b. Albert Nelson, 23 April 1923, Indianola, Mississippi, USA,
d. 21 December 1992, Memphis, Tennessee, USA.
Albert grew up with 12 brothers and sisters on a plantation, singing in a gospel group. He taught himself how to play on a homemade guitar. He played left-handed by holding his guitar upside down (with set for a right-handed player).
His playing may not have been lightening fast or incredibly difficult, but no one could pull more from a single bend than Albert.
His previous occupation was bulldozer operator and still you can hear this power in his music. Albert created the most cutting and immediately identifiable guitar style ever. Inspired by Blind Lemon Jefferson, King quit singing in a family gospel group and took up the blues. Albert worked around Osceola, Arkansas, with a group named "In the groove boys" before migrating north and ending up in Gary,Indiana, in the early 1950s. For a while, King played drums behind bluesman Jimmy Reed.
Despite the fact that his work has been overshadowed by that of his regal namesake B.B. King, this exceptional performer was one of the finest in the entire blues/soul canon.In 1953, King convinced Parrot label owner Al Benson to record him as a blues singer and guitarist. His first solo recording, 'Bad Luck Blues', was released in that year, but it was not until the end of the decade that he embarked on a full-time career. His early work fused his already distinctive fretwork to big band-influenced arrangements and included his first successful single, 'Don't Throw Your Love On Me Too Strong', number 14 on the R&B charts in 1961.
However, his style was not fully defined until 1966 when, signed to the Stax label, he began working with Booker T. And The MGs. This tightly knit quartet supplied the perfect rhythmic punch, a facet enhanced by a judicious use of horns. 'Cold Feet', which included wry references to several Stax stablemates, and 'I Love Lucy', a homage to King's distinctive 'Flying V' guitar, stand among his finest recordings. However, this period is best remembered for 'Born Under A Bad Sign' (1967) and 'The Hunter' (1968), two performances that became an essential part of many repertoires including those of Free and Cream.
King became a central part of the late 60s 'blues boom', touring the college and concert circuit. His classic album, Live Wire/Blues Power, recorded at San Francisco's Fillmore Auditorium in 1968, introduced his music to the white rock audience. More excellent albums followed in its wake, including King Does The King's Thing, a tribute collection of Elvis Presley material, and Years Gone By.
His work during the 70s was largely unaffected by prevailing trends. 'That's What The Blues Is All About' borrowed just enough from contemporary styles to provide King with a Top 20 R&B single, but the bankruptcy of two outlets dealt a blow to King's career. A five-year recording famine ended in 1983, and an astute programme of new material and careful reissues kept the master's catalogue alive. King remained a commanding live performer and an influential figure. A new generation of musicians, including Robert Cray and the late Stevie Ray Vaughan continued to acknowledge his timeless appeal, a factor reinforced in 1990 when King guested on guitarist Gary Moore 's 'back-to-the-roots' collection, Still Got The Blues.King was inducted into the Blues Foundation's Hall of Fame in 1983.He continued touring throughout the 1980s and early 1990s, playing festivals and concerts, often with B.B. King. He died of a heart attack in 1992, just prior to starting a major European tour.
Discography
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