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Freddie KING – Let's Hide Away & Dance Away with Freddy King 1961

Posted in BLUES, Freddie KING on December 3, 2010 by whoisthemonk

Freddie KING – Let’s Hide Away & Dance Away with Freddy King 1961
1994 Issue.

Blues

The classic first all-instrumental Freddy King album, it was monstrously influential to succeeding generations of great artists.

Powerful blues-guitarist Freddie King appears in strong ’70s concert footage from an outdoor festival sponsored by Leon Russell. King’s tight band backs him with solid contemporary grooves, and Freddie’s in typically fine form.
By Bill Dahl. AMG.
**
The album and several of the songs it contains have been influential. According to 2006’s Encyclopedia of the Blues, the song “Hide Away” has become “one of the most popular blues instrumentals of all time”, a “mandatory staple of blues bands” at its time and “a standard for countless blues and rock musicians performing today.”
All Music Guide to the Blues indicates that in addition to “Hide Away”, which it describes as “Freddie King’s signature tune and most influential recording”, several of the other songs on the album also became blues classics, including “San-Ho-Zay” and “The Stumble”. Encyclopedia of the Blues adds that “Sen-Sa-Shun”, too, became a favorite songs for instrumental bands. Jerry Garcia of The Grateful Dead, which band performed “Hide Away” at several concerts, specifically sited “San-Ho-Zay” and “Sensation” as among the Freddie King album tracks that inspired him.

The album, which was cited as an influence by notable blues guitarist Stevie Ray Vaughan, was critically well received. It is described in the Encyclopedia of the Blues as “highly regarded”. In 2007, the Houston Chronicle listed the song as #6 on its list of 75 essential Texas blues albums, indicating that “If Gilmer’s King had only recorded the song Hide Away, his legend as an influential blues guitar player would be secure. But this entire album cooks.”
**
Of the three Kings of the blues, Freddie King (or Freddy King, as he was billed during his early period recording for King/Federal) had the most apparent pop sensibilities – at least, he did until B.B. King hipped up to letting pop embellishments enhance his blues (not for nothing was “The Thrill Is Gone” the biggest single hit of his career) and Albert King hooked up with Stax and let the deep soul side his blues had previously just hinted come full force. Like his Yexas predecessor Clarence (Gatemouth) Brown (who also had the jazz sensibilities long enough noted in B.B. King’s music), the third King so consciously sought the hooks and the grips of pop that it shouldn’t be a surprise that he found reasonable enough commercial success from almost the word go.
But Freddie King also gave proof to the idea that, often as not, the most enduring art springs from the most elemental commercial impetus. Looking for the hooks he certainly was, but in the process he uncorked a round of recordings which had a profound influence on the coming blues revival – young guitarists in England and the United States were breaking their fingers copying his licks as arduously as those of any of the other blues guitarmeisters. (Dave Marsh, for one, has written of “Hide Away,” his signature instrumental, “If you can imagine one song inspiring Cream’s “Wheels of Fire,” which is exactly what it did, “Hide Away” will grab you as very rock and roll, indeed,” though he had mostly in mind the live cuts on that album; Eric Clapton, who cut a searing version of the song in his days with John Mayall, has long admitted that Freddie King had at least as much influence upon him as did Robert Johnson and Muddy Waters.) Working with a very stripped quartet (the keyboard is almost an implicit rather than explicit player in several places), the future Texas Cannonball cut loose with round after round of slice-off-the-trunk guitar playing, striking for both its simplicity and its fiery lyricism riding a groove which suggests Texas bluesmen had no compunction about hipping up to the punchier R and B beat. But he was equally at home with material which sounded as though it could have turned up at a surf party on the sneak (“Swooshy” and “San-Ho-Zay” being the two most obvious and engaging examples; indeed, this album would actually see a mid-1960s repackaging AS an album just perfect for a surf party).

Damn near everything which attached to Freddie King’s name when discussing his subsequent influence was produced for this album, including “The Stumble,” which got a steroid shot into the permanent blues pantheon when future Fleetwood Mac founder Peter Green squeezed out a lickety-split version on Mayall’s “A Hard Road” album; “Hide Away,” “San-Ho-Zay,” “Sen-Sa-Shun,” “Wash Out,” and “Butterscotch,” among others. It’s as to-the-gut as Texas blues gets even now, and it’s also one of the classic dance albums of the early 1960s. In due course, King would give his vocal cords a workout and a good one, but if you’re looking to know where the man’s reputation begins and pretty much stays, this is the album (along with its followup, “Freddy King Gives You A Bonanza of Instrumentals”) which answers on both counts.
By BluesDuke.
**
Fred Jordan– Guitar, rhythm Guitar
Freddie King– Guitar, vocals
Gene Redd– Sax
Clifford Scott– Sax
Sonny Thompson– Piano
William “Bill” Willis– Bass Guitar
Philip Paul– Drums
**
01. Hide Away 2:43
02. Butterscotch 3:04
03. Sen-Sa-Shun 2:54
04. Side Tracked 3:07
05. The Stumble 3:14
06. Wash Out 2:38
07. San-Ho-Zay 2:40
08. Just Pickin’ 2:33
09. Heads Up 2:33
10. In the Open 3:11
11. Out Front 2:40
12. Swooshy 2:19
**

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