Albert Collins

The Iceman cometh… in the shape of ace blues guitarist Albert Collins, whose distinctive guitar style earned him a wealth of high profile rock ‘n’ roll supporters, though not exactly the recognition he deserved.

Texan born Collins had been around on the circuit so to speak, but at the beginning of the 60’s, the fascination for the blues began to wane, with the general taste for music entering psychedelic realms. At the tail end of the 60’s, Collins had left his old turf in Houston to play the clubs in Kansas City.
The ‘Master of the Telecaster’, known for his scorching instrumentals, his use of altered tunings and capo, and finger-picked playing, had a fair chance of drifting into obscurity, were it not for the interference of Bob Hite, singer of Canned Heat, as well as British entrepreneur and promoter Peter Shertser, who got Collins to play on four consecutive nights in 69, at the Fillmore West in San Fran. So much for the gig, which took Collins out of the ‘chitlin’ circuit and placed him amidst the rock circuit. One of the acts during the gig was Fleetwood Mac, and it was Fleetwood guitarist Jeremy Spencer who recorded Collins’ set through the desk. So it’s thanks to the Fleet that you are able to listen to this album (first released in 1972, on Shertser’s own label Red Lightnin’).

The recording by Spencer is the one presented here in all it’s glory, a collision of the blues and the hippy generation, with Collins’ trademark Fender Telecaster sound accompanied by a rich Hammond organ sound. As for the actual musicians who played with him during the much-praised live set… no one can actually remember who was playing! Says Shertser: “You have to understand that it was 69, the height of people taking psychedelic drugs and getting very stoned – so I would suggest that no one can remember!”

This ‘minor flaw’ doesn’t jeopardise the quality of the album, with its heady mix of guitar and keyboard that make for a different sound to Collins’ earlier work, although it does contain some select earlier numbers like ‘Thaw Out’ (championed by Hendrix) amongst the six bonus tracks (including his first recording, the instrumental ‘The Freeze’).

Starting out with a groovin’ ‘Introduction instrumental’, the next track is the terrific, slow delivered 12-bar blues ‘How Blue Can You Get’, a classic gutbucket composition not by Collins but by one Jane Feather. Collins sings it effortlessly, suggesting deadpan misery and resignation all at once: “I gave you a brand new Ford; you said ‘I want a Cadillac’ / I bought you a ten dollar dinner; you said ‘Thanks for the snack’!”

The stinging ‘Thaw Out’ is another fine instrumental incorporating rock and jazz elements, while the slow simmering ‘So Tired’ is an example of why Collins’ style attracted the likes of Hendrix and Jeff Beck.
The title of the next song, ‘Funky’, is kind of self-explanatory… not only do we get to hear Collins’ at his best, but an overall jazzy-funk beat with some protruding percussions round up the number oh so nicely. Why it’s all over barely after it kicks off, that I don’t know.

‘Deep Freeze’ heads towards melting point with an intense sound that cuts through the bone, and although we don’t know the identity of the other players one can sense a fiery and finely tuned-in harmony was at work here.
Collins effortlessly tackles another cover version with Jimmy Reed’s ‘Baby What Do You Want Me To…’ – a swampy, mid-tempo blues shuffle that was a hit for Reed in 1959.

Another classic follows with ‘Mustang Sally’ – an R&B song that needs no further introduction… such as in, who hasn’t covered it? However, Collins’ gives it his very own spin, jazzing it up with a flamboyant rock guitar at the forefront, yet sticking to the bluesy origins when it comes to delivering the lyrics.
It ends with the fine instrumental composition ‘Backstroke’ before it’s on to the bonus tracks (his singles from the 1958 to the 1962 period).

These include the magical ‘Freeze’ – here we get Collins’ fine fingerpicking in competition with searing horn arrangements – temperature and speed forever up and down.
Temp is definitely up on ‘Collins Shuffle’ – a blazing number that not only has a killer sax incorporated, but elements of swing and even rockabilly.

‘Alberts Alley’ comprises blues, blues-rock, and jazz beat, while fabulous horn arrangements add further spice to a number that’s already sizzling hot. Right behind comes ‘Defrost’ – the clue is in the name, and this one has some psychedelic organ ringing through.

Final numbers ‘Thaw Out’ and ‘Backstroke’ already featured in the live set from 69, but the versions here differ. Emphasis lies on a more beat orientated sound on the former, while the latter once more triumphs, courtesy of perfectly timed horn arrangements and Collins’ mean, exuberant guitar play.

Sadly, Albert Collins died of cancer in 1993, aged only 61. But he will always be fondly remembered by the many artists who were influenced by him, including Ronnie Wood and Jimmy Page.