Albert Upside Down (Albert the Tortoise)
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King was left-handed, but usually played right-handed guitars flipped over upside-down. He used a dropped open tuning, possibly more than one, as reports vary: (C#-G#-B-E-G#-C#) or open E-minor (C-B-E-G-B-E) or open F (C-F-C-F-A-D).  Steve Cropper (who played rhythm guitar on many of King's Stax sessions), told Guitar Player magazine that King tuned his guitar to C-B-E-F#-B-E (low to high).  The luthier Dan Erlewine said King tuned to C-F-C-F-A-D with light-gauge strings (0.050", 0.038", 0.028", 0.024" wound, 0.012", 0.009"). The lighter-gauge strings, and lower string tension of the dropped tuning, were factors in King's string-bending technique. As a result, he bent his strings down, rather than up. It is easier to bend a string down with force than it is to bend it up. Over the course of his career, King was nominated for two Grammy awards. In 1983, he was nominated for Best Traditional Blues album for San Francisco '83 and the next year he was also nominated for I'm In A Phone Booth, Baby. 
I never get tired of watching ” In session” with SRV . You could tell how much SRV admired and respected King. I think you could say the same thing too. Watching the way King clapped and cheered SRV during the in session was really cool. There was no ego there just two friends student and mentor. I think my favorite music quite is one Albert told SRV during that session ” There’s a lot of guitar players out there…they just players . They just play fast they don’t concentrate on no soul.” This is a charming modernisation of the traditional 'if we all help, we can achieve anything' story. You readers will also enjoy learning about the hidden life of the garden (and that tortoises can suffer from flatulence' Jaki Brien, UK Schools Library Association Her pop hits, with streams running to the hundreds of millions, make little use of her guitar talents, but Kiyoko started out performing self-penned guitar songs on social media. She shows guitar is still an effective tool for crafting great songs, even when those songs are later produced with electronic arrangements.
The argument goes that people with dominant left hands are likely to have more developed right brain hemispheres, and be better at creative tasks. As with everything in neuroscience, the truth is probably that it’s more complicated than that. Still, looking at famous wielders of upside-down guitars, it’s a tempting idea.
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His huge two tone bends, vocal playing style and sheer power influenced a whole generation of guitarists, including Eric Clapton, Jimi Hendrix and most notably, Stevie Ray Vaughan. Obrecht, Jas (2000). Rollin' and Tumblin': The Postwar Blues Guitarists. Hal Leonard. pp. 349. ISBN 0879306130. Armstrong understands better than most the importance of a great song, and he’s written more than a few both for his own bands – Rancid, Operation Ivy, and Transplants among them – and on his collaborations with P!nk and Joe Walsh.
Lots of people try to be cool ..Albert just walked in the room 😉 I thought I’d share Albert’s influence on me musically. As I have mentioned I have been playing strictly old school metal rhythm . I came to the point where I wanted to learn to play lead. You would think I would I would start playing lead metal. The Blues really drew me in I started to read about and listen to Albert King and then I heard a watched ” Blues Power” . After that is was settled .. I would learn and play blues lead;-) He played with so much emotion and soul during Blues Power. The way he would talk and tell a story about different cases about the blues. His live tone for Blues Power was sort of clean but at the point of breaking. Then my favorite of the way he would bend a note 2 steps up and just hold it for about 3 seconds and the whole band would stop ..he would hold his fist in the air . ..that is Blues Power ! Most Influential and Best Blues Guitarists - TheGuitarLesson.com". www.theguitarlesson.com. September 8, 2020 . Retrieved November 16, 2022. As you put it so well, the power and emotion in King’s playing is just phenomenal, and it still blows my head off listening to his playing after all this time!
This idea was largely perpetuated by Stevie Ray Vaughan, who used gauge 0.13 strings. Before Vaughan though, both B.B. King and Albert King swore by using lighter strings. In 1978, King moved to a new label, Tomato Records, for which he recorded the album New Orleans Heat. The label paired him with the R&B producer Allen Toussaint, who had been responsible for scores of hits in that genre in the 1960s and 1970s but was a novice at working with blues artists. The album was a mix of new songs (including Toussaint's own " Get Out of My Life, Woman") and re-recordings of old material, such as "Born Under a Bad Sign".