Artist: Freddie King Album: Burglar

Year: 1974
Duration: 0:0-1

Burglar by Freddie King: A Critical Analysis of the Blues Guitar Legend's Final Album

In the blues world, Freddie King was a true heavyweight. The legendary guitarist and singer from Texas was a scorching hot act in the 1960s, with hits like Hide Away and Have You Ever Loved A Woman. He was one of the three kings of blues guitar, alongside Albert King and B.B. King. Burglar was one of the last albums he made before his untimely death. Released in 1974, Burglar is a mix of blues, funk and soul that showcases King's skills as a songwriter, singer and guitar slinger. This album marks the end of a remarkable career that reshaped the blues scene and inspired countless musicians. In this blog post, we'll delve into Burglar's musical landscape, highlight the best tracks, and provide a critical assessment of the album.

Burglar is a diverse and engaging album that showcases King's versatility as a musician. The album comes hot on the heels of his comeback album, Texas Cannonball, which was his first recording in several years. Burglar picks up where Texas Cannonball left off, with a mix of blues, rock and R&B. King's guitar playing is electrifying throughout the album, blending raw power with finesse and a rich tonal palette.

The album features King's trademark shuffle beats, funky grooves and soulful ballads. King's voice is husky and full of feeling, conveying the joys and woes of life with great sincerity. The album's standout tracks include Lowdown In Lodi, a rocking and rollicking tribute to the small town in California where Creedence Clearwater Revival hailed from. King's guitar playing here is incendiary, with blistering solos and lightning-fast riffs. Sugar Sweet is another highlight, a slow-burning blues that oozes sensuality and longing. King's guitar solo here is a thing of beauty, with slow bends, sharp stabs and searing sustains.

One of the most striking aspects of Burglar is the fusion of different genres. King clearly wasn't content to stick to the tried-and-true blues formula. He was eager to explore new sonic horizons, and he did so with great success. Songs like Ain't No Sunshine and Going Down blend blues, funk and soul to create a fresh and funky sound. King's guitar playing here is funky and precise, with rhythm and lead parts interweaving to create a thick and juicy sound.

There are a few weak spots on the album, however. Tobacco Road is a cov er of a song by John D. Loudermilk that feels like a missed opportunity. King's guitar playing is fine, but the arrangement feels uninspired and lacks spark. Similarly, You Don't Have To Go is a straightforward blues tune that doesn't leave much of an impression. These moments are few and far between, however, and don't detract from the overall quality of the album.

Burglar is a worthy addition to Freddie King's impressive legacy. It's a rich and varied album that showcases his many talents as a songwriter, singer and guitarist. King's unconventional approach to the blues genre pushed boundaries and opened up new possibilities for future musicians. Although the album has a few lackluster moments, it's a must-listen for anyone interested in blues or rock music history. It serves as a fitting tribute to a legendary musician who left us too soon but left an indelible mark on the world of music.