My first serious interest in the electric guitar just happened to coincide with my rising interest in the blues. I discovered most traditional and classic blues “standards” through versions recorded by the heavier outfits that were trying to reinvent many of these songs during the 1960s blues revival.
In high school I began making friends with various musicians with varied tastes. This eventually led me to become involved in every parents’ nightmare: basement and garage jam sessions.
I tried my hand at guitar but ended up on the drums because I had no guitar and all but one of my friends had right-handed guitars and I was left-handed. Interestingly, my left-handed friend could play right-handed guitars upside-down with no trouble at all. I never understood how he could handle a guitar so easily. Much like Eddie Van Halen, he was one of those kids who spent most of his after-school hours sitting at the end of his bed noodling away.
Over the years I continued to pick up right-handed guitars and eventually got to the point where I could play some basic progressions withuot provoking the desire to self-immolate of those who surrounded me.
Having focused my musical expression on drumming, I never did get around to buying a guitar, but I have been considering it lately. Left-handed guitars are much easier to find these days. The trouble is, I have become accustomed to playing right-handed guitars upside down.
While it may be mind-boggling to some musicians, Albert King managed to make a career out of playing right-handed guitars upside-down.
Biography from Wikipedia:
One of the “Three Kings of the Blues Guitar” (along with B. B. King and Freddie King), he stood 6′ 4″ (192 cm) and weighed 250 lbs (118 kg) and was known as “The Velvet Bulldozer”. He was born Albert Nelson on a cotton plantation in Indianola, Mississippi. During his childhood he would sing at a family gospel group at a church. He began his professional work as a musician with a group called In The Groove Boys, in Osceola, Arkansas. He also briefly played drums for Jimmy Reed’s band and on several early Reed recordings. Influenced by blues musicians Blind Lemon Jefferson and Lonnie Johnson, but also interestingly Hawaiian music, the electric guitar became his signature instrument, his preference being the Gibson Flying V, which he named “Lucy”.
King was a left-handed “upside-down/backwards” guitarist. He was left-handed, but usually played right-handed guitars flipped over upside-down so the low E string was on the bottom. In later years he played a custom-made guitar that was basically left-handed, but had the strings reversed (as he was used to playing). He also used very unorthodox tunings (i.e., tuning as low as C to allow him to make sweeping string bends). A “less is more” type blues player, he was known for his expressive “bending” of notes, a technique characteristic of blues guitarists.
He recorded his first disc in 1953 for Parrot Records in Chicago, but it made no impact. His first minor hit came in 1959 with “I’m a Lonely Man” written by Bobbin Records A&R man and fellow guitar hero Little Milton, responsible for King’s signing with the label. However, it was not until his 1961 release “Don’t Throw Your Love on Me So Strong” that he had a major hit, reaching number fourteen on the U.S. Billboard R&B chart. In 1966 he signed with the Stax record label. Produced by Al Jackson, Jr., King with Booker T. & the MGs recorded dozens of influential sides, such as “Crosscut Saw” and “As The Years Go Passing By”, and in 1967 Stax released the album, Born Under a Bad Sign. The title track of that album (written by Booker T. Jones and William Bell) became King’s best known song and has been covered by many artists (from Cream to Homer Simpson).
Another landmark album followed in Live Wire/Blues Power from one of many dates King played at promoter Bill Graham’s Fillmore venues. It had a wide and long-term influence on Jimi Hendrix, Eric Clapton, Robbie Robertson, and later Gary Moore and Stevie Ray Vaughan.
In the 1970s, King was teamed with members of The Bar-Kays and The Movement (Isaac Hayes’s backing group), including bassist James Alexander and drummer Willie Hall adding strong funk elements to his music. Adding strings and multiple rhythm guitarists, producers Allen Jones and Henry Bush created a wall of sound that contrasted the sparse, punchy records King made with Booker T. & the MGs. Among these was another signature tune for King with “I’ll Play the Blues For You” in 1972.
King influenced others such as Mick Taylor, Warren Haynes, Mike Bloomfield and Joe Walsh (the James Gang guitarist spoke at King’s funeral). He also had a impact on contemporaries Albert Collins and Otis Rush. Clapton has said that his work on the 1967 Cream hit “Strange Brew” and throughout the album Disraeli Gears was inspired by King.
As he hit his mid-sixties King began to muse about retirement, not unreasonable given that he had health problems. Nevertheless, when near to death, he was planning yet another overseas tour.
King died on December 21, 1992 from a heart attack in Memphis, Tennessee.
This compilation comes from King’s Tomato Records releases [1976-1979].
Albert King – The Tomato Sessions
1) Cadillac Assembly Line
2) Nobody Wants A Loser
3) Truckload Of Lovin’
4) Cold Women With Warm Hearts
5) Sensation, Communication Together
6) Guitar Man
7) Ain’t Nothing You Can Do
8) Running Out Of Steam
9) Call My Job
10) Love Shock
11) Chump Change
12) Good Time Charlie
13) The Feeling
14) I Got The Blues
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