Albert Collins.
Albert Gene Drewery was born October 1, 1932, in Leona, Texas.
Died on November 24, 1993, Las Vegas, Nevada.
Albert was up on a farm in Texas with two farmer parents and was introduced to music from a young age. In 1941, the Collins family decided to return to Houston. Albert completed his education, but after 10th grade, he decided it was enough and quit to work. He was first interested in the organ (Jimmy McGriff was a hero) and the piano, but he quickly developed a strong interest in the guitar, which he began to play at the local church. His early guitar heroes were his cousin Lightnin’ Hopkins and John Lee Hooker. Other influences included T-Bone Walker, Clarence Gatemouth Brown (from whom he adopted his capo stylings), and Guitar Slim. Johnny Guitar Watson and Johnny Copeland were two more aspiring guitarists in the Third Ward region. However, he did not take his guitar playing seriously until the early 1950s, when he began touring black juke clubs in Houston’s black communities. Albert previously stated that he was up around sax artists such as Illinois Jacquet, and that in Texas, you could choose between jazz, R&B, or blues; he became a bluesman, becoming quite a showman (ala Guitar Slim), and used minor key tunings on his guitar.
In 1952, he founded his own band, Albert Collins & the Rhythm Rockers, which featured Eddie “Guitar Slim” Jones (voc, el-g) and “Little” Milton Campbell (voc, el-g). His first released recording, The Freeze on Kangaroo in 1958, rapidly gave him a “jump start” and a reputation as one of the greatest blues guitarists alive, and his cool and funky guitar characteristic came to define his career permanently. Albert worked a solid day job mixing paint for cars and was hesitant to travel far from home back then.
During the 1960s, he recorded for various independent labels, including Kangaroo, Great Scott, TCF, and Hall-Way (from Beaumont, Texas). Collins stated that teenage residents Johnny Winter and Janis Joplin were watching in the studio when he cut Frosty from 62, which became a smash. Many of his tracks were given cool little titles like Frosty, Sno-cone, and Defrost. He toured with a variety of performers, including blues guitarist Albert King, vocalist Little Richard*, and guitarist and harmonica player Jimmy Reed. In 1965, he left his organisation and relocated to Kansas City. He was still quite musically active, performing with great performers such as jazz guitarist Wes Montgomery and organist Jimmy McGriff.
Bob Hite, of the famed blues/rock band Canned Heat, encouraged him to move to California in 1968, where Hite had arranged for Albert to sign a record deal with Imperial Records. Albert opted to relocate to California, where he worked with Hite to make three albums for the corporation. At the same period, Albert began touring the American west coast, performing with guitarist Robert Cray, among others. Collins’ West Coast performances also inspired a new generation of blues guitarists, including Robert Cray, Stevie Ray Vaughan, and Joe Louis Walker.
From 1972 to 1978, Collins became increasingly disinterested in music and ceased recording entirely. The situation escalated to the point where he stopped playing the guitar entirely in 1974 and 1975. Instead, he became a construction worker, working on projects such as Neil Diamond’s house. After much pressure from his wife, Gwen Collins, Albert decided to resume his music career in the late 1970s. Collins signed with Alligator Records, a major blues album label based in Chicago, in 1978.
Some of his best records have come during his time with Alligator, backed by his own band, the Icebreakers. His work on Alligator propelled him back into international blues society and the musical spotlight. Many of his Alligator recordings were Grammy nominated, but it wasn’t until the 1985 album “Showdown” with Robert Cray and Johnny Copeland that Collins received the widespread appreciation and recognition he deserved. Albert (and Bo Diddley) collaborated with roots guitarist George Thorogood on the US portion of Live Aid, which was broadcast to a worldwide audience.
In 1991, he went to the Virgin-owned record label Pointblank, where he made three excellent and real recordings. He also collaborated with B.B. King on Gary Moore’s 1992 album After Hours. Albert’s involvement with Moore also resulted in his appearance as a guest blues artist on Moore’s 1993 world tour. He also appeared on a live CD with Moore (Blues Alive), which was made during the tour. Collins also appeared on one of jazz saxophonist Branford Marsalis’ albums. Collins produced a collection named “Collins Mix- the Best of” in 1993, which featured famous guest stars including as Gary Moore, B.B King, Branford Marsalis, and harmonica musician Kim Wilson of the Fabulous Thunderbirds.
Albert Collins was at the pinnacle of his profession in 1993 when he was tragically diagnosed with terminal liver cancer. Despite the cancer, he continued to perform and tour clubs and festivals with his band, the Icebreakers, until his death. The last sessions with the Icebreakers culminated in his final album, Live 92-93, which was released in 1995 and showcases one of the world’s best blues guitarists in peak form. Albert Collins, 61, died peacefully at his Las Vegas home on November 24, 1993, only six months after being diagnosed with cancer. Post-SAO guitar giants like Hendrix, J Winter, and S R Vaughan acknowledged the Iceman’s early impact.
Albert Collins was a modest voice, but an extraordinary and fantastic guitarist with a consistent phat and juicy Fender Telecaster tone. Collins rapidly established himself as one of the world’s premier blues guitarists, alongside B.B. King, Buddy Guy, Eric Clapton, and Albert King, thanks to his unique, innovative, and funky guitar style. Between 1958 and 1971, Collins primarily recorded instrumental Texas blues, influenced by artists such as T-Bone Walker, John Lee Hooker, Lightning Hopkins, and different jazz players. It wasn’t until the mid-1970s that he took his first step in front of the microphone. During his time with Alligator, he honed his vocal abilities, and after strong lobbying from his friends and wife Gwen, he finally consented to give his vocals a shot. He eventually became a wonderful singer as well. Collins, a loyal Fender Telecaster enthusiast since the 1950s, was also honoured by Fender with his own Fender Telecaster Signature model.
*Albert Collins is not the same individual who co-wrote “Lucille” and “Slippin’ and Slidin'” with and for Little Richard.
Recommended listening:
Cool Sound Of A C—original Hall Way LP later reissued on Blue Thumb
Showdown – featuring Albert Collins, Johnny Copeland, and Robert Cray 1985
Leave a Reply