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Albert Collins At Onkel Pö's Carnegie Hall Hamburg 1980 (3-LP)

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  • LP78040
  • 0.7
P Maintenant bonus points
(2017/Delta) 24 pistes. Son concert Onkel Pö de 1980, enregistré par la NDR. Excellent!plus

Albert Collins: At Onkel Pö's Carnegie Hall Hamburg 1980 (3-LP)

(2017/Delta) 24 pistes.
Son concert Onkel Pö de 1980, enregistré par la NDR. Excellent!

Propriétés de l'article:Albert Collins: At Onkel Pö's Carnegie Hall Hamburg 1980 (3-LP)

  • Interpret: Albert Collins

  • Titre de l'album: At Onkel Pö's Carnegie Hall Hamburg 1980 (3-LP)

  • Genre Blues

  • Année de publication 2017
  • Label DELTA

  • Geschwindigkeit 33 U/min
  • Vinyl record size LP (12 Inch)
  • Record Grading Mint (M)
  • Sleeve Grading Mint (M)
  • Artikelart LP

  • EAN: 5055551780401

  • Poids en kg: 0.7
Collins, Albert - At Onkel Pö's Carnegie Hall Hamburg 1980 (3-LP) LP 1
01Sweet Home ChicagoAlbert Collins
02Dock Of The BayAlbert Collins
03Mama, Talk To Your DaughterAlbert Collins
04Howling For My DarlingAlbert Collins
05Announcement IAlbert Collins
06Listen HereAlbert Collins
07I Got A Mind To TravelAlbert Collins
08Announcement IIAlbert Collins
09FrostyAlbert Collins
10Cold, Cold FeelingAlbert Collins
Collins, Albert - At Onkel Pö's Carnegie Hall Hamburg 1980 (3-LP) LP 2
01Ice PickAlbert Collins
02Stand By MeAlbert Collins
03Mojo WorkingAlbert Collins
04Announcement IiiAlbert Collins
05I‘m Fed Up With This MusicAlbert Collins
06She‘s FineAlbert Collins
07Announcement IvAlbert Collins
08Mustang SallyAlbert Collins
Collins, Albert - At Onkel Pö's Carnegie Hall Hamburg 1980 (3-LP) LP 3
01Announcement VAlbert Collins
02Things I Used To DoAlbert Collins
03CaledoniaAlbert Collins
04Master ChargeAlbert Collins
05Conversations With CollinsAlbert Collins
06Cold CutsAlbert Collins
Albert Collins They called Albert Collins ‘The Master of the Telecaster,’ and he... plus
"Albert Collins"

Albert Collins

They called Albert Collins ‘The Master of the Telecaster,’ and he was. Thanks to his early 45s, many of which bore frigid titles, it was decreed that his reverb-drenched guitar sound was ‘icy.’ In reality, a hotter electric blues guitarist never existed. When he strode through an audience, his axe slung low on his shoulder and trailing at least 100 feet of cord, he glowed with a million watts of incandescence. And Frosty was the tour de force he always played in the midst of those crowds.

Born October 1, 1932 in a log cabin in Leona, Texas, Collins mostly grew up in Houston’s Third Ward. Piano was his first instrument, but when his music teacher’s path was blocked by rain, young Albert decided to switch to guitar."My cousin’s the one that taught me how to play, named Willow Young,"said the late Collins."And I had a very good friend of mine, he’s a music teacher name of Henry Hayes, out of Houston, Texas. They taught me quite a bit, you know. But I was listening to John Lee Hooker and Lightnin’ Hopkins at the particular time when I first learned how to start playing guitar."

 Collins’ unorthodox tuning was radically different."It’s a D-minor tuning,"said Collins."From where I come from out of the south, Houston, Texas, they all would call this Spanish tuning."That meant that chords were all but impossible; Albert was by both design and necessity a lead guitarist.He adopted T-Bone and Gatemouth as his idols. "In 1953, I met Gatemouth Brown. I saw him with a new guitar,"said Collins."When the Fenders first came out, he bought the Esquire Fender. So I bought me one." That wasn’t Gate’s only input. "I started out playing with just my fingers,"he said."I tried to use a pick, but I don’t know, it seemed like it was a handicap to me." And like his hero, Collins used a capo. "After I got around Gatemouth, I got hooked on that clamp,"he said."It gave me a good sound." 

Collins formed his first band, the Rhythm Rockers, in 1950. He got the idea for those long mid-song walks from sax wildman Big Jay McNeely. "He used to have a creeper that you work on cars on, a creeper that you lay down on," said Albert. "He’d go all out in the streets, blowin’ his horn." Collins made his first instrumental 45, The Freeze, in 1958 for Hayes’ Kangaroo label, encoring on the Great Scott logo with Defrost. Then he hooked up with Beaumont producer Bill Hall and his partner, ex-Sun A&R man Jack Clement, who ran Hall and Hallway Records. "When I got with Hall and Clement, they told me, ‘Well, man, we’ll just keep you in the icebox. So everything we put out on you will be pertaining to cold!’"Albert said.

The swinging, intricately conceived Frosty came out in 1964 on Hall. "I was just doing mostly instrumentals at that particular time,"Collins said."I wasn’t singing too much then." He was backed by his regular combo: trumpeter Frank Mitchell, Hayes on alto sax, Big Tiny on tenor, organist Walter McNeil, bassist Bill Johnson, and drummer Herbert Henderson. More classic cold-themed instrumentals—Backstroke, the two-part Sno-Cone, Don’t Lose Your Cool—followed. Albert moved over to Imperial for three 1968-70 albums that didn’t quite have the same pizzazz and looked destined to primarily remain a West Coast phenomenon until his 1978 Alligator album ‘Ice Pickin’’ catapulted him into the major leagues of bluesdom and belatedly showed him to be a fine, understated singer as well 

From then until his November 24, 1993 death of lung cancer, Albert Collins was the most exciting electric blues guitarist in the world, cold as ice and hot as fire.

 

Bill Dahl
Chicago, Illinois

PLUG IT IN! TURN IT UP!

Electric Blues 1939-2005. - The Definitive Collection!

 

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