B.B. King | ||
| Allmusic Biography : Universally hailed as the king of the blues, the legendary B.B. King was without a doubt the single most important electric guitarist of the last half of the 20th century. His bent notes and staccato picking style influenced legions of contemporary bluesmen, while his gritty and confident voice -- capable of wringing every nuance from any lyric -- provided a worthy match for his passionate playing. Between 1951 and 1985, King notched an impressive 74 entries on Billboards R&B; charts, and he was one of the few full-fledged blues artists to score a major pop hit when his 1970 smash "The Thrill Is Gone" crossed over to mainstream success (engendering memorable appearances on The Ed Sullivan Show and American Bandstand). After his hit-making days, he partnered with such musicians as Eric Clapton and U2 and managed his own acclaimed solo career, all the while maintaining his immediately recognizable style on the electric guitar. The seeds of Riley B. Kings enduring talent were sown deep in the blues-rich Mississippi Delta, where he was born in 1925 near the town of Itta Bena. He was shuttled between his mothers home and his grandmothers residence as a child, his father having left the family when King was very young. The youth put in long days working as a sharecropper and devoutly sang the Lords praises at church before moving to Indianola -- another town located in the heart of the Delta -- in 1943. Country and gospel music left an indelible impression on Kings musical mindset as he matured, along with the styles of blues greats (T-Bone Walker and Lonnie Johnson) and jazz geniuses (Charlie Christian and Django Reinhardt). In 1946, he set off for Memphis to look up his cousin, a rough-edged country blues guitarist named Bukka White. For ten invaluable months, White taught his eager young relative the finer points of playing blues guitar. After returning briefly to Indianola and the sharecroppers eternal struggle with his wife Martha, King returned to Memphis in late 1948. This time, he stuck around for a while. King was soon broadcasting his music live via Memphis radio station WDIA, a frequency that had only recently switched to a pioneering all-black format. Local club owners preferred that their attractions also held down radio gigs so they could plug their nightly appearances on the air. When WDIA DJ Maurice "Hot Rod" Hulbert exited his air shift, King took over his record-spinning duties. At first tagged "The Peptikon Boy" (an alcohol-loaded elixir that rivaled Hadacol) when WDIA put him on the air, Kings on-air handle became "The Beale Street Blues Boy," later shortened to Blues Boy and then a far snappier B.B. King had a four-star breakthrough year in 1949. He cut his first four tracks for Jim Bulleits Bullet Records (including a number entitled "Miss Martha King" after his wife), then signed a contract with the Bihari Brothers Los Angeles-based RPM Records. King cut a plethora of sides in Memphis over the next couple of years for RPM, many of them produced by a relative newcomer named Sam Phillips (whose Sun Records was still a distant dream at that point in time). Phillips was independently producing sides for both the Biharis and Chess; his stable also included Howlin Wolf, Rosco Gordon, and fellow WDIA personality Rufus Thomas. The Biharis also recorded some of Kings early output themselves, erecting portable recording equipment wherever they could locate a suitable facility. Kings first national R&B; chart-topper in 1951, "Three OClock Blues" (previously waxed by Lowell Fulson), was cut at a Memphis YMCA. Kings Memphis running partners included vocalist Bobby Bland, drummer Earl Forest, and ballad-singing pianist Johnny Ace. When King hit the road to promote "Three OClock Blues," he handed the group, known as the Beale Streeters, over to Ace. It was during this era that King first named his beloved guitar "Lucille." Seems that while he was playing a joint in a little Arkansas town called Twist, fisticuffs broke out between two jealous suitors over a lady. The brawlers knocked over a kerosene-filled garbage pail that was heating the place, setting the room ablaze. In the frantic scramble to escape the flames, King left his guitar inside. He foolishly ran back in to retrieve it, dodging the flames and almost losing his life. When the smoke had cleared, King learned that the lady who had inspired such violent passion was named Lucille. Plenty of Lucilles have passed through his hands since; Gibson has even marketed a B.B.-approved guitar model under the name. The 1950s saw King establish himself as a perennially formidable hitmaking force in the R&B; field. Recording mostly in L.A. (the WDIA air shift became impossible to maintain by 1953 due to Kings endless touring) for RPM and its successor Kent, King scored 20 chart items during that musically tumultuous decade, including such memorable efforts as "You Know I Love You" (1952); "Woke Up This Morning" and "Please Love Me" (1953); "When My Heart Beats like a Hammer," "Whole Lotta Love," and "You Upset Me Baby" (1954); "Every Day I Have the Blues" (another Fulson remake), the dreamy blues ballad "Sneakin Around," and "Ten Long Years" (1955); "Bad Luck," "Sweet Little Angel," and a Platters-like "On My Word of Honor" (1956); and "Please Accept My Love" (first cut by Jimmy Wilson) in 1958. Kings guitar attack grew more aggressive and pointed as the decade progressed, influencing a legion of up-and-coming axemen across the nation. In 1960, Kings impassioned two-sided revival of Joe Turners "Sweet Sixteen" became another mammoth seller, and his "Got a Right to Love My Baby" and "Partin Time" werent far behind. But Kent couldnt hang onto a star like King forever (and he may have been tired of watching his new LPs consigned directly into the 99-cent bins on the Biharis cheapo Crown logo). King moved over to ABC-Paramount Records in 1962, following the lead of Lloyd Price, Ray Charles, and before long, Fats Domino. In November of 1964, the guitarist cut his seminal Live at the Regal album at the fabled Chicago theater and excitement virtually leaped out of the grooves. That same year, he enjoyed a minor hit with "How Blue Can You Get," one of his many signature tunes. "Dont Answer the Door" in 1966 and "Paying the Cost to Be the Boss" two years later were Top Ten R&B; entries, and the socially charged and funk-tinged "Why I Sing the Blues" just missed achieving the same status in 1969. Across-the-board stardom finally arrived in 1969 for the deserving guitarist, when he crashed the mainstream consciousness in a big way with a stately, violin-drenched minor-key treatment of Roy Hawkins "The Thrill Is Gone" that was quite a departure from the concise horn-powered backing King had customarily employed. At last, pop audiences were convinced that they should get to know King better: not only was the track a number-three R&B; smash, it vaulted to the upper reaches of the pop lists as well. King was one of a precious few bluesmen to score hits consistently during the 1970s, and for good reason: he wasnt afraid to experiment with the idiom. In 1973, he ventured to Philadelphia to record a pair of huge sellers, "To Know You Is to Love You" and "I Like to Live the Love," with the same silky rhythm section that powered the hits of the Spinners and the OJays. In 1976, he teamed up with his old cohort Bland to wax some well-received duets. And in 1978, he joined forces with the jazzy Crusaders to make the gloriously funky "Never Make Your Move Too Soon" and an inspiring "When It All Comes Down." Occasionally, the daring deviations veered off-course; Love Me Tender, an album that attempted to harness the Nashville country sound, was an artistic disaster. Although his concerts were consistently as satisfying as anyone in the field (King asserted himself as a road warrior of remarkable resiliency who gigged an average of 300 nights a year), King tempered his studio activities somewhat. Nevertheless, his 1993 MCA disc Blues Summit was a return to form, as King duetted with his peers (John Lee Hooker, Etta James, Fulson, Koko Taylor) on a program of standards. Other notable releases from that period include 1999s Let the Good Times Roll: The Music of Louis Jordan and 2000s Riding with the King, a collaboration with Eric Clapton. King celebrated his 80th birthday in 2005 with the star-studded album 80, which featured guest spots from such varied artists as Gloria Estefan, John Mayer, and Van Morrison. Live was issued in 2008; that same year, King released an engaging return to pure blues, One Kind Favor, which eschewed the slick sounds of his 21st century work for a stripped-back approach. A long overdue career-spanning box set of Kings over 60 years of touring, recording, and performing, Ladies and Gentlemen...Mr. B.B. King, appeared in 2012. Late in 2014, King was forced to cancel several shows due to exhaustion; he was later hospitalized twice and entered hospice care in the spring. He died in Las Vegas, Nevada, on May 14, 2015. | ||
 | Album: 1 of 47 Title: Singin the Blues Released: 1956 Tracks: 20 Duration: 57:21 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Please Love Me (02:52) 2 You Upset Me Baby (03:01) 3 Everyday I Have the Blues (02:49) 4 Bad Luck (02:53) 5 3 OClock Blues (03:03) 6 Blind Love (02:56) 7 Woke Up This Morning (02:59) 8 You Know I Love You (03:05) 9 Sweet Little Angel (03:00) 10 Ten Long Years (02:47) 11 Did You Ever Love a Women (02:35) 12 Crying Wont Help You (02:58) 13 Whole Lotta Meat (take 14) (02:28) 14 Im Cracking Up Over You (take 1) (03:20) 15 I Stay in the Mood (take 5) (02:55) 16 When My Hearts Beat Like a Hammer a.k.a. Million Years Blues (take 5) (02:56) 17 Jump With You Baby (02:10) 18 Lonely and Blue (02:55) 19 Dark Is the Night, Part 1 a.k.a. the Blues Has Got Me (take 1) (02:38) 20 Ruby Lee (03:01) |
| Singin' the Blues : Allmusic album Review : Absolutely seminal material; his classic hits. | ||
 | Album: 2 of 47 Title: The Blues Released: 1958 Tracks: 12 Duration: 33:28 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Why Do Things Happen to Me (02:46) 2 Ruby Lee (02:37) 3 When My Heart Beats Like a Hammer (02:54) 4 Dont Have to Cry aka Past Day (03:17) 5 Boogie Woogie Woman (02:49) 6 Early in the Morning (02:36) 7 I Want to Get Married (03:03) 8 That Ain’t the Way to Do It (02:19) 9 Troubles, Troubles, Troubles (02:58) 10 Don’t You Want a Man Like Me (02:40) 11 You Know I Go for You (02:39) 12 What Can I Do aka Just Sing the Blues (02:48) |
| The Blues : Allmusic album Review : Originally released in 1958 by the budget-priced Crown label, The Blues collected a dozen sides B.B. King cut for RPM and Kent between 1951 and 1958. (RPM and Kent were owned by the Bahari Brothers who also ran Crown, which explains how one of the true prestige artists of the blues ended up on such a notoriously cheap-o label.) As was often the case with Crowns product, The Blues used a single hit tune (in this case "When My Heart Beats Like a Hammer," a Top Ten R&B; chart entry in 1954) to help sell a package of lesser-known material, but thankfully the label also picked some great tunes that hardly sound like filler, even if they didnt make the charts. The material on The Blues is dominated by muscular, horn-driven performances with Kings interjections of single-note riffs and powerful string bends punctuating the arrangements, and Kings songwriting was already stellar, with "I Want to Get Married," "Dont You Want a Man Like Me," and "Ruby Lee" demonstrating his way with a melody and a lyrical conceit. While Kings recordings gained a greater depth and emotional force as he moved into the 60s, his RPM takes were the work of a man who already had an enviable command of his instrument and a real gift as a vocalist and songwriter, and though he would get better with time, The Blues demonstrates he was already near the top of his class. | ||
 | Album: 3 of 47 Title: King of the Blues Released: 1960 Tracks: 10 Duration: 29:40 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 I’ve Got a Right to Love My Baby (03:13) 2 What Way to Go (03:06) 3 Long Nights (03:31) 4 Feel Like a Million (03:31) 5 I’ll Survive (02:40) 6 Good Man Gone Bad (02:45) 7 If I Lost You (02:42) 8 You’re on the Top (02:50) 9 Partin’ Time (03:01) 10 I’m King (02:20) |
| King of the Blues : Allmusic album Review : Three cheers to Ace Records for reissuing B.B. Kings Crown, Kent, and Ember sides as albums with original artwork, remastered sound, and plenty of bonus tracks. King of the Blues was B.B.s sixth album for the Bihari Brothers on Crown, issued at a budget price, and his second full-length outing of 1960 after coming off his chart-topping "Sweet Little Sixteen" single earlier in the year. The set opens with the B-side of that single, "Ive Got a Right to Love My Baby," and also includes "Partin Time," a number eight charter as well. "Im King" is B.B. at his boasting best; his modern style that crosses rock & roll and R&B; with the jump blues is fully developed here, and his consistency from track to track during those crazy days is remarkable. In addition, there are ten bonus tracks (making the CD double length), including tunes from the early to mid-60s such as "Tell Me Baby," "3 OClock Blues," "Million Years Blues," and an obscure remixed track from 1962 (issued as a single in 1970 on Kent) called "Worried Life." This is a stellar look at a young, cocky, guitar-slinging B.B. King. The sound is very fine and the notes by Jon Broven are exemplary. This is a necessary purchase for anyone interested in Kings career. | ||
 | Album: 4 of 47 Title: Blues for Me Released: 1962 Tracks: 10 Duration: 27:06 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Bad Case of Love (02:18) 2 Get Out of Here (02:40) 3 Bad Luck Soul (02:18) 4 Shut Your Mouth (02:40) 5 Baby, Look at You (03:05) 6 Youre Breaking My Heart (04:13) 7 My Reward (02:15) 8 Dont Cry Anymore (02:18) 9 Blues for Me (02:14) 10 Aint That Just Like a Woman (03:05) |
 | Album: 5 of 47 Title: Blues in My Heart Released: 1963 Tracks: 10 Duration: 32:57 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Youre Gonna Miss Me (02:49) 2 Got em Bad (02:59) 3 Troubles Dont Last (03:29) 4 Your Letter (03:33) 5 I Cant Explain (03:33) 6 Wrong Road (03:02) 7 I Need You Baby (03:28) 8 So Many Days (03:20) 9 Downhearted (03:14) 10 Strange Things (03:25) |
| Blues in My Heart : Allmusic album Review : Its been speculated that Blues in My Heart was recorded in late 1961 right before B.B. King left Modern for ABC, possibly with everything getting cut in one session. If that was the case, it might account for the grind-it-out feel of these ten small-combo sides (probably with Plas Johnson on sax and Maxwell Davis on keyboards), which are lacking in noteworthy songs, with the possible exception of "Downhearted" (aka "How Blue Can You Get?"). King, of course, brings committed singing and playing to the session; he was too much of a pro to give anything less than that to everything he did in the studio back then. Even by the adjusted standards of Kings brand of urban blues, however, these songs just sound too similar to each other to rate among his better work, often sticking to a slow to midtempo shuffle and nearly identical chord progressions. Fact is, when "Troubles Dont Last" follows "Got Em Bad," the arrangements so similar that at first youre wondering whether its "Got Em Bad, Pt. 2" (though it isnt). "Downhearted" does have a renowned if slightly cruel lyric, though, especially when King changes to a stuttering tempo and complains, "I gave you seven children/And now you want to give them back!" Still, even that particular song was done more memorably on Kings famous concert album Live at the Regal a few years later. Note that the version of "Got Em Bad" is different from the one that came out on a Kent single in 1965, which added a Maxwell Davis piano overdub. | ||
 | Album: 6 of 47 Title: Mr. Blues Released: 1963 Tracks: 12 Duration: 28:53 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Young Dreamers (02:50) 2 By Myself (02:20) 3 Chains of Love (02:35) 4 A Mothers Love (02:35) 5 Blues at Midnight (02:57) 6 Sneakin Around (02:05) 7 On My Road of Honor (02:35) 8 Tomorrow Night (02:18) 9 My Babys Comin Home (02:06) 10 Guess Who? (02:12) 11 You Ask Me (02:08) 12 Im Gonna Sit in Til You Give In (02:12) |
| Mr. Blues : Allmusic album Review : To suggest that B.B. Kings ABC-Paramount debut LP Mr. Blues (1963) is stylistically diverse is an understatement. Granted, cohesion might not have been a top-shelf priority to a label which actually sandwiched Mr. Blues between releases by Fats Domino and the N.Y. Salvation Army Staff Band. Another equally legitimate rationale is that the album was filled with a dozen tracks cut at three disparate sessions. These chronologically commence March 1, 1962 with the Maxwell Davis Orchestra. Then, nearly seven months later -- on September 19, 1962 -- King is backed by Belford Hendricks and ensemble. Finally on April 11, 1963 he joins Teacho Wilshire to collectively produce enough material to cobble together this compilation. Fortunately, half of Mr. Blues is derived from the superior Davis-led recordings, highlighted by the Ahmet Ertegun-penned "Chains of Love" -- a hit for blues shouter Big Joe Turner -- while Ivory Joe Hunters "Blues at Midnight" allows King to show off his own brand of blues testifyin. Equally enjoyable are the ebullient "Im Gonna Sit in Til You Give In" and "My Babys Comin Home," as they bear the distinct presence of Kings nimble guitar craft. Belford Hendricks took King through the decidedly more sensitive "By Myself" and "A Mothers Love" with comparable arrangements that bring Kings intimate vocals to the center of attention. Hendricks uncertainty as exactly how to present King is evident on the garish orchestration of "Tomorrow Night" and the Jesse Belvin co-penned "Guess Who." Yet those missteps pale when compared to the overbearing singers who smother the Teacho Wilshire-led "On My Word of Honor" and the opener "Young Dreamers." Perhaps one initial direction for King was as a Johnny Mathis-type of crooner, as these scores indicate him offering little more than over-the-top lead vocals. While Mr. Blues is far from a total washout, there are much better examples of B.B. Kings mastery as a singer and guitarist circa the early 60s. | ||
 | Album: 7 of 47 Title: On Stage Live Released: 1965 Tracks: 11 Duration: 37:43 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Please love me (03:11) 2 Everyday I have the blues (02:50) 3 Sweet Sixteen (06:18) 4 3 Oclock blues (03:08) 5 Rock me baby (03:14) 6 Sweet little angel (03:04) 7 Baby look at me (03:17) 8 Woke up this morning (03:06) 9 You upset me baby (03:04) 10 Ive got a right to love my baby (03:13) 11 Let me love you (03:14) |
 | Album: 8 of 47 Title: The Soul of B.B. King Released: 1966 Tracks: 10 Duration: 28:31 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 Going Home (03:23) 2 The Letter (03:07) 3 You Never Know (02:25) 4 Please Remember Me (03:15) 5 Come Baby Baby (03:22) 6 You Won’t Listen (02:25) 7 Sundown (02:11) 8 You Shouldn’t Have Left (03:08) 9 House Rocker (03:01) 10 Shake Yours (02:14) |
 | Album: 9 of 47 Title: Blues on Top of Blues Released: 1968 Tracks: 12 Duration: 31:53 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Heartbreaker (02:31) 2 Losing Faith in You (02:58) 3 Dance With Me (03:21) 4 That’s Wrong Little Mama (02:19) 5 Having My Say (02:39) 6 I’m Not Wanted Anymore (02:25) 7 Worried Dream (02:54) 8 Paying the Cost to Be the Boss (02:35) 9 Until I Found You (02:23) 10 I’m Gonna Do What They Do to Me (02:47) 11 Raining in My Heart (02:28) 12 Now That You’ve Lost Me (02:27) |
 | Album: 10 of 47 Title: Lucille Released: 1968 Tracks: 9 Duration: 37:12 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Lucille (10:15) 2 Stop Putting the Hurt on Me (03:03) 3 Rainin’ All the Time (02:56) 4 You Move Me So (02:03) 5 I’m With You (02:31) 6 Watch Yourself (05:49) 7 No Money, No Luck (03:48) 8 I Need Your Love (02:22) 9 Country Girl (04:24) |
| Lucille : Allmusic album Review : A decent but short (nine songs) late 60s set, with somewhat sparser production than hed employ with the beefier arrangements of the "Thrill Is Gone" era. Brass and stinging guitar plays a part on all of the songs, leading off with the eight-minute title track, a spoken narrative about his famous guitar. | ||
 | Album: 11 of 47 Title: His Best – The Electric B.B. King Released: 1968 Tracks: 11 Duration: 32:28 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Tired of Your Jive (02:11) 2 Dont Answer the Door (05:11) 3 The B.B. Jones (02:43) 4 All Over Again (02:37) 5 Paying the Cost to Be the Boss (02:34) 6 Think It Over (02:49) 7 I Done Got Wise (02:21) 8 Meet My Happiness (02:19) 9 Sweet Sixteen (04:16) 10 You Put It on Me (02:50) 11 I Dont Want You Cuttin Off Your Hair (02:37) |
| His Best – The Electric B.B. King : Allmusic album Review : Although this collection has "Dont Answer the Door," "Paying the Cost to Be the Boss," and a nice live recut of "Sweet Sixteen" to highly recommend it, this 1968 LP is hardly Kings best, and the "electric" part of the title makes it sound like theres an acoustic B.B. King album lurking around somewhere that everyone somehow missed in the last 50-plus decades. To be sure, these are rock-solid performances all recorded between 1965 to 1968, just as Kings music was getting slicker and more urban. But this was one of the albums that helped introduce B.B. to a more modern audience (its gone on to sell over a million copies), heading straight to the timeline of "The Thrill Is Gone" and putting him on the map worldwide. | ||
 | Album: 12 of 47 Title: Live & Well Released: 1969 Tracks: 10 Duration: 00:00 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Dont Answer the Door (?) 2 Just a Little Love (?) 3 My Mood (?) 4 Sweet Little Angel (?) 5 Please Accept My Love (?) 6 I Want You So Bad (?) 7 Friends (?) 8 Get Off My Back Woman (?) 9 Lets Get Down to Business (?) 10 Thats Why I Sing the Blues (?) |
| Live & Well : Allmusic album Review : Although Live & Well wasnt a landmark album in the sense of Live at the Regal, it was a significant commercial breakthrough for King, as it was the first of his LPs to enter the Top 100. That may have been because recognition from rock stars such as Eric Clapton had finally boosted his exposure to the White pop audience, but it was a worthy recording on its own merits, divided evenly between live and studio material. Kings always recorded well as a live act, and its the concert tracks that shine brightest, although the studio ones (cut with assistance from studio musicians like Al Kooper and Hugh McCracken) arent bad. | ||
 | Album: 13 of 47 Title: Completely Well Released: 1969-12 Tracks: 8 Duration: 49:57 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 So Excited (05:36) 2 No Good (04:35) 3 You’re Losin’ Me (04:55) 4 What Happened (04:43) 5 Confessin’ the Blues (04:56) 6 Key to My Kingdom (03:18) 7 Cryin Wont Help You Now / Youre Mean (16:27) 8 The Thrill Is Gone (05:27) |
| Completely Well : Allmusic album Review : Completely Well was B.B. Kings breakthrough album in 1969, which finally got him the long-deserved acclaim that was no less than his due. It contained his signature number, "The Thrill Is Gone," and eight other tunes, six of them emanating from Kings pen, usually in a co-writing situation. Hardliners point to the horn charts and the overdubbed strings as the beginning of the end of Kings old style that so identifiably earmarked his early sides for the Bihari Brothers and his later tracks for ABC, but this is truly the album that made the world sit up and take notice of B.B. King. The plus points include loose arrangements and a small combo behind him that never dwarfs the proceedings or gets in the way. King, for his part, sounds like hes having a ball, playing and singing at peak power. This is certainly not the place to start your B.B. King collection, but its a nice stop along the way before you finish it. | ||
 | Album: 14 of 47 Title: Indianola Mississippi Seeds Released: 1970 Tracks: 9 Duration: 39:43 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Nobody Loves Me but My Mother (01:27) 2 You’re Still My Woman (06:06) 3 Ask Me No Questions (03:10) 4 Until I’m Dead and Cold (04:47) 5 King’s Special (05:12) 6 Ain’t Gonna Worry My Life Anymore (05:22) 7 Chains and Things (04:54) 8 Go Underground (04:05) 9 Hummingbird (04:36) |
| Indianola Mississippi Seeds : Allmusic album Review : B.B. King hasnt made many better pop-flavored albums than this. Besides making Leon Russells "Hummingbird" sound like his own composition, King showed that you can put the blues into any situation and make it work. Joining King here were Leon Russell, Joe Walsh and Carole King; several pop luminaries who did more than just hang on for the ride. | ||
 | Album: 15 of 47 Title: Better Than Ever Released: 1971 Tracks: 10 Duration: 29:14 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 I’ve Got a Right to Love My Baby (03:11) 2 Feel Like a Million (03:28) 3 I’ll Survive (02:38) 4 If I Lost You (02:38) 5 Partin’ Time (02:59) 6 Good Man Gone Bad (02:43) 7 Long Nights (03:27) 8 What a Way to Go (03:03) 9 You’re on Top (02:48) 10 I’m King (02:19) |
 | Album: 16 of 47 Title: B.B. King in London Released: 1971 Tracks: 10 Duration: 37:48 Scroll: Up Down Top Bottom 25% 50% 75% Wikipedia AlbumCover | 1 Caldonia (03:58) 2 Blue Shadows (05:09) 3 Alexis’ Boogie (03:29) 4 We Can’t Agree (04:48) 5 Ghetto Woman (05:15) 6 Wet Hayshark (02:28) 7 Part‐Time Love (03:15) 8 Power of the Blues (02:21) 9 Ain’t Nobody Home (03:11) 10 May I Have a Talk With You (03:50) |
 | Album: 17 of 47 Title: Guess Who Released: 1972 Tracks: 11 Duration: 43:38 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Summer in the City (03:21) 2 Just Cant Please You (04:25) 3 Any Other Way (04:23) 4 You Dont Know Nothin About Love (04:17) 5 Found What I Need (02:48) 6 Neighbourhood Affair (03:17) 7 It Takes a Young Girl (03:25) 8 Better Lovin Man (04:40) 9 Guess Who (04:09) 10 Shouldnt Have Left Me (03:38) 11 Five Long Years (05:12) |
 | Album: 18 of 47 Title: L.A. Midnight Released: 1972 Tracks: 7 Duration: 40:49 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 I Got Some Help I Dont Need (05:44) 2 Help the Poor (03:30) 3 Cant You Hear Me Talking to You? (03:20) 4 Midnight (08:18) 5 Sweet Sixteen (07:03) 6 (I Believe) Ive Been Blue Too Long (04:49) 7 Lucilles Granny (08:02) |
| L.A. Midnight : Allmusic album Review : This release comes straight from B.B. Kings commercial peak (that is, prior to the unprecedented Top Ten success of Riding with the King in 2000), and it is a perplexing LP where greatness and aimlessness lie side by side. Using a freely eclectic mix of sidemen from Los Angeles, King strides to some sterling performances in certain tracks. The King is at his sly peak on "I Got Some Help I Dont Need," uproariously humorous and hurt at the same time, with crazy wah-wah filigrees laced within, and "Cant You Hear Me Talking to You" is also tight and right. One of his best recordings of "Sweet Sixteen" leads off side two, where the lyric is updated to suit the times ("I just got back from Vietnam, baby/And you know Im a long, long way from New Orleans") and band, singer and his guitar rise to an emotional crescendo down the stretch. Yet "(I Believe) Ive Been Blue Too Long" falters on a clumsy riff and cant get going, and the rest of the album is frittered away with directionless blues jamming. Guitarists Jesse Ed Davis and Joe Walsh join King on the two longest jams ("Midnight," "Lucilles Granny") yet they dont really mesh that well. Get this one second-hand for the outstanding disciplined stuff and dont sweat the rest; as per the nature of the beast, some jams dont yield pay dirt. | ||
 | Album: 19 of 47 Title: To Know You Is to Love You Released: 1973 Tracks: 8 Duration: 40:06 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 I Like to Live the Love (03:32) 2 Respect Yourself (05:14) 3 Who Are You (03:56) 4 Love (03:11) 5 I Can’t Leave (04:16) 6 To Know You Is to Love You (08:37) 7 Oh to Me (04:30) 8 Thank You for Loving the Blues (06:48) |
| To Know You Is to Love You : Allmusic album Review : The combination of King and the well-oiled Philly rhythm section that powered hits by the OJays, Spinners, and Stylistics proved a surprisingly adroit one. Two huge hits came from this album, the Stevie Wonder/Syreeta Wright-penend title track and "I Like to Live the Love," both of them intriguing updates of Kings tried-and-true style. | ||
 | Album: 20 of 47 Title: Lucille Talks Back Released: 1975 Tracks: 8 Duration: 27:08 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic Wikipedia AlbumCover | 1 Lucille Talks Back (02:27) 2 Breaking Up Somebodys Home (02:58) 3 Reconsider Baby (02:53) 4 Dont Make Me Pay for His Mistakes (03:14) 5 When Im Wrong (06:11) 6 I Know the Price (03:06) 7 Have Faith (02:36) 8 Everybody Lies a Little (03:43) |
| Lucille Talks Back : Allmusic album Review : MCA Special Products Lucille Talks Back is a budget-line compilation that culls ten highlights from B.B. Kings recordings for ABC and MCA in the 70s. Many fans are divided in their opinions of this era, since the production and performances were quite slick, but each album has its moments. Some of those moments are on this collection, which seems to have been chosen at random. Those moments may be enough for the budget-minded listener who only wants a sampler of this era, but most collectors and listeners will find either the original albums or more comprehensive compilations preferable to Lucille Talks Back. | ||
 | Album: 21 of 47 Title: King Size Released: 1977 Tracks: 10 Duration: 42:16 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Dont You Lie to Me (06:05) 2 I Wonder Why (05:08) 3 I Just Want to Make Love to You (04:30) 4 You Lovin Turns Me On (03:01) 5 Slow and Easy (03:02) 6 Got My Mojo Working (04:35) 7 Walkin in the Sun (03:50) 8 Mother Fuyer (03:05) 9 The Same Love That Made Me Laugh (03:35) 10 Its Just a Matter of Time (05:25) |
| King Size : Allmusic album Review : The 70s and 80s may be scattered with routine B.B. King albums, but rumors to the contrary, this is not one of them. Despite the occasional pop string and/or brass backings and mostly relaxed vocal delivery by King, the Memphis and L.A. studio bands kick hard -- aided and abetted by some conga players -- and the material is often superior. The record even hits a hot streak on side two with three excellent tracks in a row -- a very funky "Got My Mojo Workin" with a bumpy clavinet going full-tilt underneath Kings easygoing vocal, "Walkin in the Sun," with a nicely relaxed funky beat offsetting the strings, and "Mother Fuyer" may be the best one of all, with its humorous lyrics and driving beat. "Dont Lie to Me" opens the album on a nice, rolling groove that King rides real easy, and the medley of "I Just Want to Make Love to You/Your Lovin Turns Me On" has the smokin guest R&B; tenor of Jimmy Forrest juicing up the solo break. Not much guitar here, but King does erupt now and then with some good signature breaks. | ||
 | Album: 22 of 47 Title: Take It Home Released: 1979 Tracks: 9 Duration: 31:42 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Better Not Look Down (03:22) 2 Same Old Story (Same Old Song) (04:32) 3 Happy Birthday Blues (03:15) 4 Ive Always Been Lonely (05:28) 5 Secondhand Woman (03:20) 6 Tonight Im Gonna Make You a Star (03:26) 7 The Beginning of the End (02:21) 8 A Story Everybody Knows (02:47) 9 Take It Home (03:07) |
| Take It Home : Allmusic album Review : This 1979 effort finds B.B. interpreting a number of pop-blues tunes, many of them co-written by Will Jennings and co-producer Joe Sample, with King co-writing two of the songs aboard. Even with a large, contemporary backdrop (including a seven-piece horn section and female backup singers), theres still plenty of room for B.B.s stinging guitar and stentorian vocals in the mix. Highlights include the gospel-tinged "Better Not Look Down," "Same Old Story (Same Old Song)," "Happy Birthday Blues," "The Beginning of the End" and the title track. As one of B.B.s more pop-oriented offerings, this succeeds admirably. | ||
 | Album: 23 of 47 Title: There Must Be a Better World Somewhere Released: 1981 Tracks: 6 Duration: 35:59 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Life Aint Nothing but a Party (06:15) 2 Born Again Human (08:33) 3 There Must Be a Better World Somewhere (05:41) 4 The Victim (06:19) 5 More, More, More (04:39) 6 Youre Going With Me (04:32) |
| There Must Be a Better World Somewhere : Allmusic album Review : During his decade recording for MCA, B.B. King was generally teamed with overblown accompaniment rather than his regular (and perfectly complementary) traveling band. This effort finds the masterful vocalist/guitarist joined by a more logical backup group than usual (with altoist Hank Crawford, tenor saxophonist David "Fathead" Newman, and baritonist Ronnie Cuber in the tentet). The two most basic selections ("There Must Be a Better World Somewhere" and "The Victim") are easily the most successful, while the other four are funky, more R&B-oriented; and overly commercial; it sounds like B.B. was consciously trying for a hit record. Despite some fine solos by Newman and Crawford, this session was rather erratic, brief (under 36 minutes), and far from essential. | ||
 | Album: 24 of 47 Title: Love Me Tender Released: 1982 Tracks: 10 Duration: 43:36 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 One of Those Nights (05:04) 2 Love Me Tender (03:28) 3 Dont Change on Me (04:33) 4 (Id Be) A Legend in My Time (02:51) 5 Youve Always Got the Blues (04:54) 6 Nightlife / Please Send Me Someone to Love (04:31) 7 You and Me, Me and You (03:06) 8 Since I Met You Baby (04:29) 9 Time Is a Thief (05:25) 10 A World I Never Made (05:12) |
| Love Me Tender : Allmusic album Review : B.B. Kings extremely ill-advised foray into mushy Nashville cornpone. Hearing him croon the title track in front of an array of Music Rows most generic pickers is enough to drive one screaming into his or her record collection for a surefire antidote: some 1950s King on RPM! Ahh... | ||
 | Album: 25 of 47 Title: Blues n Jazz Released: 1983 Tracks: 9 Duration: 36:57 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Inflation Blues (04:14) 2 Broken Heart (02:45) 3 Sell My Monkey (03:06) 4 Heed My Warning (05:08) 5 Teardrops from My Eyes (05:06) 6 Rainbow Riot (03:39) 7 Darlin’ You Know I Love You (04:48) 8 Make Love to Me (04:18) 9 I Cant Let You Go (03:49) |
| Blues 'n' Jazz : Allmusic album Review : The seemingly endless career of blues singer and guitarist B.B. King is documented in great detail, a discography rich enough in both bulls-eyes and misfires to keep the proprietor of any shooting range content for an equal length of time, whatever that turns out to be. Some of these records stand out in terms of industry success, this status hopefully grooving in lockstep with artistic achievement. The 1983 Blues N Jazz wound up winning a Grammy for the best blues recording of the year. Without basically disagreeing with that particular status, many music critics nonetheless pointed out that Kings recordings from between two and three decades earlier were better. It is both understandable and expected that critics want to establish themselves as hipper than the Grammy awards. While it is a nice change for something old to be considered better than something new, this particular argument leads nowhere -- despite being true. Of course, rhythm & blues and rock & roll records sounded better in the 50s and 60s. A long list of things that were likewise much better back then could be easily drummed up, perhaps with a blues backbeat: blue jeans, American cars, sodas, hot dogs, action films, Hawaiian shirts. It goes on and on. Appreciation of the here and now is, as opposed to nostalgia, something of a life lesson. The subject is discussed between parents and children more frequently then it comes up in music reviews, especially of albums where one of the lyrical directions is to "Sell My Monkey." The here and now of B.B. King at almost any point in his career was that he kept a band together, this ensemble growing in size as the bandleaders fame and fees expanded. Blues N Jazz is a terrific documentation of Kings big band during the 80s, sexed up just perfectly with choice guest stars. Tenor saxophonist Arnett Cobbs presence was duly noted by hipsters one and all in a decade when soulful saxophonists once taken for granted began to be feted, even lauded with documentary films. Shorted on appreciation as always, although some of the Grammy glory must have rubbed off, the journeymen of the King road band enterprise give off a huge part of this projects glow. Damning with faint praise, critics approaching the album from retrospect admit that it is a different stew entirely then later King hits sarcastically dubbed "blues lite." Sure it is, since Kings touring ensemble always plays with a lot more heart than that. Like Ray Charles, King did well enough on tour to keep an accompanying ensemble together that was both sizeable and strong. In the rock & roll era the groups of these rhythm & blues crossover stars represented some of the main work available for many fine jazz musicians from the big-band era. The presence of these individuals is as reliable a factor in Kings music from both the 50s and 80s as the mans ability to bend a string. Trumpeter Calvin Owens began serving as Kings first music director three decades before Blues N Jazz was recorded. Owens second reign as Kings bandleader, beginning in 1978, was in a sense crowned by the Grammy. The trumpeter was responsible for all the arrangements, making an effective stab at the 50s sound with "A Broken Heart," a tune dating back to a youthful Kings relationship with producer Joe Bihari. Tenor saxophonist Donald Wilkerson is another of the players, all of whom are worth noting. In contrast to a King band regular such as Owens, Wilkerson was something of a recluse who played almost entirely in the Houston area; the King album seems to be one of the few recordings made by the Texan during the later part of his career. Earlier he had enjoyed several stints with the Ray Charles band. Producer Sidney Seidenberg is to be commended for whatever efforts might have been involved in securing Wilkerson -- a nice touch. Less expected on this type of album is a vibraphone player, although the combination of electric guitar and the tuned percussion instrument played with mallets does have a 50s and 60s vibe to it, a good vibe at that. Warren Chiasson came into the King recording with a background in the groups of pianist George Shearing and trumpeter Chet Baker. Stylistically, the vibraphonist has much more in common with guitarists such as Tal Farlow or Charlie Christian: two of the finest guitarists in history, neither of which could be described as playing with Kings particular sense of brevity, dynamics, and punctuation. Nonetheless the combination works well, underscoring the influences running back and forth between swing and rhythm & blues. King wanted to present just that combination with this set of nine tracks, only one of which runs past the five-minute mark. Jazz is much more than just an influence in a rhythm section featuring veterans Major Holley on bass and Oliver Jackson on drums, the latter a member of many classic jazz combos. Trumpeter Woody Shaw is more of a modernist, to be sure. His features are proud moments for modern jazz, showing that progressive players can just as easily get down with the blues and in fact have a great deal they can add to the genre. Blues N Jazz was tracked during what was Kings final birthday in his fifties -- in this case the age and not the era. His 59th birthday cake adorns the front cover, looking tasty and certainly representing a more tasteful celebration of the great mans birthday than the dirty joke in circulation about Kings wife having his initials tattooed on her buttocks. | ||
 | Album: 26 of 47 Title: Six Silver Strings Released: 1985 Tracks: 8 Duration: 33:54 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Six Silver Strings (04:22) 2 Big Boss Man (04:47) 3 In the Midnight Hour (03:24) 4 Into the Night (04:11) 5 My Lucille (03:41) 6 Memory Lane (04:35) 7 My Guitar Sings the Blues (03:39) 8 Double Trouble (05:12) |
| Six Silver Strings : Allmusic album Review : For a recording fervently hyped as a special occasion -- B.B. Kings 50th album and all that -- this one is surprisingly patchy in concept and erratic in execution. Five of the tracks are Miami sessions prosaically produced by longtime King cohort Dave Crawford, who also co-wrote most of them with Luther Dixon. The routine pop/rock backing tracks produce an often apathetic response from King; even Dixons "Big Boss Man" is depressingly routine. Oddly enough, the only numbers that have any grit are the three co-produced by filmmaker John Landis (of the Blues Brothers notoriety) and Ira Newborn from the soundtrack to the formers film Into the Night. Indeed, Newborns "My Lucille," the ultimate apotheosis to Kings beloved guitar, is an underrated signature classic -- even Lucille herself gets a lot of space to sing out -- and "In the Midnight Hour" also strikes fire. Buy it for "My Lucille," if you dont mind the filler and the fact that the album offers appallingly short weight at just under 34 minutes. | ||
 | Album: 27 of 47 Title: King of the Blues: 1989 Released: 1988 Tracks: 10 Duration: 45:36 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 (Youve Become a) Habit to Me (04:45) 2 Drowning in the Sea of Love (04:36) 3 Cant Get Enough (04:52) 4 Standing on the Edge (05:19) 5 Go On (03:50) 6 Lets Straighten It Out (05:35) 7 Change in Your Lovin (03:25) 8 Undercover Man (05:38) 9 Lay Another Log on the Fire (04:03) 10 Business With My Baby Tonight (03:33) |
 | Album: 28 of 47 Title: Spotlight on Lucille Released: 1991 Tracks: 12 Duration: 43:00 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Slidin’ and Glidin’ (03:59) 2 Blues With B.B. (09:42) 3 King of Guitar (02:40) 4 Jump With B.B. (02:57) 5 38th Street Blues (02:28) 6 Feedin’ the Rock (02:37) 7 Just Like a Woman (03:16) 8 Step It Up (02:24) 9 Calypso Jazz (05:00) 10 Easy Listening (Blues) (02:37) 11 Shoutin’ the Blues (02:42) 12 Powerhouse (02:32) |
 | Album: 29 of 47 Title: Friends Released: 1991 Tracks: 7 Duration: 28:37 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Friends (04:40) 2 I Got Them Blues (04:29) 3 Baby Im Yours (03:24) 4 Up At 5am (03:10) 5 Philadelphia (05:56) 6 When Everything Else Is Gone (03:06) 7 My Song (03:52) |
 | Album: 30 of 47 Title: Everyday I Have The Blues Released: 1991 Tracks: 14 Duration: 50:31 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Sweet Sixteen (06:11) 2 The Other Night Blues (03:38) 3 Its My Own Fault Baby (03:25) 4 Long Nights (03:32) 5 Mr. Pawnbroker (03:15) 6 You Done Lost Your Good Thing Now (05:10) 7 Catfish Blues (02:28) 8 Paying The Cost To Be The Boss (02:40) 9 Everyday I Have The Blues (05:02) 10 B.B. Boogie (03:19) 11 A New Way Of Driving (01:55) 12 Walkin And Cryin (02:54) 13 How Blue Can You Get (03:28) 14 The Letter (03:26) |
 | Album: 31 of 47 Title: There Is Always One More Time Released: 1991-10-01 Tracks: 9 Duration: 46:11 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 I’m Moving On (04:16) 2 Back in L.A. (05:00) 3 The Blues Come over Me (05:13) 4 Fool Me Once (04:18) 5 The Lowdown (04:11) 6 Mean and Evil (04:20) 7 Something Up My Sleeve (04:27) 8 Roll, Roll, Roll (05:58) 9 There Is Always One More Time (08:24) |
| There Is Always One More Time : Allmusic album Review : Most of B.B. Kings studio albums of the 80s and 90s tend to de-emphasize his guitar playing and consist largely of forgettable originals and obvious attempts at pop hits. However this CD (which was cut in the studios) is on a higher level and is quite rewarding. Most of the tunes were co-written by pianist Joe Sample and Will Jennings, and the majority are quite catchy and memorable. Certainly it is easy to sing along with the refrains of "Im Moving On," "Back in L.A." and "Roll, Roll, Roll." On this date King usually overdubbed his guitar to play along with his vocals (somehow the interplay does not sound spontaneous) but it does not detract from the final results. The intelligent and philosophical lyrics fit Kings style very well and his voice is very much in prime form. Well worth acquiring. | ||
 | Album: 32 of 47 Title: Blues Summit Released: 1993-06-22 Tracks: 12 Duration: 1:02:43 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Playin’ With My Friends (05:20) 2 Since I Met You Baby (04:45) 3 I Pity the Fool (04:36) 4 You Shook Me (04:59) 5 Something You Got (04:03) 6 Theres Something on Your Mind (06:02) 7 Little by Little (04:08) 8 Call It Stormy Monday (07:18) 9 Youre the Boss (04:07) 10 Were Gonna Make It (03:52) 11 I Gotta Move Out of This Neighborhood/Nobody Loves Me but My Mother (08:58) 12 Everybodys Had the Blues (04:35) |
| Blues Summit : Allmusic album Review : On this release, King comes close to equaling his past triumphs on small independent labels in the 50s and 60s. Hes ditched the psuedo-hip production fodder and cut a 12-song set matching him with blues peers. His duets with Buddy Guy, John Lee Hooker, and Albert Collins are especially worthy, while the songs with Koko Taylor, Ruth Brown, and Irma Thomas have some good-natured banter and exchanges, as well as tasty vocals. The master gives willing pupils Joe Louis Walker and Robert Cray valuable lessons on their collaborations. Theres also a medley in which King invokes the spirit of his chitlin circuit days, taking the vocal spotlight while his Orchestra roars along underneath. | ||
 | Album: 33 of 47 Title: Heart to Heart Released: 1994 Tracks: 10 Duration: 43:40 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 No One Ever Tells You (04:58) 2 I Cant Stop Loving You (04:29) 3 You Dont Know Me (03:56) 4 It Had to Be You (03:18) 5 Im Putting All My Eggs in One Basket (03:34) 6 Glory of Love (03:50) 7 Try a Little Tenderness (04:30) 8 Spirit in the Dark (05:03) 9 Freedom (04:45) 10 At Last (05:13) |
| Heart to Heart : Allmusic album Review : B.B. King is more than just one of the greatest masters of electric blues guitar; he is also an extraordinarily gifted singer. His talents on his instrument are so great that they tend to eclipse his soulful and sophisticated singing voice, but any who might possibly have doubted his ability will do so no more upon hearing Heart to Heart. On this 1994 release, he joins pop-jazz balladeer Diane Schuur for ten surprising tracks. It is a very moody album, with the overall vibe being mainly of the drown-your-broken-heart-in-gin variety. Some of the string and synth arrangements come off as a little unnecessary, as the music is ably framed by piano, guitar, bass, and drums. However, producer Phil Ramone should be credited for minimizing the schmaltzy moments on Heart to Heart as much as possible, as the music is already treading the fine line between sentiment and drivel. The fine vocal performances by Schuur and King carry much of the music, but drummer Vinnie Colaiuta does the rest. Take, for example, "It Had to Be You." With Doug Katsaros synth prominently displayed and with the band limping through a Vegas-style funk groove, the drummers extreme sensitivity and chops enliven the track and not only make it listenable, but one of the high points of the record. Fans of Kings blues work may be very surprised by how effectively he slips into the role of balladeer and pop interpreter. To be honest, he does it far more convincingly than Schuur. | ||
 | Album: 34 of 47 Title: Deuces Wild Released: 1997-11-04 Tracks: 17 Duration: 1:16:46 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 If You Love Me (05:47) 2 The Thrill Is Gone (05:00) 3 Rock Me Baby (06:37) 4 Please Send Me Someone to Love (04:15) 5 Baby I Love You (04:01) 6 Ain’t Nobody Home (05:00) 7 Pauly’s Birthday Boogie (03:39) 8 There Must Be a Better World Somewhere (04:29) 9 Confessin’ the Blues (04:22) 10 Hummingbird (04:20) 11 Bring It Home to Me (03:10) 12 Paying the Cost to Be the Boss (03:34) 13 Let the Good Times Roll (05:12) 14 Dangerous Mood (04:54) 15 Keep It Coming (03:55) 16 Cryin’ Won’t Help You Babe (03:54) 17 Night Life (04:31) |
| Deuces Wild : Allmusic album Review : In theory, a B.B. King album featuring 13 duets with a variety of different artists could be spectacular, but Deuces Wild feels like it was conceived with the bottom line in mind. Instead of choosing artists who would complement B.B., the producers assembled a lineup that would appeal to a broad audience, from old blues fans and rockers to contemporary country, urban R&B;, and hip-hop fans. Not surprisingly, the end result is quite uneven, ranging from the sublime to the terribly awkward. It also comes as no surprise that the veterans acquit themselves the best -- Van Morrison, Bonnie Raitt, Dr. John, Joe Cocker, and Willie Nelson all sound terrific, while the Rolling Stones support on "Paying the Cost to Be the Boss" positively smokes -- while Tracy Chapman sounds surprisingly soulful on "The Thrill Is Gone." However, the teamings with Simply Reds Mick Hucknall, DAngelo, Marty Stuart, and rapper Heavy D are simply clumsy, with neither party sounding particularly comfortable. There are enough good moments on Deuces Wild to make it worthwhile for hardcore B.B. fans, but when theyre placed in context with the bad cuts, the overwhelming impression is that the album is a bit of a wasted opportunity. | ||
 | Album: 35 of 47 Title: King Biscuit Released: 1998 Tracks: 6 Duration: 53:50 Scroll: Up Down Top Bottom 25% 50% 75% AlbumCover | 1 Caldonia (04:57) 2 How Blue Can You Get (09:34) 3 Goin Down Slow (06:25) 4 I Got Some Help I Dont Need (14:49) 5 Just a Little Love (11:12) 6 The Thrill Is Gone (06:52) |
 | Album: 36 of 47 Title: Sings Spirituals Released: 1998 Tracks: 18 Duration: 50:32 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Precious Lord (03:25) 2 Save a Seat for Me (03:03) 3 Ole Time Religion (02:27) 4 Swing Low, Sweet Chariot (02:10) 5 Servant’s Prayer (03:01) 6 Jesus Gave Me Water (03:02) 7 I Never Heard a Man (02:34) 8 Army of the Lord (03:09) 9 I Am Willing to Run All the Way (03:41) 10 I’m Working on a Building (02:51) 11 A Lonely Lover’s Plea (02:49) 12 I Am (02:22) 13 The Key to My Kingdom (02:36) 14 Story From My Heart and Soul (03:03) 15 In the Middle of an Island (02:11) 16 Sixteen Tons (02:36) 17 Precious Lord (03:25) 18 Swing Low Sweet Chariot (02:07) |
| Sings Spirituals : Allmusic album Review : For a good part of the 1950s B.B. King recorded for the Bihari Brothers RPM and Kent labels, and the brothers would in turn issue collections of these singles on LP as part of their discount Crown Records series. B.B. King Sings Spirituals originally appeared as a Crown LP in 1959, but it was less a collection of singles than a true labor of love for King, who took it as an opportunity to return to the Baptist and Pentecostal church music of his childhood. This Diablo Records reissue reproduces the Crown LP in the original sequence. Its easy to forget that King isnt just a blues player with a particularly distinctive guitar style; he is also a singer, and in the 1950s he really worked more to the R&B; side of the field than to the blues half, and, as these tracks show, his roots were always deep in gospel. The instrumentation here is sparse and appropriate to the spiritual material, just organ, piano, bass, and drums with tons of handclapping and choral support, and absolutely no guitar. Kings singing here is a bit of a revelation to those who only know him for his blues work, as he breaks loose and sings vigorously on numbers like the rollicking "Ole Time Religion" and a stomping "Army of the Lord." This is B.B. King, one supposes, before the thrill was gone. He sounds absolutely jubilant. | ||
 | Album: 37 of 47 Title: Blues on the Bayou Released: 1998-10-20 Tracks: 15 Duration: 1:03:59 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 Blues Boys Tune (03:29) 2 Bad Case of Love (05:28) 3 I’ll Survive (04:51) 4 Mean Ole’ World (04:30) 5 Blues Man (05:19) 6 Broken Promise (03:34) 7 Darlin’ What Happened (05:26) 8 Shake It Up and Go (03:10) 9 Blues We Like (05:08) 10 Good Man Gone Bad (03:20) 11 If I Lost You (04:57) 12 Tell Me Baby (03:26) 13 I Got Some Outside Help I Don’t Need (04:37) 14 Blues in "G" (03:20) 15 If That Ain’t It I Quit (03:20) |
| Blues on the Bayou : Allmusic album Review : B.B. King made his debut as producer with Blues on the Bayou, released in October 1998. He employs the most basic of ideas for this project: record an album of B.B. King tunes, with B.B. Kings regular road band, under B.B. Kings supervision. Keeping it loose, relaxed, and focused, King cut this album in four days down at a secluded studio in Louisiana and came up with one of his strongest, modern-day albums in many years. No duets, no special guests, just King and his road warrior band, playing his songs with him producing the results -- no overdubs, just simple, no-nonsense blues done like he would do them on-stage. The result is a no-frills, straight-ahead session that shows that King might be have been 73 at the time of this date, but he still had plenty of gas left in the tank. Tracks like "Ill Survive," and the jumping "Shake It Up and Go," "Darlin What Happened," the minor keyed "Blues Boy Tune," the instrumental "Blues We Like," and the closing "If Thats It I Quit" show him stretching out in a way he has seldom done in a studio environment, and the result is one of his best albums in recent memory. | ||
 | Album: 38 of 47 Title: The Best of B.B. King Released: 1999 Tracks: 10 Duration: 43:35 Scroll: Up Down Top Bottom 25% 50% 75% Spotify AlbumCover | 1 The Thrill Is Gone (05:27) 2 Aint Nobody Home (03:16) 3 Let the Good Times Roll (05:32) 4 Guess Who (04:09) 5 I Like to Live the Love (03:32) 6 Dont Answer the Door (05:11) 7 Sweet Sixteen (06:13) 8 Paying the Cost to be the Boss (02:35) 9 I Got Some Help I Dont Need (03:25) 10 Into the Night (04:12) |
 | Album: 39 of 47 Title: Let Me Love You Released: 1999 Tracks: 12 Duration: 36:38 Scroll: Up Down Top Bottom 25% 50% 75% Allmusic AlbumCover | 1 Let Me Love You (03:05) 2 Driving Wheel (02:52) 3 Troubles Dont Last (02:57) 4 Did You Ever Love a Woman (02:36) 5 Whole Lot of Lovin (03:12) 6 Hold That Train (03:59) 7 Youre Gonna Miss Me (02:39) 8 Im Gonna Quit My Baby (02:35) 9 Come by Here (02:18) 10 I’ve Got a Right to Love My Baby (03:13) 11 I Cant Explain (03:33) 12 Walkin Dr. Bill (03:38) |
| Let Me Love You : Allmusic album Review : The faintly confusing Let Me Love You mixes up material from B.B. Kings earliest RPM sessions with newer cuts from his Kent Records era. Much of the early RPM material has been released on other compilations, such as Do the Boogie!, while the more recent Kent material was issued on several classic LPs from the early 60s. Nonetheless, the collection holds up rather well, since the songs all come from the same time period. It also helps that the set contains some real rarities, like the definitive blues of "Troubles Dont Last" and the rollicking, horn-driven "Youre Gonna Miss Me," both of which are only available on rare early-60s recordings. Mixed in with the hard-rocking "Whole Lotta Love" and the classic title cut, they make for a fairly seamless disc. Still, the haphazard sequencing and selection (coupled with the absence of much documentation) make this an odd album. Let Me Love You, while containing some rare and recommended B.B. King cuts, is more of a package for King collectors and blues enthusiasts, and newcomers would be advised to start with other, more definitive compilations and recordings. | ||
 | Album: 40 of 47 Title: Let the Good Times Roll: The Music of Louis Jordan Released: 1999-10-05 Tracks: 18 Duration: 1:00:28 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Aint Nobody Here but Us Chickens (02:52) 2 Is You Is, or Is You Aint (My Baby) (03:22) 3 Beware, Brother, Beware (03:08) 4 Somebody Done Changed the Lock on My Door (03:28) 5 Aint That Just Like a Woman (03:30) 6 Cho Choo ChBoogie (02:37) 7 Buzz Me (02:52) 8 Early in the Mornin (04:47) 9 Im Gonna Move to the Outskirts of Town (04:50) 10 Jack, Youre Dead (02:09) 11 Knock Me a Kiss (02:41) 12 Let the Good Times Roll (02:39) 13 Caldonia (02:17) 14 Its a Great, Great Pleasure (02:39) 15 Rusty Dusty Blues (Mama Mama Blues) (04:17) 16 Sure Had a Wonderful Time Last Night (03:07) 17 Saturday Night Fish Fry (04:29) 18 Nobody Knows You When Youre Down and Out (04:34) |
| Let the Good Times Roll: The Music of Louis Jordan : Allmusic album Review : Even if B.B. King is the King of the Blues, some might find it strange that he chose to record Let the Good Times Roll, a tribute album to Louis Jordan, the King of Jump Blues. Kings work was never as boisterous or enthusiastic as Jordans, but his debt is apparent from the first cut of the album. King may have never done straight jump blues, but his sophisticated urban blues -- complete with horn sections and an emphasis on vocals -- shows as much jump influence as it does Delta. Let the Good Times Roll brings that home with a quiet, seductive insistence. Backed by a stellar band -- featuring Dr. John on piano, drummer Earl Palmer, alto saxophonist Hank Crawford, and tenor saxophonist Dave "Fathead" Newman, among others -- B.B. King sounds loose and natural. There are stars in the band, but this is hardly a bloated all-star effort, since the focus in on delivering no-nonsense performances. Strangely enough, King doesnt play that much guitar on the album, concentrating on his vocals and letting the band interact. When he does solo, its as elegant and tasteful as always, but the focal point is always the songs. Since hes such a fine guitarist, B.B.s singing often goes underappreciated, but here its at the forefront, and he shines. His phrasing is impeccable, and he always captures the spirit of the songs, either through humor or heart. Of course, thats a skill that Jordan had, as well, and realizing that sheds new light on B.B.s music. Much of his celebrated skills as a showman and a performer indirectly came from Jordan, as did elements of his musical style. Never has that been as clear as it is on Let the Good Times Roll. | ||
 | Album: 41 of 47 Title: My Kind of Blues Released: 2000 Tracks: 18 Duration: 58:57 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 You Done Lost Your Good Thing Now (05:11) 2 Mr Pawnbroker (03:11) 3 Understand (02:36) 4 Someday Baby (02:50) 5 Driving Wheel (02:48) 6 Walking Dr Bill (03:38) 7 My Own Fault (03:30) 8 Fishin After Me (02:29) 9 Hold That Train (03:54) 10 Please Set the Date (02:46) 11 Sunny Road (02:53) 12 Running Wild (02:15) 13 Blues at Sunrise (02:57) 14 Drifting Blues (03:11) 15 Somebody Done Changed the Lock on My Door (02:41) 16 Look the World Over (undubbed version) (03:18) 17 Walking Dr Bill (overdub) (03:40) 18 Hold That Train (modern recording, take 1) (05:01) |
| My Kind of Blues : Allmusic album Review : According to his biographer, Charles Sawyer, this is Kings personal favorite among his recordings. Unlike most of his albums from this period (which are mostly collections of singles), this was recorded in one session and takes him out of his usual big-band setting, using only bass, drums, and piano for accompaniment. The result is a masterpiece: a sparse, uncluttered sound with nothing to mask Kings beautiful guitar and voice. "You Done Lost Your Good Thing Now" (its unaccompanied guitar intro is a pure distillation of his style), "Mr. Pawn Broker," "Someday Baby" (R&B; Top Ten, 1961), "Walkin Dr. Bill," and a great version of "Drivin Wheel" are highlights. (Out of print.) | ||
 | Album: 42 of 47 Title: Makin Love Is Good for You Released: 2000-04-25 Tracks: 14 Duration: 55:00 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic Wikipedia AlbumCover | 1 I Got to Leave This Woman (03:36) 2 Since I Fell for You (05:53) 3 I Know (03:48) 4 Peace of Mind (04:03) 5 Monday Woman (03:37) 6 Aint No One Like My Baby (03:49) 7 Makin Love Is Good for You (03:47) 8 Dont Go No Further (04:08) 9 Actions Speak Louder Than Words (03:08) 10 What You Bet (03:49) 11 Youre on Top (03:11) 12 Too Good to You Baby (03:15) 13 Im in the Wrong Business (04:37) 14 Shes My Baby (04:13) |
| Makin' Love Is Good for You : Allmusic album Review : Over the years, the music world has seen its share of over-70 singers who kept performing even though they didnt have much of a voice left: Peggy Lee and Frank Sinatra are among the names that come to mind. But when B.B. King entered his 70s, the veteran blues singer/guitarist could still belt it out with confidence, and he does exactly that on Makin Love Is Good for You, which was recorded when King was 74. Although this blues/soul effort wont go down in history as one of his all-time classics, its a respectable CD that finds his voice continuing to hold up well. Kings charisma remains, and he has no problem getting his points across on 12-bar blues numbers like "Aint Nobody Like My Baby," "I Got to Leave This Woman," and Willie Dixons "Dont Go No Farther," as well as soul offerings such as the title song and an interpretation of Barbara Georges 1961 hit "I Know." Because King has such a huge catalog, one could spend a fortune trying to acquire every title that he has out on CD. So unless you youre a serious collector and have a large budget, its best to stick to his more essential recordings; and Makin Love Is Good for You, although decent and respectable, isnt essential and isnt as interesting as 1999s Let the Good Times Roll: The Music of Louis Jordan. Nonetheless, it can be an enjoyable addition to your blues library if youre among Kings diehard fans. | ||
 | Album: 43 of 47 Title: Riding With the King Released: 2000-06-07 Tracks: 12 Duration: 1:01:19 Scroll: Up Down Top Bottom 25% 50% 75% Wikipedia Allmusic AlbumCover | 1 Riding With the King (04:23) 2 Ten Long Years (04:40) 3 Key to the Highway (03:39) 4 Marry You (04:59) 5 Three O’Clock Blues (08:36) 6 Help the Poor (05:06) 7 I Wanna Be (04:45) 8 Worried Life Blues (04:25) 9 Days of Old (03:00) 10 When My Heart Beats Like a Hammer (07:09) 11 Hold On I’m Coming (06:20) 12 Come Rain or Come Shine (04:11) |
| Riding With the King : Allmusic album Review : The potential for a collaboration between B.B. King and Eric Clapton is enormous, of course, and the real questions concern how it is organized and executed. This first recorded pairing between the 74-year-old King and the 55-year-old Clapton was put together in the most obvious way: Clapton arranged the session using many of his regular musicians, picked the songs, and co-produced with his partner Simon Climie. That ought to mean that King would be a virtual guest star rather than earning a co-billing, but because of Claptons respect for his elder, it nearly works the other way around. The set list includes lots of King specialties -- "Ten Long Years," "Three OClock Blues," "Days of Old," "When My Heart Beats Like a Hammer" -- as well as standards like "Hold on Im Coming" and "Come Rain or Come Shine," with some specially written and appropriate recent material thrown in, so King has reason to be comfortable without being complacent. The real danger is that Clapton will defer too much; though he can be inspired by a competing guitarist such as Duane Allman, he has sometimes tended to lean too heavily on accompanists such as Albert Lee and Mark Knopfler when working with them in concert. That danger is partially realized; as its title indicates, Riding With the King is more about King than it is about Clapton. But the two players turn out to have sufficiently complementary, if distinct, styles so that Claptons supportive role fills out and surrounds Kings stinging single-string playing. (Its also worth noting that there are usually another two or three guitarists on each track.) The result is an effective, if never really stunning, work. | ||
 | Album: 44 of 47 Title: A Christmas Celebration of Hope Released: 2001-11-06 Tracks: 13 Duration: 48:23 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Please Come Home for Christmas (04:53) 2 Lonesome Christmas (03:04) 3 Back Door Santa (03:26) 4 Christmas in Heaven (04:49) 5 Ill Be Home for Christmas (03:47) 6 To Someone That I Love (05:01) 7 Christmas Celebration (03:38) 8 Merry Christmas Baby (03:56) 9 Christmas Love (02:57) 10 Blue Decorations (03:27) 11 Christmas Comes but Once a Year (04:15) 12 Bringing in a Brand New Year (02:41) 13 Auld Lang Syne (02:23) |
| A Christmas Celebration of Hope : Allmusic album Review : It took B.B. King a long time to get around to his first Christmas album, which didnt appear until about half a century into his recording career. Its an adequate, good-humored reprisal of various holiday chestnuts, among them some material with blues/R&B; origins, like "Merry Christmas Baby." King wrote just one new song for the album, the instrumental "Christmas Love," though he did originally record another of the tracks, "Christmas Celebration," back in 1960. Wisely he plays "Auld Lang Syne" as a funky instrumental instead of vocalizing the singalong lyrics. In addition to periodic bursts of Kings trademark guitar, there is plenty of brass and organ in the peppy arrangements. The Nashville String Machine adds its strings to just three tracks, which cuts down on over-produced excess (which is only a problem on "Please Come Home for Christmas"). Its hardly the first King youll pull off your shelf, and not the first R&B; Christmas album youll turn to either, but you could do worse in the holiday season. | ||
 | Album: 45 of 47 Title: Reflections Released: 2003-06-10 Tracks: 13 Duration: 46:27 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Wikipedia Allmusic AlbumCover | 1 Exactly Like You (03:21) 2 On My Word of Honor (03:22) 3 I Want a Little Girl (02:48) 4 Ill String Along With You (03:31) 5 I Need You (03:02) 6 A Mothers Love (02:59) 7 (I Love You) For Sentimental Reasons (03:30) 8 Neighborhood Affair (04:27) 9 Tomorrow Night (03:36) 10 There Ive Said It Again (03:29) 11 Always on My Mind (03:56) 12 Cross My Heart (04:29) 13 What a Wonderful World (03:57) |
| Reflections : Allmusic album Review : B.B. King was 77 years old when Reflections was released, which perhaps entitled him to reflect back on the song standards the album contained. Despite advancing age, King had already been unusually busy on the recording front for a septuagenarian, turning out the gold-selling duets album Deuces Wild in 1997, Blues on the Bayou in 1998, Let the Good Times Roll: The Music of Louis Jordan in 1999, the double-platinum Riding With the King with Eric Clapton and Makin Love Is Good for You in 2000, and the seasonal recording A Christmas Celebration of Hope in 2002. For Reflections, he again worked with Simon Climie, who produced Riding With the King, and collaborated with a session band including such notables as Joe Sample, Nathan East, and Doyle Bramhall II. The songs ranged from pop evergreens like "Ill String Along With You" and "For Sentimental Reasons" to blues favorites such as Lonnie Johnsons "Tomorrow Night," with oddities like "Always on My Mind" thrown in and even a couple of remakes of the earlier King songs "Word of Honor" and "Neighborhood Affair." The arrangements, which included horn and string parts, left room for Kings distinctive blues guitar work, but really supported his always expressive voice. The result was a confident, easygoing album that stylistically could have been made in 1953 as easily as 2003. Blues purists and aficionados of blues guitar would find it only partially satisfying, but it reflected the breadth of musical taste of an artist who always played the blues but never restricted himself only to blues music or blues fans. | ||
 | Album: 46 of 47 Title: Easy Listening Blues Released: 2004 Tracks: 18 Duration: 52:32 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Easy Listening Blues (02:37) 2 Blues for Me (02:54) 3 Night Long (02:58) 4 Confessin (02:41) 5 Dont Touch (02:44) 6 Slow Walk (03:15) 7 Walkin (02:47) 8 Hully Gully Twist (02:57) 9 Shoutin the Blues (02:42) 10 Rambler (02:31) 11 Really the Blues (04:03) 12 Low Rider (02:40) 13 3 OClock Blues (02:34) 14 Mashing the Popeye (03:03) 15 Mashing the Popeye Pt 2 (02:52) 16 Kings Rock Jazz (03:39) 17 Talkin the Blues (02:21) 18 Boogie Rock (03:05) |
| Easy Listening Blues : Allmusic album Review : "Easy Listening Blues" is a bit of an oxymoron, especially in the hands of B.B. King, who might be smooth and urbane in some respects, but whos rarely recorded music that could be categorized as easy listening. Thats the title that Crown used, however, for this all-instrumental 1962 collection. Just prior to leaving Modern for ABC, King did a lot of recording that Modern milked for sides to put out after hed left the company, and some think these tracks were laid down in late 1961 as part of Moderns demand. Since a big part of the pleasure of listening to B.B. King is hearing his voice, and hearing the songs he wrote and interpreted, an all-instrumental album -- no matter how competently done -- is almost bound to sound like somethings missing. And although this is a competent record, its got to rank as one of his less essential efforts, the ten numbers often sounding like warm-up tunes or background generic blues club filler, hastily ground out to meet a quota. That doesnt mean that its worthless -- the tunes are pleasant if unimaginative, and King plays with his usual authority, making occasional nods toward the rock & roll twist craze in cuts like "Night Long" and "Hully Gully Twist" (aka "Hully Gully"). | ||
 | Album: 47 of 47 Title: 80 Released: 2005-09-13 Tracks: 12 Duration: 54:36 Scroll: Up Down Top Bottom 25% 50% 75% Spotify Allmusic AlbumCover | 1 Early in the Morning (04:50) 2 Tired of Your Jive (03:52) 3 The Thrill Is Gone (05:03) 4 Need Your Love So Bad (03:57) 5 Aint Nobody Home (03:51) 6 Hummingbird (04:41) 7 All Over Again (04:53) 8 Drivin Wheel (04:19) 9 There Must Be a Better World Somewhere (06:50) 10 Never Make Your Move Too Soon (04:59) 11 Funny How Time Slips Away (04:08) 12 Rock This House (03:06) |
| 80 : Allmusic album Review : Released the week of B.B. Kings 80th birthday, 80 is a star-studded duets album, the first B.B. released since 1997s Deuces Wild. It was recorded in a variety of locations in the spring of 2005 and features a variety of guest artists, ranging from the familiar (Van Morrison, Eric Clapton, Bobby Bland) to the unsurprising (Billy Gibbons, Mark Knopfler, Elton John, Sheryl Crow) to the frankly bewildering (John Mayer, Daryl Hall, Gloria Estefan). Unfortunately, the material isnt quite as wide-ranging -- in fact, it leans toward the overly familiar, with a pleasant, thoroughly bland version of "The Thrill Is Gone" with Eric Clapton sadly living up to its title. There are a couple other bum tracks -- most notably the turgid slow blues "There Must Be a Better World Somewhere," which drags on for an interminable seven minutes, or a full six minutes longer than needed to prove that sultry blues is not Gloria Estefans forte -- but for the most part, 80 plays better than it reads on paper. Most of it is solid, straight-ahead big band blues, firmly within B.B.s comfort zone and sounding appropriately comfortable -- not as in boring, but warm, relaxed, and friendly, whether hes playing with old friends like Bobby Bland or with John Mayer, who acquits himself well as a guitarist, even if his voice is overwhelmed by B.B.s towering presence. There are couple of nice little surprises along the way, such as how "Aint Nobody Home" with Daryl Hall works up a nice soulful groove or how Sheryl Crow reveals that shes a convincing blues singer (there are also some unpleasant surprises, as on "Tired of Your Jive," an otherwise fine track thats derailed by the realization that Billy Gibbons voice has been torn to shreds, leaving a phlegmy mess behind), but the best moments come from the old guard of the British Invasion. Roger Daltrey proves that hes singing better than ever with "Never Make Your Move Too Soon," Elton John and his house band really cook on a terrific "Rock This House," but its Van Morrison who steals the show with "Early in the Morning," a clean but down-and-dirty version of the standard. Its the best thing here, but its unfortunate that it kicks off the album, since it suggests that this might be a harder-hitting blues album than normal from B.B. Its not -- its a slick, stylish, professional record, one thats actually a little more straightforward than hes been at any time since, well, Deuces Wild. Coming after some truly interesting records over the last few years, the predictability of 80 is a bit of a disappointment, but theres still a bunch of good stuff to hear, and, no matter how you look at it, for B.B. to be recording and still sounding vital at 80 is a remarkable thing even if the album that commemorates his birthday falls short of the remarkable itself. | ||