One of the "Three Kings of the Blues Guitar" (along with B.B. King and Freddie King), Albert King stood 6' 4", weighed 250 lbs and was known as "The Velvet Bulldozer". He was born Albert Nelson on a cotton plantation in Indianola, Mississippi. During his childhood he would sing at a family gospel group at a church. One of 13 children, King grew up picking cotton on plantations near Forrest City, Arkansas where the family moved when he was eight years old. He began his professional work as a musician with a group called In The Groove Boys in Osceola, Arkansas. He had also briefly played drums for Jimmy Reed's band and on several early Reed recordings. Influenced by blues musicians Blind Lemon Jefferson and Lonnie Johnson, but also interestingly Hawaiian music, the electric guitar became his signature instrument, his preference being the Gibson Flying V, which he named "Lucy".
King was a left-handed "upside-down/backwards" guitarist. He was left-handed, but usually played right-handed guitars flipped over upside-down so the low E string was on the bottom. In later years he played a custom-made guitar that was basically left-handed, but had the strings reversed (as he was used to playing). He also used very unorthodox tunings (i.e., tuning as low as C to allow him to make sweeping string bends). Some believe that he was using open E minor tuning (C-B-E-G-B-E) or open F tuning (C-F-C-F-A-D). A "less is more" type blues player, he was known for his expressive "bending" of notes, a technique characteristic of blues guitarists.
He recorded his first record in 1953 for Parrot Records in Chicago, but it had no impact. His first minor hit came in 1959 with Lonely Man written by Bobbin Records A&R man and fellow guitar hero Little Milton, responsible for King's signing with the label. However, it was not until his 1961 release Don't Throw Your Love on Me So Strong that he had a major hit, reaching number fourteen on the U.S. Billboard R&B chart. In 1966 he signed with the Stax record label. Produced by Al Jackson, Jr., King with Booker T. & the MG's recorded dozens of influential sides, such as Crosscut Saw and As The Years Go Passing By, and in 1967 Stax released the album, Born Under a Bad Sign. The title track of that album (written by Booker T. Jones and William Bell) became King's best known songs and has been covered by many other artists.
Another landmark album followed in Live Wire/Blues Power from one of many dates King played at promoter Bill Graham's Fillmore venues. It had a wide and long-term influence on Jimi Hendrix, Eric Clapton, Robbie Robertson, and later Gary Moore and Stevie Ray Vaughan (Criminal World, on David Bowie's 1983 release Let's Dance, features a guitar solo copied note-for-note from his hero Albert King by young session musician Stevie Ray Vaughan).
In the 1970s, King was teamed with members of The Bar-Kays and The Movement (Isaac Hayes's backing group), including bassist James Alexander and drummer Willie Hall adding strong funk elements to his music. Adding strings and multiple rhythm guitarists, producers Allen Jones and Henry Bush created a wall of sound that contrasted the sparse, punchy records King made with Booker T. & the MG's. Among these was another of King's signature tunes with I'll Play the Blues For You in 1972.
Recorded in December 1983, In Session captures an in-concert jam between Albert King and Stevie Ray Vaughan
As he hit his mid-sixties King began to muse about retirement, not unreasonable given that he had health problems. Nevertheless, when near to death, he was planning yet another overseas tour.
King died on December 21, 1992 from a heart attack in Memphis, Tennessee.
Crosscut Saw
Albert King Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Just drag me 'cross your log
You know, I'm a cross cut saw
Just drag me across your log
I cut your wood so easy for you
You can't help but say 'Hot dog!'
Some call me wood-choppin' Sam
Last girl I cut the wood for, you know
She wants me back again
I'm a cross cut saw,
Just drag me 'cross your log
I cut your wood so easy for you
You can't help but say 'Hot dog!'
I've got a double-bladed axe
That really cuts good
And I'm a cross cut saw, just bury me in the wood
I'm a cross cut saw,
Baby, just drag me 'cross your log
I cut your wood so easy for you, woman
You can't help but say 'Hot dog!'
The lyrics of Albert King's song "Crosscut Saw" can be interpreted as a clever metaphor for a lover who can satisfy his woman's physical desires with great ease. He likens himself to a cross cut saw that can easily cut through logs with little effort, saying "Just drag me 'cross your log / I cut your wood so easy for you / You can't help but say 'Hot dog!'" He compares himself to other woodcutters, who may not have the same level of expertise or ability as he does, by saying "Some call me wood-choppin' Sam / Some call me wood-cuttin' Ben / Last girl I cut the wood for, you know / She wants me back again."
Furthermore, he boasts about his prowess with tools, saying "I've got a double-bladed axe / That really cuts good," and even wants to be buried in wood after he passes, as if he is a part of it. This could be a measure of how integral he is to the lives of the women he's been with, and how they can't imagine being with anyone else. In summary, "Crosscut Saw" is a playful and witty song that uses woodworking tools as a metaphor for sexual prowess.
Line by Line Meaning
I'm a cross cut saw
I am a tool used for cutting wood
Just drag me 'cross your log
Place me over the length of wood you want to cut
You know, I'm a cross cut saw
I am telling you that I am indeed a cross cut saw
I cut your wood so easy for you
I make the job of cutting wood effortless for you
You can't help but say 'Hot dog!'
You will be delighted by the ease with which I cut wood
Some call me wood-choppin' Sam
Some people refer to me by the nickname 'Wood-choppin' Sam'
Some call me wood-cuttin' Ben
Others call me 'Wood-cuttin' Ben'
Last girl I cut the wood for, you know
On a previous occasion, I cut wood for a woman and as a result,
She wants me back again
she desires for me to cut wood for her once more
I've got a double-bladed axe
I possess a tool with two cutting edges
That really cuts good
It is a highly effective tool
And I'm a cross cut saw, just bury me in the wood
In addition to the axe, I can also be used to cut wood effectively by immersing me in the wood
Baby, just drag me 'cross your log
Place me over the length of wood you want to cut, my dear
You can't help but say 'Hot dog!'
You will be delighted by the ease with which I cut wood
Lyrics © Universal Music Publishing Group
Written by: TOMMY MCCLENNAN
Lyrics Licensed & Provided by LyricFind
Billy Buckholson
Greatest guitar tone in the world..
Michael Mccarthy
One of the Greatest Blues Artists Ever. !
eoj2495
Great track!!
Pavel Usa
Way to go Albert, u were the man..he gave us enough for a life time..I'm 78 and still grooving from. This stuff..it came from slavery that shud never have happened..they freed themselves by playing music and we ,the proud beneficiaries of their efforts..Darrel banks was another gr8 one..died way too young as did king curtis and Danny Hathaway
Hilda T
I’m 72 and I could not agree more. I’m amazed at the number of non-melinated people who attempt to play “I’ll Play The Blues For You”. The playing might be technically correct, but always lacking in soul. Albert King (Kang-I’m from Mississippi and that’s how it’s pronounced down here) was a treasure as was is contemporary Riley “B.B.” King. You are very correct in saying we owe a debt.
garyssimo
Im a pale bluesman born on bb s
birthday. Saw him twice in Oakland where his daughter and dentist were. This was about two miles from where I was born. I was with Jimi H. second cousin Tony S. What a night! I think I need a flyin V...unique tone. no delay,no reverb here. just the raw blues from a master.
Eazy Draw
Thanks for posting great album mean mean player
Jochen Amos Hansen
Yeah🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟🌟
Ovcharka Boxing
this song was plagiarized by cream - strange brew. almost note for note
PimpMaster
Wait a minute, thought I was listening to Clapton here...oops.