For any devotee of the blues guitar, the song “Born Under A Bad Sign” is sacred ground. Written by Booker T. Jones and William Bell, and immortalized by Albert King in 1967, it remains one of the genre’s most iconic tracks. A powerful live video, featuring King performing the song alongside British blues pioneer John Mayall in 1982, offers a masterclass in collaboration and raw blues power—a performance every serious guitardoor.com reader needs to witness. Also before I progress I had to generate a featured image for Albert and John since their seems to be noting available for licence so excuse the AI
The Collaboration: A Summit of Blues Giants
This 10-minute performance from 1982 captures the essence of a transatlantic blues summit. On one side, we have Albert King, the legendary “Velvet Bulldozer” and one of the genre’s most influential figures. On the other, John Mayall, often dubbed “The Godfather of British Blues,” whose seminal band, the Bluesbreakers, launched the careers of greats like Eric Clapton, Peter Green, and Mick Taylor. This live moment is a direct link between the Mississippi Delta tradition and the British blues explosion it inspired.
The song begins with Mayall taking the lead vocal, his voice setting the scene with the classic, mournful lyric: “Trouble is my only friend / Been on my own ever since I was 10 / Born on a bad sign”. Albert King’s guitar provides the signature, biting introduction riffs, his tone instantly recognizable and dripping with attitude.
Albert King’s Masterclass in Bending and Phrasing
For guitarists, the real gold in this video is Albert King’s technique. King’s signature sound—a dramatic, crying tone full of huge bends and unique vibrato—was born from his unorthodox approach. As a left-handed player who played a right-handed Gibson Flying V (affectionately nicknamed “Lucy”) upside down without reversing the strings, he had to push strings down towards the floor to achieve his bends, a technique that requires immense hand strength and results in his unmistakable, aggressive sound.
The first major instrumental section is an extended showcase of King’s genius, lasting nearly five minutes and a deep dive into pure, unadulterated blues improvisation. His phrasing is conversational, full of deliberate space, and his bends often hit notes that seem to defy the standard scale, giving his playing a raw, emotional intensity that few have ever matched. If you want to learn more about the guitar lineage of blues legends, be sure to check out our piece on The Three Kings of Blues Guitar.
Gear and Tuning: Unlocking the Signature Tone
King was also known for his distinct gear choices that contributed to his massive sound. He typically used heavy gauge strings and often employed a dropped tuning, commonly C# minor or D minor, which added to the deep, thunderous quality of his low notes while allowing his unique bending technique to shine. This combination of an unconventional setup and powerful technique is what gives the “Born Under A Bad Sign” riff its unforgettable, powerful punch.
The Historic Echoes and Closing Jam
The song’s lyrical theme—a life of perpetual misfortune—is vividly painted through the music: “If it wasn’t for bad luck / I would no long at all”. Mayall later reinforces this theme in the final verses, touching on life’s temptations: “Wine and women is all I big / Woman going to carry me to my grave”. The presence of Mayall, a key figure in introducing the blues to a rock audience, next to King, the foundational icon, makes this performance a historic moment.
As the song moves towards its conclusion, the two legends engage in a final, extended blues jam. They trade licks and phrases in a magnificent display of call-and-response, demonstrating the true spirit of the blues—mutual respect, spontaneous creation, and powerful, honest communication through their instruments. This live recording is an essential resource for any guitarist looking to study the roots of the blues.
