Since its vinyl release in 1967, blues aficionados have put Born Under a Bad Sign on a pedestal—many considering it one of the best electric blues albums of all time. While it is a true classic, it’s not without flaws. Let’s first dwell on the high points. King of course was one of the most unique, and intimidating (ask Sonny Schneideaux), blues guitarist of all time. By playing a right-handed strung guitar left-handed—tuned to E minor no less—King made his style impossible to imitate. The proof is on display here. Even after listening to the title track a thousand times, it’s still inviting, a classic tale of Albert’s inability to catch a break, while the MG’s and the Memphis Horns provide funky, chugging support. Ooh yea, King’s guitar is way up front too. The message and formula is repeated on the bold “Down Don’t Bother Me,” a song Rodney Dangerfield would have identified with immediately. If that’s not enough, on “Laundromat Blues,” Albert’s old lady is hooking up with Jody during the rinse and spin cycle. Come to think of it, poor Albert gets dumped on “Oh Pretty Woman,” a song which is the perfect marriage of Memphis funk and down in the alley blues. Our man does play the role of perpetrator though on “Crosscut Saw,” where King really bears down on his instrument on top of a soaring Memphis groove. Ditto “The Hunter” where Albert is packing a loaded love gun.
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The most emotive blue performance here might well be King’s treatment on Fenton Robinson’s (King and Robinson both hail from the same part of Arkansas) minor-keyed “As the Year’s Go Passing By.” This is absolutely a haunting performance and song. Now for the flaws. King’s cover of “Kansas City”—while very good—is really a throwaway track as every blues band that ever existed played that song. Two inclusions here, “I Almost Lost My Mind” and “The Very Thought Of You” are indeed puzzling, as these ballads are better suited to the Peabody Hotel’s piano bar than Club Paradise on Beale Street. As this is an enhanced reissue, we are treated to a handful of alternate takes that really don’t stray far from the issued takes. The original artwork is maintained, but we also get two extra sets of liner notes. Even though these songs sounded best coming out of a Wurlitzer juke box, the sound here is superb. Despite one or two flaws, this is still a must have for blues fans.
