Crosscut Saw

The recording

King plays his 1959 Gibson Flying V upside‑down left‑handed, with the low‑E string at the bottom and tuned a half‑step down to an open‑E‑minor shape with a low C (C‑E‑G‑B‑D‑G). He attacks the neck pickup with thumb and fingers, rolling the tone knob back to soften the treble, while the clean Fender Twin Reverb’s spring reverb adds depth and sustain to the solo sections.

Tuning C‑E‑G‑B‑D‑G (low C tuning, half‑step down, left‑handed upside‑down)

Reported gear

1959 Gibson Flying V 'Lucy'

Guitar

Albert King played his 1959 Gibson Flying V, nicknamed 'Lucy', upside‑down left‑handed, providing the thick, singing lead tone heard on 'Crosscut Saw'.

1962 Fender Twin Reverb

Amp

King routed his Flying V through a 1962 Fender Twin Reverb, whose clean, high‑headroom sound and built‑in spring reverb helped shape the smooth, sustaining blues tone on 'Crosscut Saw'.

Alternatives

Epiphone Flying V

Modern equivalent · for the 1959 Gibson Flying V 'Lucy'

$500 to 600

Fender '68 Custom Twin Reverb Reissue

Modern equivalent · for the 1962 Fender Twin Reverb

$1,300 to 1,500

Practical playing approach

Recreation guidance, not a claim about undocumented studio control positions.

1. 1.Flip a right‑handed guitar upside‑down and keep the low string at the bottom to mimic King’s left‑handed setup.
2. 2.Use the neck pickup and roll the tone knob back to around 6 for a warm, rounded tone.
3. 3.Bend strings downwards (pull the string) to achieve King’s signature ‘fall‑off’ phrasing.
4. 4.Play with thumb over the top of the neck for extra control and dynamic volume.
5. 5.Add a modest amount of spring reverb (room‑type) to give depth without washing out the sustain.