Customer Reviews

Thursday Night in San Francisco

5 star:		(9)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

It's hard to believe that 34 years has passed since Albert King recorded this CD during a live performance one Thursday night at the Fillmore Auditorium in San Francisco on June 27, 1968. It's even harder to believe that Albert and his Gibson Flying V guitar sound as fresh today as they did back then. There is some fantastic playing on this CD as is evidenced by "Drifting Blues" and "I've Made Nights By Myself". Albert had such incredible guitar playing ability that it was, and remains, a standard by which all blues players seek to attain. While, a lot of new blues guitarists are often compared to the great Stevie Ray Vaughan, those comparisons overlook the individual that SRV idolized and emulated-Albert King. In fact, Albert influenced the playing of many of the greatest players including SRV, Eric Clapton, Jimi Hendrix, Buddy Guy, Billy Gibbons and even Kenny Wayne Shepherd. On this CD you will experience what a consummate live performer Albert was. Some have described his playing as down right ferocious and sometimes scary. One thing is for sure, Albert is often imitated, but he will never be duplicated. The Wednesday Night makes a great companion to this disc so seek it out as well.

I am a huge blues fan and mostly like the live discs. Most critics agree that BB King's Live at the Regal is the greatest live blues disc ever recorded, but I disagree. It is very good, but this disc is the best. This guy just jams for 53 minutes. There is not a bad song. Just listen to Call it Stormy Monday, Drifting Blues and I'm Gonna Move to the Outskirts of Town and you will certainly agree. A must have for any blues fan.

Albert King might play the same handful of licks all night long, but he'll knock you dead with 'em every time. Now THAT takes some doing! I agree with the review below-- I like this CD a lot more than B.B.'s Live at the Regal. Albert is full of confidence, he's totally in the groove, and you sense that he's in his happy, first blush of fame with "crossover" success. He really swings, and his timing is unbelievable. My friend and I were listening to some "ambient" nineties music the other day, and we quickly had enough and said: "forget this-- put on some Albert King, Thursday Night in San Fran!" We realize that there's no getting around it-- you can't beat a raw, thrilling, table-pounding groove, with hot, precise guitar licks. King rarely wastes a note here. It's been said many times, but 'tis true: he creates an exquisite, knife-edged tension by what he DOESN'T play. He sure was "in the zone" during that Thursday Night in 1968-- that's why this album is an all-time keeper.

There are two types of songs on this disc, shuffles and slow gut rippers. They even pretty much alternate one after the other on the disc. While it sounds like things could get boring after a couple songs, have no fear, we're dealing with Mr. Albert King.

While there are only two speeds, a gaggle of familiar blues standards, and the same notes on each solo, it really doesn't matter. The emotional whallop that Albert delivers is as intense as it gets. There are many long, searing solos that spew hell and brimstone. Then there is Albert's thick, sandpaper voice which is a beauty in itself. This is the blues, a man with limited ability and unlimited soul, playing on a stage.

Here is the legendary Albert King demonstrating why he managed to influence artists like Jimi Hendrix, Buddy Guy, and Eric Clapton. If the word "stinging" applies to blues playing, then let it settle-in here: Stormy Monday Blues, I'm Gonna Move To The Outskirts Of Town, a couple of numbers associated with other "Kings", San-Hozay (Freddie King) and You Upset Me Baby (B. B. King).
San Hozay (wish they kept that one up for at least four minutes!), Crosscut Saw and Oo-ee-Baby (the closer) are uptempo and are as cleanly performed as they are mixed. To me, blues *today* is a bit bottom-heavy, and the lead vocal lacks presence. Listen to this historic set and learn what a true blues set and *recording* should sound like.

Some guys play guitar to impress girls. They play some cool sounding licks and are rewarded with oohs and aahs. Other serious guitar players impress other guitar players, but their talent surpasses the mortal mind, and they might not appeal to a wide audience. Albert King is a guitar players' guitar player that everyone can enjoy.

More than a few of history's great guitar players have admired Albert King's talent. Yet his "soul" (as he calls it), song selection and sex-appeal delight blues fans everywhere. If you're a serious guitar player or just a blues fan who has never picked up an instrument, then you'll like Albert King. He still has a following from a brief trip to Argentina shortly before his death. Even Latinos like this guy!

And as with all blues, Albert King is at his best LIVE! On stage where he is energized by the encouragement of the crowd, with no suit-wearing producer calling the shots, the Night Prowler truly shines.

If you like the blues, you'll LOVE (!!!!) this CD. The song selection is good. Albert King is hot. The crowd is enthusiastic. What a great recording of a great performer.

As a true blues fan I personally disliked most of Al's funky music which made him famous. I am grateful for al's playing pure blues for the true blues fans on the Thursday night.

"Thursday Night in San Francisco" was recorded at the same series of Fillmore West concerts that produced the classic "Live Wire/Blues Power" album, as well as its companion volume "Wednesday Night in San Francisco".

It was in fact recorded the day after the "Wednesday" concert, on June 27, 1968, but it doesn't duplicate a single track from "Wednesday Night in San Francisco". King is backed by a tight if slightly unremarkable four-piece band (drums, bass, organ, second guitar), and the fidelity is quite excellent.
The set list is nicely varied, too. Among the eight tracks you'll find a tough rendition of Memphis Slim's ubiquitous "Nobody Loves Me (Every Day I Have The Blues)" with some terrific, muscular drumming by Theotis Morgan and a sizzling guitar solo. An enegergy-filled cover of B.B. King's "You Upset Me Baby". A swaggering "Crosscut Saw". And a soulful take on the slow "I'm Gonna Move To The Outskirts Of Town", Casey Bill Weldon's 1930s classic.

I have to rank "Thursday Night" slightly below "Wednesday Night"...it's a terrific record, but to me it lacks that little bit of extra magic that the Wednesday set had. Maybe it's just the material, or maybe King's playing isn't quite as divinely inspired as the day before. Or maybe it's just me. You get spoiled, you know.
Anyway, this is an immensely enjoyable record all the same, and the three live albums from King's 1968 Fillmore West series would be as good a place as any to start appreciating the legacy of the "velvet bulldozer". Fans will certainly want one, and casual finds should find a lot to like here as well.

This is AWESOME Albert King live guitar playing!!! He was at his best on stage!!! Every song is soooo good!! I'd venture to say this is the best blues I've ever heard and I've heard a lot. This includes Hendrix, BB King, EC and SRV. His guitar sound is
sooooo sweet whether he plays soft or loud. It's true feeling...
Wednesday Night and Live Wire/Blues Power are also MUSTS!!!
Albert King is thE TRUE KING OF THE BLUES GUITAR!!!

This is a good blues album that show cases one of the greats doing a typical live show. While I love Albert King and live blues music something is missing for me on this album. Sound quality is not great and is backing band is nothing special on this album. Check out In Sessions or Live Wire for better material for Albert King, one the great blues guitarist of all time.