A collection of Albert King's recordings for Stax, Roadhouse Blues doesn't quite live up to its title, as it isn't down and dirty like the blues played at an out-of-the-way juke joint. Instead, this is slick, funky soul-blues that emphasizes the blues somewhat but certainly has a bit of the slick, keyboard-and-horn-fueled funkiness of the '70s. There are a couple of oddities here – a version of "Killing Floor" that has a vocal, a live version of "Match Box Blues" from Wattstax – but this is best thought of as a nice sampler of Albert King's somewhat unheard and definitely underrated early-'70s work.
Atlantic's original vinyl edition of this was comprised of Albert's Stax singles – a few from Born Under a Bad Sign, along with "Cold Feet," "I Love Lucy" (two of King's patented monologues), and the beautiful "You're Gonna Need Me." Great stuff. Even greater, though, is the CD reissue, which includes those singles (which didn't appear on any other LPs) and all of Born Under a Bad Sign. Need I say more?
All of King's recordings for the Bobbin label are on this 22-track disc, including everything from his 1959-1963 singles for the label and previously unissued alternate takes of "Why Are You So Mean to Me," "The Time Has Come," and the previously unissued "Blues at Sunrise." While these are decent journeyman urban blues/R&B, they're not up to the level of his subsequent recordings for Stax. Albert King just sounds too much like the records another King – B.B. King, that is – was making during the same era. There are similar horn arrangements and alternation of stinging guitar with smooth, confident vocal phrasing. It's a tribute to Albert King's abilities, in a way, that it does sound confident, and not the work of an imitator, despite the similarities.
The Blues Masters series, much to Rhino`s credit, adopts an expansive definition of blues, allowing the likes of Count Basie, Blind Lemon Jefferson, Muddy Waters and even Louis Prima admission. There is none of the purist`s quibbling over strict 12-bar form or the relative significance of prewar and postwar styles.
What Rhino delivers instead is the blues in all its myriad guises. This music is old and new, black and white, acoustic and electric, folksy and jazzy, performed by women and men, and yet it is all still blues at its core.
Albert King recorded a lot in the early '60s, including some classic sides, but they never quite hit the mark. They never gained a large audience, nor did they really capture the ferocity of his single-string leads. Then he signed with Stax in 1966 and recorded a number of sessions with the house band, Booker T. & the MG's, and everything just clicked…
Curious, isn't it, how some of the greatest guitarists in post-war Blues history all shared the same regal surname? And entirely fitting. Freddie, Albert, and Earl King royally ruled the Blues kingdom with their brilliant innovations and seminal licks. All of them greatly impacted the Rock field as well. Eric Clapton cites Freddie as a major influence, while Stevie Ray Vaughan was an Albert acolyte. Jimi Hendrix did a dynamite version of Earl's 'Let The Good Times Roll.' These three kings of the electric Blues guitar played a mammoth role in defining the sound of post-war Blues guitar. Their influence remains monumental to this day.
Relieved from the pressures of having to record a hit single, Gary Moore cuts loose on some blues standards as well as some newer material. Moore plays better than ever, spitting out an endless stream of fiery licks that are both technically impressive and soulful. It's no wonder Still Got the Blues was his biggest hit…