night.

King was born in Indianola, Mississippi, on April 25, 1923, as, coincidentally, was B.B. King - no relation, nor is the third blues King, Freddie King. However, Albert did, perhaps, like to fudge things a little: he called his favorite Gibson Flying V guitar Lucy, as B.B. King calls his guitar Lucille. I actually did get to listen to Albert live, quite a few times; his power could energize a room. In fact, I followed Albert around for two weeks observing him on his first, possibly his only, tour of the United Kingdom, in, I believe, 1969. I almost didn't get to go. I was, initially, to be traveling on a ticket meant for a Memphis Horn. But when the impresario of the tour discovered the Horns weren't coming, he was furious, and cashed in those tickets. However, I'd already pre-sold my article on Albert to "Cavalier," a magazine current at the time. So Stax bought me a ticket.

At any rate, B.B. is still with us, and still making music, but Albert, who based himself in East St. Louis, passed of a heart attack, as a relatively young man, on December 21, 1992. He could bend a guitar to his will in ways we're not likely to see again. A must.

This is really a fantastic blues album. Not even close to the most technical thing out there, but Albert King just pours out emotion into his guitar. It's a very soulful performance.

The Blues have always been much more popular in concert settings than on record. Truth is, there's not a wealth of terrific Blues studio records that appeal to a broad audience. If there were more Blues albums as excellent as "Born Under A Bad Sign", there's no question there'd be a much larger audience.

If you've only ever heard the title song by Cream, do yourself a favor and get this to hear King's smoking version. No worries that this will be an album that starts with a hit followed by a lot of filler. There's a lot more searing guitar work on "Crosscut Saw" and "Kansas City" and then on throughout the album. Every song is terrific. "As The Years Go Passing By" is an achingly beautiful, if mournful, slow blues with a haunting solo from King. One of my all time favorite Blues songs. Closing the album with the Jazz chestnut "The Very Thought Of You" might seem a curious choice but King reworks it as a Blues number and it really works.

This could not be a five star album if King weren't getting excellent support and Booker T and the MGs deliver that support with gusto. Their crack playing perfectly complements King on this outstanding collection of songs without ever overshadowing him.

This is one of the very best Blues guitar albums and, come to that, one of the finest Blues albums period. If you were starting a Blues collection with as few as five CDs, this would have to be one of them. If you're looking for a first purchase of Albert King, I'd strongly recommend this over the excellent "Very Best of Albert King". It's not just that King never made a better Blues record. Nobody else did either.

Born Under a Bad Sign marked the history of the blues. This reissue is essential for blues lovers.

Albert King is a blues master and "Born Under a Bad Sign" is one of his most prominent achievements.On this album the band consisted of all top-notch musicians a few of which would rise to stardom. There was Steve Cropper on guitar[Blues Bros.],Booker T and Isacc Hayes(Shaft)-keyboards, Donald "Duck" Dunn on bass, Al Jackson Jr on drums , and those Memphis Horns rounding it out. Booker T. and Donald" Duck" Dunn recently did work with Neil Young and toured with CSNY on their 2000 reunion tour.

When you listen to this collection of songs you get an uncanny sense of deja vu. Like you've heard a snippet of a song somewhere before.For instance, "The Hunter" when King is singing " I've got you in the site of my love gun", immediately I recognized that line; However ,I remember it as Robert Plant bellowing it from "How Many More Times" off Led Zepplin's 1969 debut release. Or the style that Albert King had of talking in the songs. For instance "Crosscut Saw" he says "Now watch this" before breaking into a hot lead like he was going to do a trick and trying to get your attention. It made me think of Jimi when he would say "Move over rover, and let Jimi take over". And his guitar playing is profound,laying down a foundation for guitar greats like Jimi Hendrix to build their stellar style upon. It was with great insight that Bill Graham, the founder of the FILLMORE EAST and FILLMORE WEST had Albert King billed with the psychedelic San Francisco bands and white blues bands rising out of England in the late 1960's. Groups like the Yardbirds ,Cream [Eric Clapton] ,Led Zepplin [Jimmy Page], The Jeff Beck group, John Mayall and the Bluesbreakers. Albert King is quilted throughout the blues we know today making his contribution legendary. If you love the blues I strongly recommend "Born Under a Bad Sign" as a worthy addition to your collection.