Albert King doesn't require much of an introduction, he was one of the 'Three Kings of the Blues' and arguably next to B.B. he was perhaps the most popular of the many genuine blues guitarists to have been adopted by the rock world during the mid-1960s. Albert began playing in the late 40s and made his first recordings in 1953 and it is these early sessions that are the focus of this outstanding collection from Jasmine. Includes tracks "Blues At Sunrise", his fine version of Tampa Red's "Little Boy Blue" and his hit song "Don't Throw Your Love On Me So Strong" plus many other superb tracks. Albert King influenced many artists including Mick Taylor, Eric Clapton, Mike Bloomfield and Stevie Ray Vaughan. This then is Albert King's first tentative steps towards global popularity compiled in chronological order and with fully detailed liner notes.
One has a tendency to think of acts like the Pretty Things in terms of their albums, primarily because most of their singles simply never charted, even in England (and many were never even heard of in the United States), and the albums have been easier to find over the decades since. Actually, it was singles that best defined what most bands were about at the point that the Pretty Things first got together, and they never stopped neglecting that category of release – hence, this three-CD set containing the product of 33 singles (66 sides) over a period of 35 years, from 1964 through 1999.
While not the entire score, which would be impossible to assemble on a double let along a single disc, the music contained herein from Stanley Kubrick’s stellar motion picture Barry Lyndon — that starred Ryan O’Neal in the only time he ever actually acted, as well as Marisa Berenson — is a mixed bag of the most delightful sort. With 19 selections on the CD — analogue recorded and remastered in pristine digital sound — the music here stands on its own as an eclectic yet moving collection of pieces that reflect the excesses of 17th and early 18th century cultural mores in royal courts, potato fields, and back alley dances. The main title theme is from Handel, his Sarabande, and is followed by Sean Ó Riada’s gloriously beautiful “Women of Ireland,” performed by the Chieftains, who dig in for a few more before being eased out of the mix by the British Grenadiers’ fife and drum corps.