It's not as if Albert King hadn't tasted success in his first decade
and a half as a performer, but his late-'60s/early-'70s recordings for
Stax did win him a substantially larger audience. During those years,
the label began earning significant clout amongst rock fans through events
like Otis Redding's appearance at the Monterey International Pop Festival
and a seemingly endless string of classic singles. When King signed to
the label in 1966, he was immediately paired with the Stax session team
Booker T. & the MG's. The results were impressive: "Crosscut
Saw," "Laundromat Blues," and the singles collection Born
Under a Bad Sign were all hits. Though 1972's I'll Play the Blues for
You followed a slightly different formula, the combination of King, members
of the legendary Bar-Kays, the Isaac Hayes Movement, and the sparkling
Memphis Horns was hardly a risky endeavor. The result was a trim, funk-infused
blues sound that provided ample space for King's oft-imitated guitar playing.
King has always been more impressive as a soloist than a singer, and some
of his vocal performances on I'll Play the Blues for You lack the intensity
one might hope for. As usual, he more than compensates with a series of
exquisite six-string workouts. The title track and "Breaking Up Somebody's
Home" both stretch past seven minutes, while "I'll Be Doggone"
and "Don't Burn Down the Bridge" (where King coaxes a crowd
to "take it to the bridge," James Brown-style) break the five-minute
barrier. Riding strutting lines by bassist James Alexander, King runs
the gamut from tough, muscular playing to impassioned cries on his instrument,
making I'll Play the Blues for You one of a handful of his great Stax
sets.
(by Nathan Bush, All
Music Guide)
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With the Bar-Kays and Isaac Hayes's Movement alternately supplying the
funky rhythms and the Memphis Horns contributing the riveting riffs, I'll
Play the Blues for You stands out as the definitive Albert King soul-blues
fusion album of the Seventies. King, in the words of the late Michael
Bloomfield, "was the only [blues] singer who had clever, modern arrangements
that would fit in with the black radio market and with the white market
and in no way compromised his style." Besides the hit title track,
the disc includes the hits "Breaking Up Somebody's Home" and
(as a CD bonus track) "Angel of Mercy."
(fantasyjazz.com)
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