Mike Natale:
Listened to: MP3
The first three notes may sound like it’s leading into “Take My Breath Away”, but instead it take you to one of the greatest blues songs of all time. “If it wasn’t for bad luck/I wouldn’t have no luck at all” is a lyric that generations of songwriters since have been trying to replicate, and King’s voice communicates that yearning without feeling forced. Most “praised” blues musicians are praised for their guitar playing (King is great, but he’s now Buddy Guy or B.B. King) and then when they sing, they just sing lyrics, without feeling them. King pulls the emotion out of every word, forgoing sometimes an intentionally bluesy sound in exchange for truly understanding what he sings.
Even though this was recorded in 1967, it sounds so much older, and that’s what makes it really special. All the modern techniques of blues, yet with that vintage feel. Just listen to “Kansas City”. The guitar sounds like Elvis, the brass sounds like Glenn Miller, and it all sounds like magic.
You think track 4 will be the Roy Orbison, bouncy-flouncy “Oh, Pretty Woman”, but you’d be wrong. Instead you get a badass bass riff, and the heaviest blues song I’ve ever come across that hasn’t been a Cream redo.
“Down Don’t Bother Me” has always bothered me, because King’s voice and guitar sound way too far away. It’s almost like the bassist mixed this track and got way too self-indulgent. Look, bass is nice, but I’m here for Albert. But all is restored on How Many More Times…I mean “The Hunter”. Yep, that’s right. Zeppelin ripped Mr. King off. But listen to that man’s voice warble. As the tracks fading out, it leaves you wishing it’s still continuing somewhere, and you can just find it.
“I Almost Lost My Mind” amazes me, because of all the people that recorded it, Cream wasn’t one of them. I mean, come on. This sounds like classic Cream. Albert does a good rendition, but not the best (which, in my opinion, was Blind John Davis), yet to be honest, he makes up for it by doing the absolute best performance of “Personal Manager” I’ve ever heard, so, you know, balances it out (for those of you who don’t get it, he co-wrote that one). “Personal Manager” is also the longest track on the album by a full minute, and is well worth it, since I think it’s King’s best solo on the entire album.
“Laundromat Blues” introduces a piano that, if it was on the album before, was highly understated. It’s a nice touch, adding more of a smoky gin-joint feel to the track. The echo on King’s voice also helps, and while he still sounds distant, now the effect works, as it makes him seem alone, even when surrounded by a band.
We then move on to a sultry saxophone, smooth piano, and the sexiest performance of “As Years Go Passing By” ever recorded, and close the album on “The Very Thought Of You”, showing that Albert can be as much a crooner as Sinatra or Dean Martin ever was (Ok, not Sinatra, but Dean Martin, sure). Tha last two tracks are he most unique, the most interesting choices, and the perfect way to close the album.
So, in conclusion, not only should Albert King’s Born Under A Bad Sign be on this list, it should be a shitload higher than second-to-last. Just listen, and you’ll agree.
-Mike
Thanks for reading. See you tomorrow for #232: Mr. Tambourine Man by The Byrds.
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