Albert King had established a substantial recording catalog before Born Under a Bad Sign was released. Sadly, it was largely unnoticed during a considerable portion of the 60’s; a decade that saw much of the blues influence wane. It wasn’t until Stax records took notice in the guitar god that Mr. King garnered attention from the blues community, and influenced the way the guitar is played right down to the soul of every man who has ever played this beloved instrument.

Upon signing to Stax, King recorded a series of sessions with Stax records house band at the time, Booker T & the MG’s, as well as Stax regulars the Memphis Horns. King’s sound was greatly influenced by the guise in which he played; showing a preference for “the flying V” guitar, King modified it, relying on a right handed model for his left handed style. With the low E string closer to floor, the resulting method of play relied on pulling instead of the push method established by those before him.

Adding further to the charm of Born Under a Bad Sign is the accompaniment provided by Booker T & the MG’s. The in-house session band infused King’s sound with a soulful chemistry, providing the songs with a modern sound, as well as crossover appeal. The Memphis Horns should be given as much credit as well; their horns provided an additional texture to the albums entice, given the generation.

The recording sessions for Born Under a Bad Sign numbered five, and took place between March 1966, and June of 1967. Each song was recorded as a single (the first six songs of the album don’t go past three minutes.). Being diametrically opposed to King’s normal blistering solo’s and loud sound, these sessions relied more on well placed notes and more thoughtful flourishes, growing into his secret weapon.

Similar to the albums wide ranging appeal, King’s style has influenced numerous rock guitarists as well as bluesmen. Upon release in 1967, the albums influence was almost instant; Eric Clapton latched on to it, and much of King’s guitar play can be found on Cream’s ’67 release Disraeli Gears (Strange Brew = Oh, Pretty Woman). Further influences include Jimi Hendrix, Stevie Ray Vaughan, and Warren Haynes of Gov’t Mule and Allman Brothers acclaim.

Born Under a Bad Sign turns 45 this year, and in 45 years has led the way as the most influential album to come from it’s defining genre since Robert Johnson’s catalog. Most of all it saved the blues from becoming just another passing fad, during a time of psychedelia and British influences; the world took notice, and upon it’s 45 birthday I will gladly raise a glass to the album that influenced blues and rock and roll forever.

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