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.
Killing Floor
Albert King Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I should-a quit you, baby, along time ago
I should-a quit you baby, an' went on to Mexico
If I had-a followed, my first mind
If I had-a followed, my first mind
I would-a been gone, yeah, my second time
I should-a went on, when my friend come from Mexico an' me
I should-a went on baby, when my friend come from Mexico an' me
No foolin' 'round 'wit cha' darling, you got me on the killin' floor
God knows, I should-a been gone
God knows, I should-a been gone
No foolin' 'round wit' cha baby
I let you put me on the killin' floor
In Albert King's song "Killing Floor," the singer is expressing his regret for not leaving his lover earlier. He recognizes that he should have quit her "a long time ago" instead of letting her "put [him] on the killing floor," which implies that she has been causing him pain and emotional distress. He says that he should have gone to Mexico when his friend invited him, implying that leaving his lover would have been beneficial for him.
The singer also admits that following his instincts would have saved him from this emotional turmoil. He says, "If I had-a followed, my first mind. I would-a been gone, yeah, my second time." This line suggests that he previously did not follow his instincts and stayed with his lover even when he should have left. He now realizes that he should have listened to his intuition and left earlier.
Overall, the song speaks of the regret and pain that come with staying in a toxic relationship for too long. The singer acknowledges his mistake and wishes that he had left sooner.
Line by Line Meaning
I should-a quit you, along time ago
I should have left you long ago.
I should-a quit you, baby, along time ago
I should have quit you long ago, my dear.
I should-a quit you baby, an' went on to Mexico
I should have left you and gone to Mexico.
If I had-a followed, my first mind
If I had listened to my first instinct,
If I had-a followed, my first mind
If I had followed my intuition
I would-a been gone, yeah, my second time
I would have left you the second time around, no questions asked.
I should-a went on, when my friend come from Mexico an' me
I should have left with my friend when he came back from Mexico.
I should-a went on baby, when my friend come from Mexico an' me
I should have left with my friend, my dear, when he came back from Mexico.
No foolin' 'round 'wit cha' darling, you got me on the killin' floor
Stop playing with me, honey. You've got me in a perilous situation.
God knows, I should-a been gone
God knows I should have left already.
God knows, I should-a been gone
It's true that I should have left you long ago.
No foolin' 'round wit' cha baby
Stop playing around, love.
I let you put me on the killin' floor
I've allowed you to trap me and put me in a dangerous place, my dear.
Lyrics © BMG Rights Management
Written by: Chester Burnett
Lyrics Licensed & Provided by LyricFind
Anthony Smith
This is a brilliant version of the Howlin Wolf classic which stands up in its own right. Doesn't stop me from lovin the Howlin Wolf version with Slumin and his amazing rythum guitar riff.
stratplayer5769
Mr King is one of the reasons that I wanted to play blues... Love the power of that flying V
Lawrence of arabia
Yeah there are other cats who've ran this tune but Albert king own this cut. He's in a class all by himself. This is his signature amen, that's what the floors said when the doors of the bldg opened.
Citizen110
A slick version of a true classic!
remarcables d
i saw Albert king in concert once he was smokin. But he had his grandson playing with him on stage the whole time and he was a great guitar player. I haven't heard anything of him since, I hope he is still doing well.
Vicky Colich
I just love Albert's music and the way he picks his guitar 🎸🎸❤️❤️
Bianca Hissamori // Covers
Eitaaaa que esse cara era foda demais ... Gênio essa é a palavra que o define .
BigMark2.0
I've always liked this version better than the original, or any other cover. It flows naturally, and is much more soulful. Can someone tell me if that's Cropper playing the rhythm guitar?
Benita Pretti
marinman39 my favorite version
marinman39
First time I've heard this by Albert,and i agree. But Howlin Wolf was scary good too. Band called Electric Flag did this well too, Mike Bloomfield on guitar.