Albert King - Wednesday Night In San Francisco (1990)
Albert King - Wednesday Night In San Francisco (1990)
Blues | EAC Rip | Flac (Image) + Cue + Log | MP3 CBR 320Kbps | 7 Tracks
Covers Included | Stax | CDSXE 031 | ~259 + 110 Mb | HF.com + SM.com
Blues | EAC Rip | Flac (Image) + Cue + Log | MP3 CBR 320Kbps | 7 Tracks
Covers Included | Stax | CDSXE 031 | ~259 + 110 Mb | HF.com + SM.com
Recorded in 1968, along with LIVE WIRE/BLUES POWER and Thursday NIGHT IN SAN FRANCISCO, this Albert King concert album shines the spotlight on a blues legend playing at the height of his powers. On this seven-song set at San Francisco's Fillmore Auditorium, the St. Louis-based guitarist truly gets his mojo working and schools the predominantly hippie crowd in the ways of the blues, offering up sinister, simmering takes on classics such as "I Get Evil" and "Born Under a Bad Sign." Although King is backed by a band on this date, the group is wise enough to stick to minimal accompaniment, allowing King's bold, expressive vocals and electrifying lead work to carry each song. As on LIVE WIRE/BLUES POWER, King opens with an upbeat cover of Herbie Hancock's soul-jazz hit "Watermelon Man," proving that the staunch bluesman could certainly mix it up if he felt so inclined. While many other fine King live recordings are available, this is one of his best–essential for devoted fans.
Albert King - Wednesday Night In San Francisco (1990)
Albert King Biography:
Albert King (April 25, 1923 – December 21, 1992) was an American blues guitarist and singer.
Albert King was truly a “King of the Blues”. Along with B.B. King and Freddie King, Albert King is one of the major influences on blues and rock guitar players. Without him, modern guitar music would not sound as it does — his style influenced both black and white blues players from Otis Rush and Robert Cray to Eric Clapton and Stevie Ray Vaughan. It’s important to note that while almost all modern blues guitarists seldom play for long without falling into a B.B. King guitar cliché, Albert King never did — he had his own style and unique tone from the beginning.
Albert King played guitar left-handed, without re-stringing the guitar from the right-handed setup; this “upside-down” playing accounted for his difference in tone, since he pulled down on the same strings that most players push up on when bending the blues notes. King’s massive tone and totally unique way of squeezing bends out of a guitar string had a major impact. Many young white guitarists — especially rock & rollers — were influenced by King’s playing, and many players who emulate his style may never have heard of Albert King, let alone heard his music. His style is immediately distinguishable from all other blues guitarists, and he was one of the most important blues guitarists to ever pick up the electric guitar.
Born in Indianola, MS, but raised in Forrest City, AR, Albert King (born Albert Nelson) taught himself how to play guitar when he was a child, building his own instrument out of a cigar box. At first, he played with gospel groups — most notably the Harmony Kings — but after hearing Blind Lemon Jefferson, Lonnie Johnson, and several other blues musicians, he solely played the blues. In 1950, he met MC Reeder, who owned the T-99 nightclub in Osceola, AR. King moved to Osceola shortly afterward, joining the T-99’s house band, the In the Groove Boys. The band played several local Arkansas gigs besides the T-99, including several shows for a local radio station.
After enjoying success in the Arkansas area, King moved to Gary, IN, in 1953, where he joined a band that also featured Jimmy Reed and John Brim. Both Reed and Brim were guitarists, which forced King to play drums in the group. At this time, he adopted the name Albert King, which he assumed after B.B. King’s “Three O’Clock Blues” became a huge hit. Albert met Willie Dixon shortly after moving to Gary, and the bassist/songwriter helped the guitarist set up an audition at Parrot Records. King passed the audition and cut his first session late in 1953. Five songs were recorded during the session and only one single, “Be on Your Merry Way” / “Bad Luck Blues,” was released; the other tracks appeared on various compilations over the next four decades. Although it sold respectably, the single didn’t gather enough attention to earn him another session with Parrot. In early 1954, King returned to Osceola and re-joined theIn the Groove Boys; he stayed in Arkansas for the next two years.
In 1956, Albert moved to St. Louis, where he initially sat in with local bands. By the fall of 1956, King was headlining several clubs in the area. King continued to play the St. Louis circuit, honing his style. During these years, he began playing his signature Gibson Flying V, which he named Lucy. By 1958, Albert was quite popular in St. Louis, which led to a contract with the fledgling Bobbin Records in the summer of 1959. On his first Bobbin recordings, King recorded with a pianist and a small horn section, which made the music sound closer to jump blues than Delta or Chicago blues. Nevertheless, his guitar was taking a center stage and it was clear that he had developed a unique, forceful sound. King’s records for Bobbin sold well in the St. Louis area, enough so that King Records leased the “Don’t Throw Your Love on Me So Strong” single from the smaller label. When the single was released nationally late in 1961, it became a hit, reaching number 14 on the R&B charts. King Records continued to lease more material from Bobbin — including a full album, Big Blues, which was released in 1963 — but nothing else approached the initial success of “Don’t Throw Your Love on Me So Strong.” Bobbin also leased material to Chess, which appeared in the late ’60s.
Albert King left Bobbin in late 1962 and recorded one session for King Records in the spring of 1963, which were much more pop-oriented than his previous work; the singles issued from the session failed to sell. Within a year, he cut four songs for the local St. Louis independent label Coun-Tree, which was run by a jazz singer named Leo Gooden. Though these singles didn’t appear in many cities — St. Louis, Chicago, and Kansas City were the only three to register sales — they foreshadowed his coming work with Stax Records. Furthermore, they were very popular within St. Louis, so much so that Gooden resented King’s success and pushed him off the label.
Following his stint at Coun-Tree, Albert King signed with Stax Records in 1966. Albert’s records for Stax would bring him stardom, both within blues and rock circles. All of his ’60s Stax sides were recorded with the label’s house band, Booker T. & the MG’s, which gave his blues a sleek, soulful sound. That soul underpinning gave King crossover appeal, as evidenced by his R&B chart hits — “Laundromat Blues” (1966) and “Cross Cut Saw” (1967) both went Top 40, while “Born Under a Bad Sign” (1967) charted in the Top 50. Furthermore, King’s style was appropriated by several rock & roll players, most notably Jimi Hendrix and Eric Clapton, who copied Albert’s “Personal Manager” guitar solo on the Cream song, “Strange Brew.” Albert King’s first album for Stax, 1967’s Born Under a Bad Sign, was a collection of his singles for the label and became one of the most popular and influential blues albums of the late ’60s. Beginning in 1968, Albert King was playing not only to blues audiences, but also to crowds of young rock & rollers. He frequently played at the Fillmore West in San Francisco and he even recorded an album, Live Wire/Blues Power, at the hall in the summer of 1968.
Early in 1969, King recorded Years Gone By, his first true studio album. Later that year, he recorded a tribute album to Elvis Presley (Blues for Elvis: Albert King Does the King’s Things) and a jam session with Steve Cropper and Pops Staples (Jammed Together), in addition to performing a concert with the St. Louis Symphony Orchestra. For the next few years, Albert toured America and Europe, returning to the studio in 1971, to record the Lovejoy album. In 1972, he recorded I’ll Play the Blues for You, which featured accompaniment from the Bar-Kays, the Memphis Horns, and the Movement. The album was rooted in the blues, but featured distinctively modern soul and funk overtones.
By the mid-’70s, Stax was suffering major financial problems, so King left the label for Utopia, a small subsidiary of RCA Records. Albert released two albums on Utopia, which featured some concessions to the constraints of commercial soul productions. Although he had a few hits at Utopia, his time there was essentially a transitional period, where he discovered that it was better to follow a straight blues direction and abandon contemporary soul crossovers. King’s subtle shift in style was evident on his first albums for Tomato Records, the label he signed with in 1978. Albert stayed at Tomato for several years, switching to Fantasy in 1983, releasing two albums for the label.
In the mid-’80s, Albert King announced his retirement, but it was short-lived — Albert continued to regularly play concerts and festivals throughout America and Europe for the rest of the decade. King continued to perform until his sudden death in 1992, when he suffered a fatal heart attack on December 21. The loss to the blues was a major one — although many guitarists have tried, no one can replace King’s distinctive, trailblazing style. Albert King is a tough act to follow.
Albert King (April 25, 1923 – December 21, 1992) was an American blues guitarist and singer.
Albert King was truly a “King of the Blues”. Along with B.B. King and Freddie King, Albert King is one of the major influences on blues and rock guitar players. Without him, modern guitar music would not sound as it does — his style influenced both black and white blues players from Otis Rush and Robert Cray to Eric Clapton and Stevie Ray Vaughan. It’s important to note that while almost all modern blues guitarists seldom play for long without falling into a B.B. King guitar cliché, Albert King never did — he had his own style and unique tone from the beginning.
Albert King played guitar left-handed, without re-stringing the guitar from the right-handed setup; this “upside-down” playing accounted for his difference in tone, since he pulled down on the same strings that most players push up on when bending the blues notes. King’s massive tone and totally unique way of squeezing bends out of a guitar string had a major impact. Many young white guitarists — especially rock & rollers — were influenced by King’s playing, and many players who emulate his style may never have heard of Albert King, let alone heard his music. His style is immediately distinguishable from all other blues guitarists, and he was one of the most important blues guitarists to ever pick up the electric guitar.
Born in Indianola, MS, but raised in Forrest City, AR, Albert King (born Albert Nelson) taught himself how to play guitar when he was a child, building his own instrument out of a cigar box. At first, he played with gospel groups — most notably the Harmony Kings — but after hearing Blind Lemon Jefferson, Lonnie Johnson, and several other blues musicians, he solely played the blues. In 1950, he met MC Reeder, who owned the T-99 nightclub in Osceola, AR. King moved to Osceola shortly afterward, joining the T-99’s house band, the In the Groove Boys. The band played several local Arkansas gigs besides the T-99, including several shows for a local radio station.
After enjoying success in the Arkansas area, King moved to Gary, IN, in 1953, where he joined a band that also featured Jimmy Reed and John Brim. Both Reed and Brim were guitarists, which forced King to play drums in the group. At this time, he adopted the name Albert King, which he assumed after B.B. King’s “Three O’Clock Blues” became a huge hit. Albert met Willie Dixon shortly after moving to Gary, and the bassist/songwriter helped the guitarist set up an audition at Parrot Records. King passed the audition and cut his first session late in 1953. Five songs were recorded during the session and only one single, “Be on Your Merry Way” / “Bad Luck Blues,” was released; the other tracks appeared on various compilations over the next four decades. Although it sold respectably, the single didn’t gather enough attention to earn him another session with Parrot. In early 1954, King returned to Osceola and re-joined theIn the Groove Boys; he stayed in Arkansas for the next two years.
In 1956, Albert moved to St. Louis, where he initially sat in with local bands. By the fall of 1956, King was headlining several clubs in the area. King continued to play the St. Louis circuit, honing his style. During these years, he began playing his signature Gibson Flying V, which he named Lucy. By 1958, Albert was quite popular in St. Louis, which led to a contract with the fledgling Bobbin Records in the summer of 1959. On his first Bobbin recordings, King recorded with a pianist and a small horn section, which made the music sound closer to jump blues than Delta or Chicago blues. Nevertheless, his guitar was taking a center stage and it was clear that he had developed a unique, forceful sound. King’s records for Bobbin sold well in the St. Louis area, enough so that King Records leased the “Don’t Throw Your Love on Me So Strong” single from the smaller label. When the single was released nationally late in 1961, it became a hit, reaching number 14 on the R&B charts. King Records continued to lease more material from Bobbin — including a full album, Big Blues, which was released in 1963 — but nothing else approached the initial success of “Don’t Throw Your Love on Me So Strong.” Bobbin also leased material to Chess, which appeared in the late ’60s.
Albert King left Bobbin in late 1962 and recorded one session for King Records in the spring of 1963, which were much more pop-oriented than his previous work; the singles issued from the session failed to sell. Within a year, he cut four songs for the local St. Louis independent label Coun-Tree, which was run by a jazz singer named Leo Gooden. Though these singles didn’t appear in many cities — St. Louis, Chicago, and Kansas City were the only three to register sales — they foreshadowed his coming work with Stax Records. Furthermore, they were very popular within St. Louis, so much so that Gooden resented King’s success and pushed him off the label.
Following his stint at Coun-Tree, Albert King signed with Stax Records in 1966. Albert’s records for Stax would bring him stardom, both within blues and rock circles. All of his ’60s Stax sides were recorded with the label’s house band, Booker T. & the MG’s, which gave his blues a sleek, soulful sound. That soul underpinning gave King crossover appeal, as evidenced by his R&B chart hits — “Laundromat Blues” (1966) and “Cross Cut Saw” (1967) both went Top 40, while “Born Under a Bad Sign” (1967) charted in the Top 50. Furthermore, King’s style was appropriated by several rock & roll players, most notably Jimi Hendrix and Eric Clapton, who copied Albert’s “Personal Manager” guitar solo on the Cream song, “Strange Brew.” Albert King’s first album for Stax, 1967’s Born Under a Bad Sign, was a collection of his singles for the label and became one of the most popular and influential blues albums of the late ’60s. Beginning in 1968, Albert King was playing not only to blues audiences, but also to crowds of young rock & rollers. He frequently played at the Fillmore West in San Francisco and he even recorded an album, Live Wire/Blues Power, at the hall in the summer of 1968.
Early in 1969, King recorded Years Gone By, his first true studio album. Later that year, he recorded a tribute album to Elvis Presley (Blues for Elvis: Albert King Does the King’s Things) and a jam session with Steve Cropper and Pops Staples (Jammed Together), in addition to performing a concert with the St. Louis Symphony Orchestra. For the next few years, Albert toured America and Europe, returning to the studio in 1971, to record the Lovejoy album. In 1972, he recorded I’ll Play the Blues for You, which featured accompaniment from the Bar-Kays, the Memphis Horns, and the Movement. The album was rooted in the blues, but featured distinctively modern soul and funk overtones.
By the mid-’70s, Stax was suffering major financial problems, so King left the label for Utopia, a small subsidiary of RCA Records. Albert released two albums on Utopia, which featured some concessions to the constraints of commercial soul productions. Although he had a few hits at Utopia, his time there was essentially a transitional period, where he discovered that it was better to follow a straight blues direction and abandon contemporary soul crossovers. King’s subtle shift in style was evident on his first albums for Tomato Records, the label he signed with in 1978. Albert stayed at Tomato for several years, switching to Fantasy in 1983, releasing two albums for the label.
In the mid-’80s, Albert King announced his retirement, but it was short-lived — Albert continued to regularly play concerts and festivals throughout America and Europe for the rest of the decade. King continued to perform until his sudden death in 1992, when he suffered a fatal heart attack on December 21. The loss to the blues was a major one — although many guitarists have tried, no one can replace King’s distinctive, trailblazing style. Albert King is a tough act to follow.
Albert King - Wednesday Night In San Francisco (1990):
Albert King - Wednesday Night In San Francisco (1990)
Tracklist:
01. Watermelon Man 00:58
02. Why You So Mean To Me 08:05
03. I Get Evil 05:38
04. Got To Be Some Changes Made 09:39
05. Personal Manager 07:34
06. Born Under A Bad Sign 04:25
07. Don't Throw Your Love On Me So Strong 08:37
Recorded live at Fillmore Auditorium, San Francisco, California on June 26, 1968. Includes liner notes by Lee Hildebrand.
Audio Remixer: Danny Kopelson.
Liner Note Author: Lee Hildebrand.
Recording information: San Francico (06/26/1968).
Unknown Contributor Roles: James Washington; Roosevelt Pointer; Thiotis Morgan; Willie James Exon.
Personnel: Albert King (vocals, guitar); Willie James Exon (guitar); James Washington (organ); Roosevelt Pointer (bass); Theotis Morgan (drum).
Exact Audio Copy V0.99 prebeta 4 from 23. January 2008
Отчёт EAC об извлечении, выполненном 6. июня 2009, 13:56
Albert King / Wednesday Night In San Francisco
Дисковод: Optiarc DVD RW AD-7203S Adapter: 1 ID: 1
Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет
Коррекция смещения при чтении : 48
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000
Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 1024 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -V -8 -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" %s
TOC извлечённого CD
Трек | Старт | Длительность | Начальный сектор | Конечный сектор
––––––––––––––––––––––––––––––––––-
1 | 0:00.00 | 0:58.65 | 0 | 4414
2 | 0:58.65 | 8:05.25 | 4415 | 40814
3 | 9:04.15 | 5:38.27 | 40815 | 66191
4 | 14:42.42 | 9:39.70 | 66192 | 109686
5 | 24:22.37 | 7:34.30 | 109687 | 143766
6 | 31:56.67 | 4:25.65 | 143767 | 163706
7 | 36:22.57 | 8:37.68 | 163707 | 202549
Характеристики диапазона извлечения и сообщения об ошибках
Выбранный диапазон
Имя файла D:\EAC-FOLDER\Albert King - Wednesday Night In San Francisco\Albert King - Wednesday Night In San Francisco\Albert King - Wednesday Night In San Francisco.wav
Пиковый уровень 100.0 %
Качество диапазона 99.9 %
CRC теста E69D0A8D
CRC копии E69D0A8D
Копирование… OK
Ошибок не произошло
AccurateRip: сводка
Трек 1 нет в базе данных
Трек 2 нет в базе данных
Трек 3 нет в базе данных
Трек 4 нет в базе данных
Трек 5 нет в базе данных
Трек 6 нет в базе данных
Трек 7 нет в базе данных
Ни одного трека нет в базе AccurateRip
Конец отчёта
Отчёт EAC об извлечении, выполненном 6. июня 2009, 13:56
Albert King / Wednesday Night In San Francisco
Дисковод: Optiarc DVD RW AD-7203S Adapter: 1 ID: 1
Режим чтения : Достоверность
Использование точного потока : Да
Отключение кэша аудио : Да
Использование указателей C2 : Нет
Коррекция смещения при чтении : 48
Способность читать области Lead-in и Lead-out : Нет
Заполнение пропущенных сэмплов тишиной : Да
Удаление блоков с тишиной в начале и конце : Нет
При вычислениях CRC использовались нулевые сэмплы : Да
Интерфейс : Встроенный Win32-интерфейс для Win NT/2000
Выходной формат : Пользовательский кодировщик
Выбранный битрейт : 1024 kBit/s
Качество : Высокий
Добавление ID3-тэга : Нет
Утилита сжатия : C:\Program Files\Exact Audio Copy\Flac\flac.exe
Дополнительные параметры : -V -8 -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" %s
TOC извлечённого CD
Трек | Старт | Длительность | Начальный сектор | Конечный сектор
––––––––––––––––––––––––––––––––––-
1 | 0:00.00 | 0:58.65 | 0 | 4414
2 | 0:58.65 | 8:05.25 | 4415 | 40814
3 | 9:04.15 | 5:38.27 | 40815 | 66191
4 | 14:42.42 | 9:39.70 | 66192 | 109686
5 | 24:22.37 | 7:34.30 | 109687 | 143766
6 | 31:56.67 | 4:25.65 | 143767 | 163706
7 | 36:22.57 | 8:37.68 | 163707 | 202549
Характеристики диапазона извлечения и сообщения об ошибках
Выбранный диапазон
Имя файла D:\EAC-FOLDER\Albert King - Wednesday Night In San Francisco\Albert King - Wednesday Night In San Francisco\Albert King - Wednesday Night In San Francisco.wav
Пиковый уровень 100.0 %
Качество диапазона 99.9 %
CRC теста E69D0A8D
CRC копии E69D0A8D
Копирование… OK
Ошибок не произошло
AccurateRip: сводка
Трек 1 нет в базе данных
Трек 2 нет в базе данных
Трек 3 нет в базе данных
Трек 4 нет в базе данных
Трек 5 нет в базе данных
Трек 6 нет в базе данных
Трек 7 нет в базе данных
Ни одного трека нет в базе AccurateRip
Конец отчёта
AUDIOCHECKER v2.0 beta (build 457) - by Dester - opdester@freemail.hu
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-=== DO NOT EDIT THIS FILE! ===-
Path: …\Albert King - Wednesday Night In San Francisco
1 -=- Albert King - Wednesday Night In San Francisco.flac -=- CDDA (100%)
106960052
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-=== DO NOT EDIT THIS FILE! ===-
Path: …\Albert King - Wednesday Night In San Francisco
1 -=- Albert King - Wednesday Night In San Francisco.flac -=- CDDA (100%)
106960052
Download Albert King - Wednesday Night In San Francisco (1990):
HF.com - lossless:
Albert King - Wednesday Night In San Francisco - part1
Albert King - Wednesday Night In San Francisco - part2
HF.com - MP3 CBR320:
Albert King - Wednesday Night In San Francisco - One file
SM.com - lossless:
Albert King - Wednesday Night In San Francisco - part1
Albert King - Wednesday Night In San Francisco - part2
SM.com - MP3 CBR320:
Albert King - Wednesday Night In San Francisco - One file
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