Freddie King: Freddy King Goes Surfin' (LP, 180g Vinyl)
Freddy King Surfs The Fretboard For A Wild Instrumental Ride!
Pressed At Rti Syd Nathan, Impresario Of Cincinatti's King Records, Was The Epitome Of The Old-School Indie Record Label Owner. Always Hustling, Nathan Regularly Beat The Odds To Release Hit After Hit In Multiple Genres. He'd Try Anything If He Thought It Might Work, Or More Precisely, If He Thought It Would Make Money. After Chess Records Turned Down Guitarist/Vocalist Freddy King Several Times For Sounding Too Much Like B.B, King, Nathan Thought That Sound Might Actually Be Sellable And Took A Chance, Signing Freddy To His Federal Subsidiary Label. They Hit Paydirt With An Instrumental Titled "Hide Away," Which Reached #5 On The R&B Chart And #29 On The Pop Singles Chart. Encouraged By The Single's Success, Nathan Released A Full Album Of King's Instrumentals, Let's Hide Away And Dance Away With Freddy King. (See What Nathan Did There With The Title, Slipping In A Reference To Freddy's Big Hit Single? Always Be Closing, My Friends, Always Be Closing.)
The Album Sold Well And Helped Make Freddy A Bankable Touring Act. While Others Would Have Been Satisfied To Move On To The Next Project, Syd Sensed Untapped Potential In The Lp. Meanwhile, Several Artists On The West Coast Were Making Noise In The Brand New Surf Music Scene (And By "Making Noise," I Mean Selling Records). Syd Didn't Have Any Surf Music Artists Under Contract, But He Did Have Freddy King. Surely, Syd Surmised, If The Kid's Went Nuts For Dick Dale's Guitar Instrumental Workouts, They Could Do The Same For Freddy's. All He Needed Was A Little Marketing Magic...Get A New Cover With Some Surf Kids! Throw Some Crowd Noise Over Tracks So It Sounds 'live'! Call It...Err...Freddy King Goes Surfin'! Press It And Have It On The Shelves By Next Week!!!!!!! While It May Not Have Happened Exactly Like That, King Records Did Release Freddy King Goes Surfin', An Album Containing The Very Same Songs (In Precisely The Same Running Order) As Let's Hide Away... With Crowd Noise Dubbed Over The Music. Did The Ruse Work? Though It Didn't Sell As Well As The Original, Freddy King Goes Surfin' Did Find An Audience. Like Bo Diddley Is A Gunslinger, The Album's Title Is Such A Preposterous Premise That It Surely Snagged Many Buyers On That Fact Alone. And No Amount Of Ersatz Cheering And Cocktail Glass Tinkling Could Cover Up The Six-String Genius Of King And His Almighty Texas Tone. Need Proof? Fellow Lone Star Blues Maven Billy F. Gibbons Picked Freddy King Goes Surfin' As One Of His Top Ten Favorite Blues Albums Of All Time. As For Sundazed, We Know Not To Mess With A Good Thing. Sourced From The Original King Mono Masters And Pressed On 180-Gram Vinyl At Record Technology, Inc. (Rti), We Are Proud To Present Freddy King Goes Surfin' In Its Original Running Order With Its Original Cover Art. Somewhere, Syd Is Chuckling To Himself, Remembering The Time He Stole A Hit Right Out From Under The Chess Brothers...
Article properties: Freddie King: Freddy King Goes Surfin' (LP, 180g Vinyl)
Interpret: Freddie King
Album titlle: Freddy King Goes Surfin' (LP, 180g Vinyl)
Genre R&B, Soul
- Year of publication 2013
- Geschwindigkeit 33 U/min
- Vinyl Size LP (12 Inch)
- Record Grading Mint (M)
- Sleeve Grading Mint (M)
- 180g Vinyl
- Preiscode VLP9
- weight in Kg 0.29
|King, Freddie - Freddy King Goes Surfin' (LP, 180g Vinyl) LP 1|
|10||In The Open|
Although he was born near Gilmer, Texas, on September 3, 1934, Freddy King spent his musically formative years in Chicago. From 1950 to 1963, the handsome guitarist contributed to changing the blues of Windy City from ensemble tradition to the new, more aggressive sound of the West Side - with his sensational guitar skills and roaring vocals.
Freddie Christian (King was his mother's last name; Federal Records later changed the spelling of his first name to Freddy) learned guitar early on under the guidance of his uncle Leon King. The 78's of Lightnin' Hopkins, John Lee Hooker, T-Bone Walker and Louis Jordan made a big impression on the boy. He moved to Chicago in December 1950; great for his age, he was let into the local blues bars and could see his heroes up close. The brilliant guitarists Jimmy Rogers, Robert Jr. Lockwood and Eddie Taylor gave him important musical tips.
"He tried to learn to play," said Rogers, who died in 1997. "He'd come in and sit down and watch us play, me and Muddy." Freddy did a good job of what he saw, "He then went back home and practiced until those licks sounded quite good to him." King developed a hot two-finger guitar technique with a plastic thumb pick and a metal pick on the index finger. "That's how I played, and he watched me," Rogers said. Freddy played in various local formations and joined the Blues Cats of the young bluesharp player Earlee Payton in 1956. "Payton left us," recalled their bassist Robert 'Big Mojo' Elem, who died in 1997. "After that, Freddy King was the bandleader."
King made his record debut in 1956 with the groovy That's What You Think for John Burton's tiny El-Bee label, but then had to wait four years for his next recording opportunity. Meanwhile he worked his way to the top of the new West Side movement, together with Magic Sam. "Everybody said,'Man, you gotta see Freddy King," says his West Side guitar mate Eddy Clearwater.
Another young Chicago guitarist, Syl Johnson, played a mediating role when Freddy finally found accommodation at Syd Nathans' Federal sub-label in Cincinnati's King Records. "He heard I was signing with Federal, so he wanted to try to get on the label," says Syl. "He gave me a demo and I sent it to Sonny Thompson." Sonny, a Mississippi-born pianist who reached the top of the R&B charts in 1948 with his two-part instrumental Long Gone for the Miracle record company before switching to Nathan's King label, headed the Chicago office of Federal and King. Thompson signed Freddy for Federal and produced his debut session in Cincinnati on August 26, 1960.
As usual Thompson also took over the piano, Bill Willis played bass and Philip Paul drums. No less than three hits were recorded on this day, the biggest was the only instrumental number. Hide Away was named after one of Freddy's favorite pubs on the West Side, Mel's Hideaway Lounge. "It's been a real hotspot for a long time," Rogers said. The piece consisted of a series of borrowed riffs, which were joined together to form a seamless whole.
The basic theme was taken over by King from slide guitar wizard Hound Dog Taylor, who called his creation Taylor's Boogie. "He was the first one to start playing it," says Clearwater. "Then Magic Sam played it." He recorded his own version for Mel London's Chief logo in 1961 and named it Do The Camel Walk. But Sam didn't use the two choruses Freddy played on his bass strings that came straight from Jimmy McCracklin's 58 hit The Walk, and the 12 bars from Henry Mancini's Peter Gunn. The wide open break chord came either from Lockwood or Freddy Robinson.
"We played it about three, four, maybe five or six times and we thought,'Okay, we're getting ready to record it,'" Willis, who died in 2010, recalled. "The old man (Nathan) said,'I got it!'" Crazy old Syd had captured a #5 R&B-/#29 pop smash hit - and the definitive electric blues guitar instrumental piece.
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