This is probably the biggest post dedicated to a king ever. But he is not a regular king. I’ve been listening to his music for many many years. He is my child hero and I succeeded to meet him once a couple of years ago, when I traveled 25 thousand kilometers to do that. I warn you: this is not a regular post! This is a BIG part of my life. You can thank me in a few nice words because now it is becoming a part of you.
I can’t think of any other artist who started from the very bottom, basically from slavery, and reached the stars but still being humble at 85 and be able to teach others to follow their dreams against the illusory so-called reality they are selling everywhere today.
His famous verses show exactly how my experience with the Blues really started (one gloomy night, 15 years ago):
“Well now it’s three o’clock in the morning
And I can’t even close my eyes
Can’t find my baby
And I can’t be satisfied(…)”
Over the years, Riley B.B. KING (1925.09.16/Indianola, MS – ) has developed one of the world’s most readily identified guitar styles. He borrowed from Lonnie Johnson, Blind Lemon Jefferson, T-Bone Walker and others, integrating his precise vocal like string bends and his left hand vibrato, both of which have become indispensable components of rock guitarist’s vocabulary. The technique of rock guitar playing is to a large degree derived from B.B.’s playing. In 1965 and 1966, mainstream America learned of B.B. King after he was identified as the major influence for the Butterfield Blues Band and Mike Bloomfield. His economy, his every note counts phrasing, has been a model for thousands of players including Eric Clapton, George Harrison and Jeff Beck. He has performed with many musicians which he helped to inspire, including U2 on the song ‘Angel of Harlem’ and Fleetwood Mac.
When Peter Green guested on a track for King’s Live in London sessions in June 1971, B.B. remembered “a disillusioned and very quiet Peter in the studio who didn’t say much at all; but I got the feeling that he just seemed to find it a comfort sitting near to me for a while.” In Martin Celmin’s biography of Peter Green, B.B. King stated that, “People have told me that in his early years my guitar playing influenced Peter a lot. Now that’s something I take as a great compliment, but I have to tell you that I don’t get it myself. When I hear Peter Green….I hear Peter Green.” Mick Fleetwood and Stevie Nicks also appeared on King’s 1989 album, King of the Blues.
B.B. King’s blues singing was heavily mellifluent, influenced by Peter J. ‘Doctor’ Clayton and gospel singer Sam McCrary of the Fairfield Four. However, his true revolutionary importance was as an electric guitarist. In the army, B.B. was introduced to the music of such guitarists as Charlie Christian and T-Bone Walker. “I heard an electric guitar that wasn’t playing spiritual”, recalls B.B. “It was T-Bone Walker doing “Stormy Monday”, and that was the prettiest sound I think I ever heard in my life. That’s what really started me to play the blues”. He admired Django Reinhardt as well as Lonnie Johnson, Blind Lemon Jefferson and also saxophonist Lester Young.
He derived ideas about phrasing and harmony from all these musicians. His extensive use of sixths clearly derived from jazz. His sound, however, consisted chiefly of a synthesis of the bottleneck styles of the delta blues (including that of Bukka White ) with the jazzy electric guitar of ‘T-Bone’ Walker. To Walker’s flowing, crackling music, King added finger vibrato, his own substitute for the slide, which he had never managed to master. The result was a fluid guitar sound, in which almost every note was bent and/or sustained. This, together with King’s penchant for playing off the beat, gave his solos the pattern of speech, and the personification of his beautiful black, gold plated, pearl inlaid Gibson 335 (or 355) guitar as ‘Lucille’ seemed highly appropriate.
B.B. has mixed traditional blues, jazz, swing, mainstream pop and jump into a unique sound. His singing is richly melodic, both vocally and in the “singing” that comes from his guitar. In B.B’s words, “When I sing, I play in my mind; the minute I stop singing orally, I start to sing by playing Lucille”. “I’m trying to get people to see that we are our brother’s keeper, I still work on it. Red, white, black, brown, yellow, rich, poor, we all have the blues”. “From my own experience, I would say to all people but maybe to young people especially black, white or whatever color, follow your own feelings and trust them; find out what you want to do and do it and then practice it every day of your life and keep becoming what you are despite any hardships and obstacles you meet”. “I’m me,” B.B. told Time Magazine in 1969, “blues is what I do best. If Frank Sinatra can be the best in his field, Nat King Cole in his, Bach and Beethoven in theirs, why can’t I be great, and known for it, in blues?”
B.B. King was born on September 16, 1925 to Albert and Nora Ella King on a cotton plantation in Itta Bene, Mississippi, just outside the Mississippi delta town of Indianola. The son of a sharecropper, King went to work on the plantation like any other young black in Mississippi, but he had sung in amateur gospel groups from childhood. King was first musically influenced by a preacher named Archie Fair at the Holiness Church in Kilmicheal who helped teach King how to play guitar and sing early in life. He used to play on the corner of Church and Second Street for dimes and would sometimes play in as many as four towns on a Saturday night.
Riley King at age 16
By the end of 1942, Riley had decided to move to the Delta in search of better work, but in the back of his mind he was thinking about forming a better singing group with his cousin, Birkett. Birkett borrowed a car, and in the spring of 1943, he moved Riley to Indianola, Mississippi.
Riley was able to find work with an Indianola planter named Johnson Barrett. Riley worked on the Barrett plantation as both a sharecropper and a tractor driver, for which he was paid a day wage of $1.00. In only a few short months after leaving Kilmicheal, Riley now had a skilled job as a tractor driver, a new singing group and a girlfriend.
Riley King at age 19
The singing group consisted of a five man chorus, including Riley and cousin Birkett, and was led by John Matthews. The new group was called “The Famous St. John’s Gospel Singers.” Riley accompanied them on guitar when they sang, mostly at churches. Occasionally, they gave live performances which were broadcast on radio station WGRM in Greenwood, Mississippi.
At this same time, Riley was also playing the blues on the Indianola street corners on Saturday nights. Blues music was not new to him, his mother’s cousin, Bukka White, a noted Memphis bluesman, would come to visit Riley’s family when they lived in Kilmicheal. Riley soon found out that by using his day wages for traveling money to get to other Delta towns, he could double or triple his money by playing the blues. His profits and exposure to other Delta bluesmen turned his musical interests away from the gospel spirituals.
The Famous St. John’s Gospel Singers in Indianola, MS, 1945. From left to right, front row Ben Carvin, John Matthew. Standing Birkett Davis, O. L. Matthew, Riley King
Riley had to register for the Military draft in 1944 and was found physically fit for service. Johnson Barrett, not wanting to loose a skilled tractor driver, applied to the draft board on Riley’s behalf for an occupational deferment. Barrett also told Riley that getting married would improve his chances of being deferred. Riley married his first wife, Martha Denton, on November 11, 1944, and shortly afterward he received his deferment.
After he was released from the selective service, Riley tried to convince the St. John’s Gospel Singers to leave Indianola in search of fame and fortune. It soon became apparent to Riley that if he was going to make his career in music, he would have to make the break alone. The final decision came one night in May of 1946 when Riley had returned from the fields with the tractor. He shut off the tractor, but the engine turned over a couple of extra times and the machine lunged forward, breaking off the exhaust stack. Riley, not wanting to face an angry Johnson Barrett, left town with his guitar and $2.50 in his pocket. He was heading to Memphis on highway 49 in search of his cousin Bukka White…
There he received further musical instruction from his second cousin. They even shared a room for almost a year. Memphis was the city where every important musician of the South gravitated and which supported a large, competitive musical community where virtually every black musical style was heard. B.B. stayed with Bukka White, one of the most renowned rural blues performers of his time, who schooled B.B. further in the art of the blues.
After ten months in Memphis with Bukka, Riley decided that his music career was getting nowhere. Besides that, he missed his wife and had left other responsibilities back in Indianola. Riley returned to Indianola, and in 1947, he and his wife Martha raised a crop on the Johnson Barrett plantation. By end of the crop season in 1948, Riley had earned enough money to pay off all of his debts by sharecropping, driving a tractor for $22.50 per week, loading trucks and playing guitar on street corners. In late 1948 he headed back to Memphis, this time bound and determined to make it in the music business.
B.B. King in a promotional photo for his radio show on WDIA
When Riley returned to Memphis, he went to look for Sonny Boy Williamson who had a blues music radio show on station KWEM. Sonny Boy was actually Aleck “Rice” Miller, who has been commonly referred to as Sonny Boy Williamson #2. Riley had met Sonny Boy earlier in Indianola and was friends with his guitarist Robert “Junior” Lockwood.
Once Riley had found Sonny Boy, he asked him if he could play a song on his blues radio show. When Riley had convinced Sonny Boy to let him play, Sonny Boy touted Riley as a new talent and the radio station was flooded with calls. Sonny Boy then set up Riley with a gig for which he himself had overbooked as a backup for his preferred show. Sonny Boy was in a bind, and Riley now had his big chance to play in front of a live crowd at Miss Annie’s Saloon in West Memphis.
Riley couldn’t have picked a better time to return to Memphis. Miss Annie told Riley that if he was to become a regular performer at the saloon, he would have to promote the business on the radio. On June 7, 1947, a new radio station, WDIA, went on the air. By 1948, the station was turned into one of the first all black staffed and managed radio stations. Riley went to WDIA and asked the popular DJ, Nat Williams, if he could make a record.
Surprised by Riley’s request, one of the station’s two owners, Bert Ferguson, had an idea. The station had just secured an advertising contract for a health tonic named Pepticon, the competitor for the tonic Hadacol, which was promoted by Sonny Boy Williamson on KWEM. Ferguson set Riley up with a ten minute spot in which he could play his guitar and sing anything he liked, as long as he promoted Pepticon, a health tonic. While King worked as a DJ at the WDIA radio station, he adopted the professional name of “The Beale Streets Blues Boy” which was to be shorted later to ‘Blues Boy King, and finally to “B.B.” King. Incidentally, King’s middle initial “B” is just that, it is not an abbreviation.
A Gibson B.B. King Signature Lucille
In the mid-1950’s while B.B. was performing at a dance in Twist, Arkansas, a few fans became unruly. Two men got into a fight and knocked over a kerosene stove, setting fire to the hall. B.B. raced outdoors to safety with everyone else, but then realized that he left his $30 guitar inside, so he rushed back inside to retrieve it, narrowly escaping death. When he later found out that the fight had been over a woman named Lucille, he decided to give the name to his guitar. Each one of B.B.’s guitars since that time have been called Lucille.
B.B. in Los Angeles, 1951
King’s first recordings were in 1949 for the Bullet Recording and Transcription Company. This led to recognition by the Bihari brothers who signed King for a ten year recording contract with Modern Records. In 1951, King’s seventh RPM single, ‘Three O’Clock Blues’ placed on Billboard’s R&B record chart; it reached the number one position in early 1952 and stayed there for fifteen weeks. This hit led to King’s first national tour which started at the Howard Theater in Washington, D.C.
As a result of his new found success, B.B.’s marriage was now under a heavy strain. Without any children, the couple had to either travel on the road together, or separate during tours. Martha King knew that as an entertainer, B.B. was subject to adoring young female fans. It was only a matter of time before the tension resulted in divorce. While B.B. was on tour, he got word that Martha had left Memphis and had filed for the divorce. Although he was crushed by the news, it inspired him to write the song “Woke Up This Morning,” which was his first big hit after “Three O’Clock Blues.” In 1952, after 8 years of marriage, B.B. and Martha King were divorced.
Through the 50s, King toured with a 13-piece band, adopting a patriarchal attitude to his musicians that has been compared to that of a kindly plantation boss. Briefly, he operated his own Blues Boy’s Kingdom label, but had no success. Modern, however, were steadily producing hits for him, although their approach to copyright-standard practice in its day was less ethical, with the label owners taking fictitious credit on many titles.
Big Red in front of Club Handy, Beale Street, Memphis, TN
The famous ‘Big Red’ bus was purchased in 1955 and served as the transportation for the touring musician and his band. He has never stopped, performing an average of 275 concerts a year. In 1956 B.B. and his band played an astonishing 342 one night stands. From the chitlin circuit with its small town cafes, ghetto theaters, country dance halls, and roadside joints to jazz clubs, rock palaces, symphony concert halls, college concerts, resort hotels and prestigious concert halls nationally and internationally, B.B. has become the most renowned blues musician of the past 60 years.
He married his second wife, Sue Hall, on June 4, 1958. He had met Sue in his home town of Indianola, at Club Ebony, where Sue’s mother was the manager. Sue was 15 years younger than B.B. and traveled with him constantly for 6 months until they bought a house in Los Angeles. Sue began making a home there, but B.B. was rarely in town. As was the case in his first marriage, the tension of B.B. constantly on the road drove the couple to break up. B.B. and Sue King were divorced in 1966, which he responded to by recording his biggest hit song,”The Thrill Is Gone”.
In 1960, King switched labels, moving to ABC in the hope of emulating Ray Charles ’s success. The times were against him, however, for black tastes were moving towards soul music and spectacular stage presentation. King had always felt a need to make the blues respectable, removing sexual boasting and references to violence and drugs. As a result of these endeavours his lyrics were, ironically, closer to those of soul, with their emphasis on love, respect and security in relationships. He remained popular, as his interplay with the audience on a live album recorded in Chicago in 1964 illustrates, but by the mid-60s, his career seemed in decline, with the hits coming from Modern’s back catalogue rather than his new company.
Revitalization came with the discovery of the blues by young whites – initially musicians and then the wider audience. The change began at the Newport Folk Festival where white America first heard the music of Son House and Mississippi John Hurt. Also performing that day was a new group called The Butterfield Blues Band.
With Paul Butterfield on harp and Elvin Bishop and Mike Bloomfield on guitar, The Butterfield Blues Band developed a strong national following. In 1965 Elektra records released the first Butterfield Blues Band album and it gained wide popularity in white Middle America. The new excitement generated by the band with guitar playing of Elvin Bishop and Mike Bloomfield created curiosity about the origins of their music. Countless times the were asked, “Where did you learn to play that way?” Both guitarists answered honestly, “By copying B.B.’s licks.” People looked at them blankly, “B.B. who?” “The real monster,” Bishop and Bloomfield would reply, “B.B. King”.
In 1968, B.B. King played the Fillmore West with Johnny Winter and Mike Bloomfield, who introduced him as ‘the greatest living blues guitarist’, provoking a standing ovation before he had even played a note.
After mainstream America had finally heard of B.B. King, two new events occurred in his career when all the world seemed ready for him, a hit record and a new manager. The record was the Roy Hawkins song, “The Thrill Is Gone,” which B.B. had recorded in response to his divorce with his wife Sue King in 1966.
In the 18 months following the peak popularity of “The Thrill Is Gone,” B.B.’s intinerary changed completely. The chitlin circuit gave way to a combination of jazz clubs and rock palaces, such as the Fillmore East. This new market also expanded to include college concerts and the dining rooms of luxury resort hotels. In 1969, B.B. made his first network TV appearance on the “Tonight Show,” a lucky break provided by Flip Wilson who had been filling in for Johnny Carson. With all his new triumphs, the most symbolic was his appearance on the Ed Sullivan Show in 1971. Playing on the Sullivan show was a sign that a new performer had arrived with the American public.
On June 29, 1973, B.B. was the master of ceremonies at an event held at the Philharmonic Hall, New York. The show brought together many masters of the blues; “Big Mama” Thorton, Jay McShann, Eddie “Cleanhead” Vinson, Arthur “Big Boy” Crudup and Muddy Waters.
B.B. King & Willie Dixon & John Lee Hooker
Sidney A. Seidenberg, B.B.’s former manager, likens B.B. to Louis Armstrong and Frank Sinatra. “B.B.’s goals have always been to be like an American Ambassador of blues music to the world, like Louis Armstrong and Frank Sinatra are to the jazz world. B.B. is still the King of the Blues”.
King has been honored with four Grammy Awards, the Presidential Medal of Freedom, a star on the Hollywood Walk of Fame, and the title ‘The King of the Blues’.
King still keeps a very busy schedule. At the end of 1995 King announced that, as he had turned 70 years of age, he would be drastically reducing his performing schedule which he had maintained for many decades. Instead of a regular 300 or more gigs a year, he would be winding down in his old age, to a modest 200! King stated, “What else am I gonna do? I’ve got bills to pay, I enjoy working, and I’ll keep working until the people don’t want to hear me anymore.”
I’ll conclude with the remaining verses of the same song:
“(…)You know if I don’t find my baby
I’m going down to the Golden Ground.
Goodbye, everybody
I believe this is the end…”
For a complete biography of B.B. King I suggest you to download and read this book:
http://avaxhome.ws/ebooks/biography/Americanqw.html
Discography in my collection (I have the full discography but I am posting only downloadable albums):
[1950] B.B. KING Love Me Tender
Tracks:
1. One of Those Nights
2. Love Me Tender
3. Don’t Change on Me
4. (I’d Be) A Legend in My Time
5. You’ve Always Got the Blues
6. Night Life/Please Send Me Someone to Love
7. You and Me, Me and You
8. Since I Met You Baby
9. Time Is a Thief
10. World I Never Made
DL:
http://rapidshare.com/files/51995344/Love_Me_Tender.rar
or
http://rapidshare.com/files/285861569/BBK.1982.Love.Me.Tender.Ucnokta.Turkboardmusic.rar.html
[1956] B.B. KING B.B. King
Tracks:
01. Going Home
02. The Letter
03. You Never Know
04. Please Remember Me
05. Come Back Baby AKA Can’t We Talk It Over
06. You Won’t Listen
07. Sundown Brown
08. You Shouldn’t Have Left
09. Boogie Rock AKA House Rocker
10. Shake Yours
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 King’s 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. King’s guitar attack grew more aggressive and pointed as the decade progressed, influencing a legion of up-and-coming axemen across the nation.
When B.B. King left the Modern Records stable in the early ’60s, Modern scrambled to put out King material on their own label on numerous compilations. The unimaginatively titled B.B. King was one such exercise, appearing on the budget Crown imprint in 1963. The ten tracks were a mishmash of sessions spanning the early ’50s to the early ’60s, none of the songs among King’s more familiar. Despite its exploitative nature (and brevity), however, it’s not at all a bad listen. The selections include some real tough, swinging numbers with organ and horns, even if some of the tracks (like “You Won’t Listen” and “Shake Yours”) suffer from harsh upper-end distortion that should have been avoided in the original recording.
In a different style, “Boogie Rock (aka House Rocker)” (an alternate take of a 1955 single) is a smoking instrumental. Confusingly, the album was later reissued under the different title The Soul of B.B. King on both the United and Custom labels. In 2003, the Ace CD compilation The Soul of B.B. King took the ten tracks that had been on B.B. King aka The Soul of B.B. King, and added eight bonus cuts from multiple sources, including Kent singles that hadn’t been anthologized on CD; a few tracks that only appeared on scattered King compilations; and two Modern label recordings that hadn’t been issued anywhere, “Green and Lucky Blues” and “Don’t Let It Shock You.” Topped off with historical liner notes explaining what originally appeared where, that’s the best way to experience the material that showed up on B.B. King, packaged with the respect the blues great deserves.
DL:
http://rapidshare.com/files/111620282/1956_B.B._King_-_B.B._King.rar
[1957] B.B. KING Singing The Blues
Tracks:
Three O’Clock Blues
You Know I Love You
Woke Up This Morning (My Baby’s Gone)
You Upset Me Baby
Please Love Me
Blind Love
Every Day I Have The Blues
Ruby Lee
Did You Ever Love A Woman
Sweet Little Angel
That Ain’t The Way To Do It
Crying Won’t Help You
Bad Luck
DL:
http://depositfiles.com/en/files/l5l5y743r
or
http://rapidshare.com/files/111747444/1957_B.B._King_-_Singin__The_Blues.rar
or
http://depositfiles.com/en/files/zfgr1u3z0
[1958] B.B. KING The Blues
Tracks:
01. Boogie Woogie Woman
02. Don`t You Want A Man Like Me
03. What Can I Do
04. Ten Long Years
05. Early Every Morning
06. I Want To Get Married
07. Why Does Everything Happen To Me
08. You Know I Go For You
09. Past Day
10. When My Heart Beats Like A Hammer
11. Troubles, Troubles, Troubles
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 Bihari 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 Crown’s 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 didn’t make the charts.
The material on The Blues is dominated by muscular, horn-driven performances with King’s interjections of single-note riffs and powerful string bends punctuating the arrangements, and King’s songwriting was already stellar, with “I Want to Get Married,” “Don’t You Want a Man Like Me,” and “Ruby Lee” demonstrating his way with a melody and a lyrical conceit. While King’s recordings gained a greater depth and emotional force as he moved into the 1960s, 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. ~ Mark Deming, All Music Guide
DL:
http://depositfiles.com/en/files/5l6wsfjm3
or
http://rapidshare.com/files/111756076/1958_B.B._King_-_The_Blues.rar
or
http://rapidshare.com/files/285396984/BBK.1958.The.Blues.Ucnokta.Turkboardmusic.rar.html
[1959] B.B. KING Sings Spirituals
Tracks:
1. Precious Lord
2. Save a Seat For Me $0.99
3. Ole Time Religion
4. Swing Low, Sweet Chariot
5. Servant’s Prayer
6. Jesus Gave Me Water
7. I Never Heard a Man
8. Army of the Lord
9. I Am Willing to Run All the Way
10. I’m Working on the Building
11. Loney Lover’s Plea, A – (bonus)
12. I Am – (bonus)
13. Key to My Kingdom, The – (bonus)
14. Story From My Heart & Soul – (bonus)
15. In the Middle of an Island – (bonus)
16. Sixteen Tons – (bonus)
17. Precious Lord – (bonus)
18. Swing Low, Sweet Chariot – (alternate take, bonus)
Recorded in Hollywood, California in 1959. Includes liner notes by Frank Evans and Neil Slaven.
Most people think of King in terms of the image he presents on stage, a rambunctious, hard-living cosmopolitan bluesman, full of grit and gusto. What this assessment leaves out however, is the Gospel music that influenced King early on and is an essential element in his musical roots. This 1959 recording, then, is more of a return to the fold than some left-field departure into unfamiliar territory. SPIRITUALS is probably unique in King’s catalogue, in that he doesn’t play a lick of guitar on the whole thing. These aren’t blues adaptations of spiritual tunes, but traditional Gospel treatments, featuring organ and piano in the classic style. From “Save a Seat For Me” to “Army Of the Lord,” King’s big, warm voice is full of emotion and commitment. The bluesman acquits himself admirably as a full-bodied singer of spirituals, prompting listeners to wonder what might have happened if he had gone down the Gospel road full-time.
The Spirituals as B.B. King’s 4th Crown LP, recorded in 1959 as a dedicated gospel album. The song selection literally represents a greatest hits package of the time, ranging from classics such as ‘Precious Lord’ and ‘Swing Low Sweet Chariot’ to no less than 6 staples from the repertoire of the highly respected 5 Blind Boys of Mississippi. Includes 8 bonus tracks ‘A Lonely Lover’s Plea’, ‘I Am’, ‘The Key To My Kingdom’, ‘Story From My Heart And Soul’ (take 1), ‘In The Middle Of An Island’ (take 7), ‘Sixteen Tons’, ‘Precious Lord’ (alt) & ‘Swing Low Sweet Chariot’ (alt). Ace. 2006.
Album Description
• The eleventh and final volume in Ace Records’ acclaimed mid-price series based on B. B. King’s Crown LPs with original, colourful artwork.
• The “Spirituals” was B.B. King’s fourth Crown LP, recorded in 1959 as a dedicated gospel album.
• The song selection literally represents a “greatest hits” package of the time, ranging from classics such as ‘Precious Lord’ and ‘(Swing Low) Sweet Chariot’ to no less than six staples from the repertoire of the highly respected 5 Blind Boys of Mississippi.
• The eight bonus tracks represent a mix of singles that are not currently available on CD, together with previously unissued tracks from the vaults.
• As before, notes and compilation come courtesy of “The Vintage Years” B.B. King box set producer John Broven.
• Now the vast part of B.B. King’s important catalogue for Modern Records is readily available on Ace CD in fabulously re-mastered sound.
DL/pass: warforum.cz
http://rs157.rapidshare.com/files/48351304/BB_King_Sings_Spiritual.rar
[1960] B.B. KING The Great B.B. King
Tracks:
01. Sweet Sixteen
02. (I’m Gonna) Quit My Baby
03. I Was Blind
04. What Can I D AKA Just Sing The Blues
05. Some Day Somewhere AKA Someday Baby
06. Sneakin’ Around
07. Ten Long Years AKA I Had A Woman
08. Be Careful With A Fool
09. Whole Lotta’ Love AKA Whole Lot Of Lovin’
10. Days Of Old
DL:
http://rapidshare.com/files/111769531/1960_B.B._King_-_The_Great_B.B._King.rar
[1960] B.B. KING King Of The Blues
Tracks:
01. I’ve Got Right To Love My Baby
02. What Way To Go
03. Long Nights (The Feeling They Call The Blues)
04. Feel Like A Million
05. I’ll Survive
06. Good Man Gone Bad
07. If I Lost You
08. You’re On The Top
09. Partin’ Time
10. I’m King
DL:
http://rapidshare.com/files/111760807/1960_B.B._King_-_King_Of_The_Blues.rar
[1961] B.B. KING My Kind Of Blues
Tracks:
1. “You Done Lost A Good Thing Now” (Joe Josea, King) — 5:15
2. “Mr. Pawnbroker” (King, Jules Taub) — 3:16
3. “Understand” (Cecil Gant) — 2:39
4. “Someday Baby” (Lightnin’ Hopkins) — 2:54
5. “Driving Wheel” (Roosevelt Sykes) — 2:52
6. “Walking Dr. Bill” (Peter Clayton) — 3:41
7. “My Own Fault, Darling” (King) — 3:34
8. “Catfish Blues” (Josea, King) — 2:29
9. “Hold That Train” (Clayton) — 3:58
10. “Please Set A Date” (Minnie McCoy) — 2:49
Personnel includes:
B.B. King (vocals)
Lloyd Glenn (piano)
Review:
Mojo (Publisher) (8/03, p.112) – 5 out of 5 stars – “…This fully-loaded (18 tracks!) reissue proves the influence King held over his compatriots…”
According to his biographer, Charles Sawyer, this is King’s 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 King’s 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.) ~ George Bedard
DL:
http://rs124.rapidshare.com/files/237741956/BBK_MyKindOfBlues961.rar
or
http://rapidshare.com/files/285407016/BBK.1960.My.Kind.of.Blues.Ucnokta.Turkboardmusic.rar.htmls
[1962] B.B. KING Blues In My Heart
Tracks:
01. You’re Gonna Miss Me (2:49)
02. Got ‘Em Bad (2:59)
03. Troubles Don’t Last (3:28)
04. Your Letter (3:33)
05. I Can’t Explain (3:31)
06. TheWrong Road (3:03)
07. I Need You Baby (3:29)
08. So Many Days (3:20)
09. How Blue Can You Get? (Aka Downhearted) (3:15)
10. Strange Things (3:30)
It’s 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 King’s 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 Don’t Last” follows “Got ‘Em Bad,” the arrangement’s so similar that at first you’re wondering whether it’s “Got ‘Em Bad, Pt. 2″ (though it isn’t).
“Downhearted” does have a renowned if slightly cruel lyric, though, especially when B.B. 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 King’s 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.
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[1964.11.21] B.B. KING Live At The Regal (Theater Chicago, IL)
Tracks:
1. Every Day I Have The Blues
2. Sweet Little Angel
3. It’s My Own Fault
4. How Blue Can You Get?
5. Please Love Me
6. You Upset Me Baby
7. Worry, Worry
8. Woke Up This Mornin’
9. You Done Lost Your Good Thing Now
10. Help The Poor
Personnel:
B.B. King (vocals, guitar)
Kenny Sands (trumpet)
Johnny Board, Bobby Forte (tenor saxophone)
Duke Jethro (piano)
Leo Lauchie (bass)
Sonny Freeman (drums)
Reviews:
Rolling Stone (12/11/03, p.128) – Ranked #141 in Rolling Stone’s “500 Greatest Albums Of All Time” – “[I]t remains his definitive live set. His guitar sound was precise and powerful, driving emotional versions of some of his most influential songs.”
JazzTimes (12/97, p.144) – “…one of the all-time great blues documents…” Vibe (12/99, p.158) – Included in Vibe’s 100 Essential Albums of the 20th Century
Live at the Regal is a 1965 live album by blues guitarist B. B. King. It was recorded in 1964 at the Regal Theater in Chicago. The album is widely heralded as one of the greatest blues albums ever recorded and is #141 on Rolling Stone Magazine’s 500 Greatest Albums of All Time. Despite its critical appreciation, B.B. King does not consider it among his best recordings.
No matter how good the studio sessions were, B.B. King was at his best on stage in front of an appreciative, if not ecstatic crowd. This set, recorded at Chicago’s premier black theater on Novermber 21, 1964, delivered just that. Despite the less than perfect recording conditions, at a time when technology had yet to catch up with the demands placed upon it, the King of the Blues delivers a definitive performance on a programm that includes his recent single “Help The Poor.” Also included in this set is a clutch of songs that were responsible for much of his success, “Everyday I Have The Blues”, “Sweet Little Angel,” “It’s My Own Fault,” “You Upset Me Baby” and “Woke Up This Morning” among them. The band, including tenorman Johnny Board and organist Duke Jethro, is lean but tight, providing King with a springboard from which to leap into flights of immaculate guitar playing and singing.
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[1966.11.05] B.B. KING Blues Is King
Tracks:
1. Introduction
2. Waitin’ on You
3. Introduction
4. Gamblers’ Blues
5. Tired of Your Jive
6. Night Life
7. Buzz Me
8. Don’t Answer the Door
9. Blind Love
10. I Know What You’re Puttin’ Down
11. Baby Get Lost
12. Gonna Keep on Loving You
Personnel:
B.B. King (vocals, guitar)
Bobby Forte (tenor saxophone)
Ken Sands (trumpet)
Duke Jethro (organ)
Louis Satterfield (bass)
Sonny Freeman (drums)
Recorded live in Chicago on November 5, 1966. Originally released on Bluesway (6001) in September 1967.
At the time of this Chicago performance in late 1966, King’s popularity among blacks had ebbed and white rock ‘n’ roll fans were beginning to notice him. Still, his long-faithful fans in the club spur him on, even during a few tunes not worth his examination (notably “Tired of Your Jive” and “Night Life”). The house sound system and mid-1960s engineering let him. © Frank John Hadley, 1993
By 1967, King had refined his singing and guitar style (which were always intertwined) to a fine point. What was just beginning to emerge during this period was King the showman, the singer with a story to tell his audience; sometimes a sad story, sometimes an angry one, occasionally even a downright mean one. Nowhere was this more apparent than in live performance. Here he’s captured in concert in Chicago, home of the blues and the ideal place to testify to the congregation. From “Tired of Your Jive” to “I Know What You’re Puttin’ Down” to the unequivocal “Baby Get Lost,” B.B. lets his audience in on the ups and downs of romance in no uncertain terms, both through his impassioned vocals and characteristically stinging guitar. The effect is both cathartic and awe-inspiring.
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[1967] B.B. KING The Jungle
Tracks:
01. The Jungle
02. 5 Long Years
03. Eyesight to the Blind
04. Blue Shadows
05. The Worst Thing in My Life
06. Beautician Blues
07. Ain’t Nobody’s Business
08. Blues Stay Away
09. I Stay in the Mood
10. I Can Hear My Name
11. Got ‘Em Bad
12. It’s a Mean World
“Reissue of this compilation, which was originally assembled by Kent/Modern to ride the success of BB’s 1967 R&B and Hot 100 hit ‘The Jungle’. Although none of what it contained was new (BB having been an ABC artist since 1961), several of the mixes and overdubs were exclusive to this package, giving King fans who need everything the perfect excuse to buy it. This CD reissue was reassembled from the tapes that were used for that original Kent album. Even though some of those tapes have since been used in the compilation of Ace’s other King reissues, others – including the stereo version of the title track – are nevertheless making their Ace debut in this CD.”~CDuniverse
“A powerful collection of singles from about 1962-1967, this is an interesting record because it illustrates some of the stylistic changes in King’s music (and “urban blues” in general) during this period — the transition from upright bass to the heavier-sounding electric, the horn arrangements become less jazzy and more “punchy” and soul-influenced, and his guitar style itself becomes more economical.”~Allmusic, by George Bedard
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[1968.04.15] B.B. KING & J. HENDRIX w/ PAUL BUTTERFIELD BLUES BAND Live @ Generation Club NYC
Tracks:
06.48 “Ad-Libbed Impromptu Blues (in E#903)” *
07.22 Kooper’s Shuffle *
07.40 Like A Rolling Stone
25.47 San-Ho-Zay
18.25 Slow Blues
06.40 Fast Blues
09.23 It’s My Own Fault
* = Extra tracks (no Jimi Hendrix)
Personnel:
Jimi Hendrix – guitar & vocals
B.B. King – guitar & vocals
Elvin Bishop – guitar & vocals
Buzzy Feiten – bass
Paul Butterfield – harmonica
Al Kooper – organ
Philip Wilson – drums
(+ inaudible)
Stuart ? – piano
Don Martin – guitar
Recorded at Generation Club, 52 West 8th Street, New York City. This show was also just after the death of Martin Luther King and it was said to be in mourning of the death of Martin Luther King.
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[1969] B.B. KING Completely Well
Tracks:
So Exited
No Good
You’re Losin’me
What Happened
Confessin’ The Blues
Key To My Kingdom
Cryin’ Won’t Help You Now
You’re Mean
The Thrill Is Gone
One of B.B. King’s first pop-inclined efforts, this CD features the support of rock- and blues-raised session players. King’s progeny, in a sense. Keyboardist Al Kooper is the most notable, but it’s guitarist Hugh McCracken who engages the master in a six-string duel on the jam “Cryin’ Won’t Help You Now/You’re Mean.” The album also contains King’s breakthrough hit “The Thrill Is Gone.” King didn’t particularly enjoy the tune when he recorded it. But when he returned to the studio the next day to hear the strings that were added to sweeten its chorus in his absence, he was as taken by the transcendent, majestic sweep they lent his performance as the rest of the world was soon to be. Indeed, his visceral vocal and stinging guitar leads define the bittersweet aftertaste of lost love. While the sheen of the hit’s production stands out among this album’s cuts, the unvarnished emotion of its lyrics is what the blues is all about.~Ted Drozdowski
This was B.B.’s 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 B.B.’s pen, usually in a co-writing situation. Hardliners point to the horn charts and the overdubbed strings as the beginning of the end of B.B.’s 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. B.B., for his part, sounds like he’s having a ball, playing and singing at peak power. This is certainly not the place to start your B.B. King collection, but it’s a nice stop along the way before you finish it.~Cub Koda
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[1969] B.B. KING Live & Well
Tracks:
01. Don’t Answer The Door (6:12)
02. Just A Little Love (5:15)
03. My Mood (2:42)
04. Sweet Little Angel (5:02)
05. Please Accept My Love (3:12)
06. I Want You So Bad (4:13)
07. Friends (5:36)
08. Get Off My Back Woman (3:15)
09. Let’s Get Down To Business (3:35)
10. Why I Sing The Blues (8:36)
Although Live & Well wasn’t 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. King’s always recorded well as a live act, and it’s the concert tracks that shine brightest, although the studio ones (cut with assistance from studio musicians like Al Kooper and Hugh McCracken) aren’t bad. ~ Richie Unterberger, All Music Guide
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[1970] B.B. KING Indianola Mississippi Seeds
Tracks & Personnel:
“Nobody Loves Me But My Mother” (B. B. King) — 1:26
B. B. King — piano & vocal
“You’re Still My Woman” (B. B. King/Dave Clark) — 6:04
B. B. King — guitar & vocal
Carole King — piano
Bryan Garofalo — bass
Russ Kunkel — drums
“Ask Me No Questions” (B. B. King) — 3:08
B. B. King — guitar & vocal
Leon Russell – piano
Joe Walsh – rhythm guitar
Bryan Garofalo — bass
Russ Kunkel — drums
“Until I’m Dead and Cold” (B. B. King) — 4:45
B. B. King — guitar & vocal
Carole King — piano
Bryan Garofalo — bass
Russ Kunkel — drums
“King’s Special” (B. B. King) — 5:13
B. B. King — lead guitar
Leon Russell – piano
Joe Walsh – rhythm guitar
Bryan Garofalo — bass
Russ Kunkel — drums
“Ain’t Gonna Worry My Life Anymore” (B. B. King) — 5:18
B. B. King — guitar & vocal
Carole King — piano & electric piano
Bryan Garofalo — bass
Russ Kunkel — drums
“Chains and Things” (B. B. King & Dave Clark) — 4:53
B.B. King — guitar & vocal
Carole King — electric piano
Bryan Garofalo — bass
Russ Kunkel — drums
“Go Underground” (B. B. King & Dave Clark) — 4:00
B. B. King — lead guitar & vocal
Paul Harris — piano
Hugh McCracken — rhythm guitar
Gerald Jemmott — bass
Herb Lovelle — drums
Joe Zagarino — Engineer
The Hit Factory, New York City
“Hummingbird” (Leon Russell) — 4:36
B. B. King — guitar & vocal
Leon Russell — piano & conductor
Joe Walsh — rhythm guitar
Bryan Garofalo — bass
Russ Kunkel — drums
Sherlie Matthews, Merry Clayton, Clydie King, Venetta Fields — “Angelic chorus”
Reviews:
Rolling Stone (12/24/70, p.54) – “…The album displays the vital and ever-developing nature of this man King, who has been playing and wailing the blues
for more than 20 of his 45 years…”
Q (9/95, p.141) – 3 Stars – Good – “…Eagle Joe Walsh and Carole King are in the supporting cast and it’s fine, if hardly packed with surprises…”
INDIANOLA MISSISSIPPI SEEDS was King’s first album on ABC. Recorded at The Record Plant, Los Angeles, California and The Hit Factory, New York.
The years 1969 and 1970 were busy ones for B.B. King. When he wasn’t playing one of his 300-plus gigs, King was in the studio laying down tracks that included “The Thrill Is Gone,” his only Top 20 hit. 1970’s INDIANOLA MISSISSIPPI SEEDS was a record that fit in well with the musical climate of the time. Up and coming artists such as Carole King and Leon Russell contributed their talents to these predominantly B.B. King-penned numbers. The female King plays
piano throughout, giving “You’re Still My Woman” an Aretha Franklin flavor whereas “Until I’m Dead And Cold” is infused with a sanctified air thanks to her playing and the inclusion of a brassy horn section.
No slouch on the eighty-eights himself, Russell (along with a then unknown Joe Walsh) provides funky accompaniment on “Ask Me No Questions” and the instrumental “King’s Special.” The blues legend himself lays Lucille aside long enough to give himself solo piano accompaniment on the minute and a half “Nobody Love Me But My Mother.” Leon Russell’s biggest contribution to INDIANOLA is of his oft-recorded “Hummingbird.” Along with playing piano, the musically gifted Okie also conducts a string section and gospel-inspired chorus of female back-up singers that includes Merry Clayton.
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[1970.09.10] B.B. KING Live In Cook County Jail
Tracks:
Side 1
Introductions
Every Day I Have the Blues
How Blue Can You Get
Worry,Worry, Worry
Side 2
Medley: 3 O’Clock Blues, Darlin’ You Know I Love You
Sweet Sixteen
The Thrill is Gone
Please Accept My Love
Personnel:
B.B. King: guitar, vocals
John Browning: trumpet
Louis Hubert: tenor saxophone
Booker Walker: alto saxophone
Ron Levy: piano
Wilbert Freeman: bass
Sonny Freeman: drums
Recorded live at the Cook Couny jail on September 10, 1970 this is a document and a testament to the man’s depth of emotion in both word and deed. To play before 2117 inmates and give them the same show as the paying public at other venues would be more than enough to ask, but B.B. shines on this record. The liner notes state that B.B. and his band received a standing ovation at the end of the night and asked if he could come back and play again sometime. The answer was obvious. All one has to do is take a look at that face on the cover. That, ladies and gentlemen, is the face of a man in love with his work.
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[1971.03.4-7] B.B. KING Live In Japan
Tracks:
01. Every Day I Have The Blues
02. How Blue Can You Get?
03. Eyesight To The Blind
04. Niji Baby
05. You’re Still My Woman
06. Chains And Things
07. Sweet Sixteen
08. Hummingbird
09. Darlin’ You Know I Love You
10. Japanese Boogie
11. Jamming At Sankei Hall
12. The Thrill Is Gone
13. Hikari #88
Personnel:
B.B. King (vocals, guitar)
Earl Turbinton (alto saxophone)
Louis Hubert (tenor saxophone)
ohn Browning (trumpet)
Joseph Burton (trombone)
Ron Levy (piano)
Wilton Freeman (bass)
Sonny Freeman (drums)
Recorded live at Sankei Hall, Tokyo, Japan on March 4 & 7, 1971. Originally released on ABC-Japan (841). Includes liner notes by Andy McKaie.
Live albums are often disappointing. Such is not the case with LIVE IN JAPAN. Blues legend King was at the height of his popularity at the time … Full Descriptionof this 1971 performance. “The Thrill Is Gone” had been a smash hit the previous year, and his albums COMPLETELY WELL, INDIANOLA MISSISSIPPI SEEDS, and LIVE AT COOK COUNTY JAIL had sold extremely well. This live set was recorded with the same crack band that played on COOK COUNTY, and the performance here overflows with a palpable exuberance.
The interplay between King and his backing players is wildly energetic and often spontaneous, as the impromptu jam “Japanese Boogie,” “Jamming At Sankei Hall,” and “Hikari #88″ will attest. As always, King’s trademark fretboard chops and soulful phrasing are outstanding, and his singing on such gems as “How Blue Can You Get,” “Hummingbird,” and, of course, “The Thrill Is Gone” seems especially heartfelt. A dynamite shot of classic blues and a top-notch live set.
Out of print in the U.S.! Digitally remastered reissue of this live album from the Blues guitar great. Recorded in the Land of the Rising Sun over three decades ago, this 1971 concert is still as exciting and exhilarating after all these years. Features musical assistance from Earl Turbinton, Louis Hibbert, John Browning, Joseph Burton, Ron Levy, Wilton Freeman and Sonny Freeman. 13 tracks including ‘The Thrill Is Gone’, ‘Sweet Sixteen’, ‘Every Day I Have The Blues’ and many more. Universal.
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[1971.06.9-16] B.B. KING In London
Tracks:
01 – Caldonia
02 – Blue Shadows
03 – Alexis’ Boogie
04 – We Can’t Agree
05 – Ghetto Woman
06 – Wet Hayshark
07 – Part-Time Love
08 – The Power Of The Blues
09 – Ain’t Nobody Home
Personnel includes:
B.B. King (vocals, guitar)
Peter Green, Alexis Korner, Paul Butler, David Spinozza (guitar)
Duster Bennett, Steve Marriot (harmonica)
Bobby Keys (tenor saxophone)
Bill Perkins (baritone saxophone, clarinet)
Jim Price (trumpet, trombone, electric piano)
Ollie Mitchell (trumpet)
Chuck Findley (trombone)
Pete Wingfield (piano)
Gary Wright (piano, organ)
The Mystery Shadow (organ)
Klaus Voorman, Greg Ridley, John Best (bass)
Ringo Starr, Jim Gordon, Jim Keltner, Barry Ford (drums)
Joshie Armstead, Tasha Thomas, Carl Hall (background vocals)
Recorded at Olympic Studios and Command Studios, London, England on June 9-16, 1971.
Rolling Stone (1/6/72, p.64) – “…it finds itself a respectable groove and manages to hold it for a good 40 minutes…a relaxing record, the product of a…confident and always alert artist and some dedicated players who sound like they cared enough to do their very best…”
As was the case with many early rock and blues legends (Chuck Berry, Muddy Waters) in the early ’70s, B.B. King went to London to cut an album with an assortment of rock royalty of the day. 1971’s B.B. KING IN LONDON found the King Of The Blues using members of Fleetwood Mac, Spooky Tooth and Humble Pie as sidemen on an assortment of blues classics and numbers written especially for this project. On Fleecie Moore’s jump blues classic “Caledonia,” King rubs shoulders with Peter Green and plays some nimble-fingered guitar on the Gary Wright-penned instrumental “Wet Hayshark,” powered by the dual drumming of Jim Gordon and Ringo Starr (who plays on three songs in total). British blues godfather Alexis Korner contributed the instrumental “Alexis’ Boogie” in which King duets with Korner on acoustic guitar while Steve Marriott wails away on harmonica. Other highlights include Louis Jordan’s “We Can’t Agree,” here turned into a mid-tempo stroll and Dr. John trading in his piano for a guitar on “Ghetto Woman,” a rare song with string arrangements that doesn’t come off sounding mawkish. King’s brightest playing comes on the joyous “Power Of The Blues” and the Stax-soaked fullness of “Ain’t Nobody Home.”
The plodding rhythms laid down by a coterie of British rock stars for In London make one long for B.B. King’s road-tested regular band. But it was the fashion in 1971 to dispatch American blues legends to London to record mediocre LPs with alleged rock royalty (the lineup here includes Ringo Starr, Peter Green, Alexis Korner, and Klaus Voorman). [This version of the album includes bonus material.] ~ Bill Dahl
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[1971.06.19] B.B. KING Live @ Filmore East, NY
Tracks:
CD1 – Early Show
Track 101. Let Me Love You
Track 102. Walkin’ Doctor Bill
Track 103. You’re So Fine
Track 104. Ain’t That Just Like A Woman
Track 105. Instrumental
Track 106. Instrumental
Track 107. Please Accept My Love
Track 108. The Thrill Is Gone
Track 109. Instrumental
Track 110. Sweet Sixteen
CD2 – Late Show
Track 201. Instrumental
Track 202. Every Day I Have The Blues
Track 203. How Blue Can You Get
Track 204. Instrumental
Track 205. A Whole Lotta Lovin’
Track 206. Nobody Loves Me But My Mother
Track 207. Hummingbird
Track 208. Instrumental
Track 209. Intros
Track 210. Sweet Sixteen
Track 211. Instrumental
Track 212. The Thrill Is Gone
Track 213. Instrumental
Track 214. Crowd
Lineup:
B.B. King – guitar, vocals
Ron Levy – piano
Milton Hopkins – second guitar
Wilbur Freeman – bass
Joseph Burton – trombone
John Browney – trumpet
John Turpenton – alto sax
Louis Hubert – tenor sax
Sonny Freeman – drums
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[1972] B.B. KING Guess Who
Tracks:
1. Summer In The City
2. Just Can’t Please You
3. Any Other You
4. You Don’t Know Nothin’ About Love
5. Found What I Need
6. Neighborhood Affair
7. It Takes A Young Girl
8. Better Lovin’ Man
9. Guess Who
10.Shoudn’t Have Left Me
11.Five Long Years
Line Up:
B.B. King – Lead Guitar,Vocals
Milton Hopkins – Guitar
Cornell Dupree – Rhythm Guitar
Wilbert Freeman – Bass
Jerry Jemmott – Bass Ron Levy – Piano
Frank Owens – Piano
V. S. Freeman – Drums
Bernard Purdie – Drums
Joseph Burton – Trombone
Garnett Brown – Trombone
Edward Rowe – Trumpet
Ernie Royal – Trumpet
Steve Madaio – Trumpet
Earl Turbinton – Tenor Sax
Bobby Forte – Tenor Sax
Gene Dinwiddie – Tenor Sax
Trevor Lawrence – Tenor Sax
Louis Hubert – Baritone Sax
Howard Johnson – Baritone Sax
David Sanborn – Alto Sax
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[1972] B.B. KING L.A. Midnight
Tracks:
1. I Got Some Help I Don’t Need
2. Help the Poor
3. Can’t You Hear Me Talking
4. Midnight
5. Sweet Sixteen
6. I’ve Been Blue Too Long
7. Lucille’s Granny
This release comes straight from B.B. King’s 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 Don’t Need,” uproariously humorous and hurt at the same time, with crazy wah-wah filigrees laced within, and “Can’t 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 I’m a long, long way from New Orleans”) and band, singer and his guitar rise to an emotional crescendo down the stretch. Yet “(I Believe) I’ve Been Blue Too Long” falters on a clumsy riff and can’t 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,” “Lucille’s Granny”) yet they don’t really mesh that well. Get this one second-hand for the outstanding disciplined stuff and don’t sweat the rest; as per the nature of the beast, some jams don’t yield pay dirt. ~ Richard Ginell, All Music Guide
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[1972] B.B. KING Kansas City
Tracks:
1. Introduction
2. The Thirlls is Gone
3. Sweet Little Angel
4. Nobody Loves Me But My Mother
5. Guess Who
6. King’s Shuffle
7. Outside Help
8. I’ve Got a Mind to Give Up Living
9. Ain’t Nobody Home
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[1973] B.B. KING To Know You Is To Love You
Tracks:
I Like To Live The Love
Respect Yourself
Who Are You?
Love
I Can’t Leave
To Know You Is To Love You
Oh To Me
Thank You For Loving The Blues
The combination of King and the well-oiled Philly rhythm section that powered hits by the O’Jays, 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 King’s tried-and-true style.
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[1973.05.30] MUDDY WATERS & B.B. KING Live @ Ebbets Field, Denver, CO
Tracks:
1. Piano jam 1:38
2. Instrumental 3:15
3. Instrumental with Muddy intro 2:57
4. My Sweet Little Baby 6:10
5. Rock Me 5:52
6. Can’t Get No Grindin’ (What’s The Matter With The Meal) 3:37
7. I’ve Got My Mojo Working 2:57
8. Forty Days And Forty Nights 3:09
9. Band intros* 3:15
10. I Know You Didn’t Want Me* 6:38
11. Thrill Is Gone* 4:36
12. Instrumental* 5:51
13. Caldonia 6:15
Personnel:
Muddy Waters – Guitar, Vocals
Hollywood Fats – Guitar
George “Mojo” Buford – Harmonica
Greg “Pinetop” Perkins – Piano
Calvin Jones – Bass
Willie “Big Eye” Smith – Drums
*w/B.B. King – Guitar
*w/Kato (B.B. King’s Band – Piano)
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[1974] B.B. KING Live In Africa
Tracks:
Ain’t Nobody Home
Guess Who
I Believe In My Soul
I Like To Live The Love
Intro
Sweet Sixteen
The Thrill Is Gone
To Know You Is To Love You
Why I Sign The Blues
Classed as his finest live performance this is ripped from the dvd .The action took place in 1974.
The boxing match in Kinshasa, Zaire between champion George Foreman and Muhammad Ali is the stuff of legends. Invited to take part in the three-day festival, B.B. King played before a crowd of over 80,000 Africans and delivered a performance considered by many to be one of the greatest of his phenomenal career. Live in Africa filmed by Leon Gast against the background of the Rumble in the Jungle in 1974 is an outstanding piece of film making in itself, but it is the music that really makes me want to keep coming back and back again. King is in prime form and whilst he is not backed by his complete regular band there are enough of his regular band members (Sonny Freeman – drums, Ron Levy – piano, Bobby Forte – tenor sax and Hampton Reese (Conducting)) to keep the army of horns and a few others in check.
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[1974] B.B. KING & BOBBY BLAND Together For The First Time
Tracks:
1. 3 O’Clock Blues
2. It’s My Own Fault
3. Driftin’ Blues
4. That’s the Way Love Is
5. I’m Sorry
6. I’ll Take Care of You
7. Don’t Cry No More
8. Don’t Answer The Door/Don’t Want a Soul Hangin’ Around
9. Good To Be Back Home / Driving Wheel / Rock Me Baby / Black Night / Cherry Red / It’s My Own Fault / 3 O’Clock Blues / Oh, Come Back Baby / Chains Of Love / Gonna Get Me An Old Woman
10. Everybody Wants to Know Why I Sing The Blues
11. Goin’ Down Slow
12. I Like to Live the Love
Personnel includes:
Melvin Jackson, Sonny Freeman, Mel Brown, Ben Benay, Milton Hopkins, Joseph Burton, Ron Levy, Cato Walker, Louis Hubert, Bobby Forte, Edward Rowe, Wilbert Freeman, Charles Polk, Tommy Punkson, Harold Potier, Jr., Theodore Arthur, Theodore Reynolds, Leo Penn, Joseph Hardin, Jr., Alfred Thomas, Michael Omartian.
That’s “together for the first time” on disc, of course. Bland and King have shared stages since the ’50s, when they were both members of the Beale Streeters, the legendary Memphis blues commune. In any case, this 1974 concert catches both artists at the peak of their game, recorded (with a nice sense of inside-the-band intimacy) in front of an extremely appreciative audience. Highpoints include a terrific call-and-response duet between the two stars on Bland’s signature “That’s the Way Love Is,” and a riveting, can-you-top-this version of “3 O’Clock Blues,” which features stinging guitar work by King and some of Bland’s most impassioned singing ever.
Q (2/93, p.87) – 3 Stars – Good – “…the onstage pleasure they get from each other’s music adds excitement and that extra spark…”
Mojo (Publisher) (12/00, p.64) – “…A fine representation of [his] stage persona in the company of long-time friend and performing peer, B.B. King.”
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[1975] B.B. KING Lucille Talks Back
Tracks:
1. Breaking up Somebody’s Home
2. Everybody Lies a Little
3. I Know the Price
4. Lucille Talks Back
5. Slow and Easy
6. Gambler’s Blues
7. No Money, No Luck
8. Hold On (I Think Our Love Is Changing)
9. To Know You Is to Love You – (bonus track)
10. I Like to Live the Love – (bonus track)
Personnel:
B.B. King (vocals, guitar, piano)
Milton Hopkins, Jess Daniels (guitar)
Brooker Walker, Bobby Forte (saxophone)
Joseph Burton (trombone)
Edward Rowe (horns)
James Toney (organ)
Ron Levy (keyboards, synthesizer)
John Starks (drums)
Marcus Barnett (percussion)
In the tradition of The Skipper and Gilligan and the Lone Ranger and Trigger, B.B. King never performs without his faithful sidekick, his guitar Lucille. And as with most close working relationships, they developed a simpatico over the years to the point where they became totally inseparable. B.B. has just such a relationship with Lucille. He lets her finish his thoughts, as in his trademark call and response on “Everybody Lies A Little” and “No Money, No Luck.”
Sometimes he lets her do the talking for him, as on the titular instrumental. On LUCILLE TALKS BACK, they also get a little funky, as was the style back then (listen to the wah-wah guitar on “Breaking Up Somebody’s Home” and the syncopated bass line on “I Know The Price.”) They must be doing something right, as the audience’s reaction on the live track “Gambler’s Blues” bears out.
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[1976] BOBBY BLUE BLAND & B.B. KING Together again…Live
Tracks:
01. Let The Good Times Roll (6:08)
02. MEDLEY Stormy Monday Blues Strange Things Happen (6:40)
03. Feel So Bad (8:14)
04. MEDLEY Mother-In-Law Blues Mean Old World (5:48)
05. Everyday (I Have The Blues) (3:58)
06. MEDLEY The Thrill Is Gone I Ain’t Gonna Be The First To Cry (12:56)
Personnel:
Bobby “Blue” Bland (vocals)
B.B. King (vocals, guitar)
Viola Jackson (vocals)
Ray Parker, Milton Hopkins, Johnny Jones (guitar)
Red Holloway (tenor saxophone)
Jerome Richardson (baritone saxophone)
Oscar Brashear, Albert Aarons, Snooky Young (trumpet)
Garnett Brown, Benny Powell (trombone)
Robert Anderson (piano)
James Toney (organ)
Rudy Aikels, Louis Villery (bass)
John Starks (Drums)
Harold Potier (Drums)
Recorded live at the Coconut Grove, Los Angeles, California. The sequel to a well-received 1974 album, TOGETHER AGAIN/LIVE features the two veteran bluesmen (who first played together as members of the Beale Streeters, the legendary early-’50s Memphis group) trading licks (guitar and vocal) on a nice selection of some of their signature tunes, including King’s “Everyday I Have the Blues” and Bland’s “Stormy Monday.” These old pros clearly relish playing off each other, and the atmosphere is decidedly relaxed and informal (check out the verbal horseplay on “Mother-In-Law Blues”). The end result isn’t the deepest blues ever recorded, but it’s still good down home, rowdy fun.
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[1978-1979] B.B. KING Midnight Believer & Take It Home
Tracks:
01. When it all comes down (I’ll still be around) (4:13)
02. Midnight believer (5:00)
03. I just can’t leave your love alone (4:18)
04. Hold on (I feel our love is changing) (4:10)
05. Never make a move too soon (5:29)
06. A world full of strangers (4:22)
07. Let me make you cry a little longer (5:49)
Personnel:
B.B. King (vocals, guitar)
Dean Parks, Paul Jackson, Jr. (guitar)
Wilton Felder (saxophone, tenor saxophone)
Quitman Dennis (saxophone, horns)
Larry E. Williams (saxophone)
Kim Hutchcroft (baritone saxophone)
Steve Madaio (trumpet, horns)
Gary Grant (trumpet)
Charles Fendley, Jack Redmond (trombone)
Chuck Findley, Eddie Miller, Gary Herbig, George Bohanon, Kurt McGettrick, Abe Most, Bob Enevoldsen (horns)
Joe Sample (keyboards)
James Gadson, Stix Hooper (drums, percussion)
Paulinho Da Costa (percussion)
Luther Waters, Julia Tillman Waters, Maxine Willard Waters, Oren Waters (background vocals)
2 LPs on 1 CD: MIDNIGHT BELIEVER (1978)/TAKE IT HOME (1979)
This BGO reissue of two late-’70s albums by B.B. King has been done more for posterity than for the value of the music found on either album. Both Midnight Believer and Take It Home were produced by Crusaders keyboard boss Joe Sample. He and co-writer Will Jennings wrote the vast majority of the material on both records, trying to put King in a more contemporary context. The guitar is still there and so is that grand voice, but the tunes are arranged with all manner of synth strings, real strings, female backing chorus and plastic drum beats, taking away much of their power. This set is for those diehards who need King’s records no matter how bad. Others should look elsewhere. ~ Thom Jurek
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[1978] B.B. KING Live @ The Forum, Toronto
Tracks:
1. Caledonia 4:30
2. Night Life 6:35
3. Walking Dr. Bill 4:55
4. monlogue> 3:44
5. Instrumental 6:23
6. Why I Sing The Blues 5:32
7. Never Make Your Move Too Soon 6:16
8. The Thrill Is Gone 6:06
9. outro 1:30
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[1978.04.09] B.B. KING Live @ Pauls Mall, Boston, MA
Setlist:
Set I
Caldonia
How Blue Can You Get
Crying Won’t Help You
Instrumental Why I Sing The Blues
Everyday I Have The Blues*
Set II
Three O’Clock Blues/Sweet Little Angel
Instrumental#
Have a Little Faith in What You Do (?)
I Need My Baby
I Got Some Outside Help (I Don’t Really Need)
The Thrill is Gone
Guess Who
Got My Mojo Working
Personnel:
B.B. King – Guitar & Vocals
Milton Hopkins – Guitar
Joe Turner – Bass
James Toney – Keyboards
Caleb Emprey – Drums
Cato Walker – Alto Sax
Walter King – Tenor Sax
Eddie Rowe – Trumpet
* with Dee Dee Bridgewater on vocals
# with James Montgomery on harmonica
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[1978-1998] B.B. KING Live At The BBC
Tracks:
Hammersmith Odeon 14/10/78
1. Caldonia
2. I Love To Live The life
3. Night Life
4. When It All Comes Down (I’ll Still Be Around)
5. The Thrill Is Gone
Glasgow Jazzfest 4/7/91
6. I Gotta Move Out Of This Neighbourhood
7. When Love Comes To Town
Andy Kershaw Session 30/3/89
8. Let The Good Times Roll
9. Stormy Monday Blues
10. Ain’t Nobody Home
11. Five Long Years
12. How Blue Can You Get?
Fairfield Hall Croydon 20/6/98
13. Paying The Cost To Be The Boss
14. The Thrill Is Gone
‘B.B. King – Live At The BBC’, is a wonderful collection that compiles the best of B.B. King’s BBC recordings onto one CD for the very first time and includes some of his biggest hits, such as “Paying the Cost to Be the Boss” and “The Thrill Is Gone” as well as “When Love Comes To Town”, the duet with U2 that took him to the top of the UK charts and gave him his first MTV exposure.
Featuring highlights from his 3 finest UK performances alongside a session recording made in the BBC’s studios, this CD offers an incredible snapshot of an artist at the peak of his career performing some of his greatest material.
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[1980] B.B. KING Now Appearing at Ole Miss
Tracks:
“Intro/B.B. King Blues Theme” (Owens) – 3:04
“Caldonia” (Moore) – 2:47
“Blues Medley” – 14:10
“Hold On (I Think Our Love Is Changing)” (Jennings, Sample) – 5:45
“I Got Some Help I Don’t Need” (Clark, King) – 5:24
“Darlin’ You Know I Love You” (Bihari, King) – 7:14
“When I’m Wrong” (King) – 9:29
“The Thrill Is Gone” (Darnell, Hawkins) – 11:16
“Never Make a Move Too Soon” (Hooper, Jennings) – 7:23
“Three O’Clock in the Morning” (King, Taub) – 8:56
“Rock Me Baby” (Josea, King) – 3:52
“Guess Who?” (Belvin, Belvin) – 2:33
“I Just Can’t Leave Your Love Alone” (Jennings, Sample) – 2:59
Personnel:
Vocals, Guitar – B.B. King
Bass – Russell Jackson
Drums – Calep Emphrey
Guitar – Leonard Gill
Guitar [Rythmn] – Jon Jones
Keyboards – Phil Blackman
Percussion – Naná Vasconcelos
Saxophone [Baritone] – Edgar Synigal*
Saxophone [Tenor] – Hilton C. Joseph*
Trombone – Steve Sherard
Trumpet – Lonny LaLanne , John Willie Cook
Recorded live at the University of Mississippi. Additional recording and mixing at Electric Lady Studios, N.Y.C.. Mastered at Frankford/Wayne Studios, N.Y.C.
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[1981] B.B. KING There Must Be A Better World Somewhere
Tracks:
1. Victim
2. More, More, More
3. You’re Going With Me
4. Life Ain’t Nothing But A Party
5. Born Again Human
6. There Must Be Abetter World Somewhere
Personnel:
B.B. King (vocals, guitar)
Hugh McCracken (guitar)
Hank Crawford (alto saxophone)
David “Fathead” Newman (tenor saxophone)
Ronald Cuber (baritone saxophone)
Waymon Reed, Charlie Miller (trumpet)
Tom Malone (trombone)
Mac “Dr. John” Rebennack (keyboards)
Wilbur Bascomb (bass)
Bernard “Pretty” Purdie (drums)
Donny Gerrard, Carmen Twillie, Vennette Gloud (background vocals)
Recorded at The Hit Factory, New York, New York.
This superbly produced 1981 gem boasts original material by legendary rock ‘n’ roll songwriter Doc Pomus in collaboration with keyboardist Dr. John, in addition to pungent horn charts arranged by jazz altoist Hank Crawford. Pomus spent the second half of his career writing a kind of perfectly spare “wisdom” song, and B.B. King’s impassioned gospel-blues singing is well matched to the hard-won stoicism expressed both in the words and the music. Moreover, his famously fluid and conversational guitar playing has rarely found such a sympathetic, classy setting. Listening to a lilting, modernistic tune like “Born Again Human,” one would swear B.B. was a duded-up, not-so-distant country cousin to the horn-driven Steely Dan of GAUCHO.
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[1983] B.B. KING Why I Sing The Blues
Tracks:
1. The Thrill is Gone
2. Ghetto Woman
3. Why I sing the Blues
4. Aint Nobody Home
5. Hummingbird
6. To Know You is To Love You
7. How Blue can you get
8. Sweet Sixteen
9. So Excited
10. Chains and things
Personnel includes:
B.B. King (vocals, guitar)
Carole King (piano)
Product Description
Live set from legendary bluesman who’s career now spans half a century. 1983 recording features 10 stage favorites including ‘The Thrill is Gone’, ‘Every Day I Have the Blues’, ‘B.B.’s Theme’ and ‘Why I Sing the Blues’. 1999 release. Standard jewel case.
Budget-minded shoppers searching for an introduction to blues master B.B. King can’t hope to do much better than WHY I SING THE BLUES. This low-priced compilation wrings nearly 60 minutes of music from its ten song line-up and contains several of King’s signature tunes. Included here is King’s biggest hit, “The Thrill is Gone,” which is one of the few blues singles ever to crack the pop Top 20. The title track, an eight-minute justification of King’s art, serves up ample portions of B.B.’s stinging, vibrato-laced guitar solos. Then there’s the funky “Ghetto Woman,” “Ain’t Nobody Home,” and “To Know You Is To Love You,” complete with Memphis horns and soulful background vocals; and “How Blue Can You Get?,” during which King sings the immortal lines “I let you live in my penthouse/You said it was just a shack/I gave you seven children/And now you want to give them back.” The blues don’t get much more elemental than that.
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[1985] B.B. KING Six Silver Strings
Tracks:
01. Six Silver Strings (4:23)
02. Big Boss Man (4:47)
03. In The Midnight Hour (3:24)
04. Into The Night (4:11)
05. My Lucille (3:41)
06. Memory Lane (4:35)
07. My Guitar Sings The Blues (3:39)
08. Double Trouble (5:12)
Recorded at The Studio, Hialeah, Florida.
SIX SILVER STRINGS, B.B. King’s 50th album, bears the unmistakable sound of the era in which it was released. After the understated title track, a heartfelt lament to romantic loss resulting from B.B.’s love affair with music, things pick up in sprightly fashion. His version of the blues standard “Big Boss Man” sounds eerily like Michael Jackson’s “Billie Jean.” “Into the Night,” King’s song for the 1985 movie of the same name, is heavy on synthesizers and programmed drums (the film’s director John Landis even gets a production credit for the song). “My Lucille” has a similarly slick ’80s feel. “Memory Lane” features romantic spoken-word narration, textured keyboards and a conspicuous absence of guitar. Elsewhere, King takes a fairly straightforward approach to the classic “In the Midnight Hour.” “My Guitar Sings the Blues” is this record’s timeless blues number. Like many classic King cuts, it begins “I asked my baby…” Basically, any song that begins this way means we are firmly in B.B. King territory–get ready for a deluxe delivery of the blues.
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[1986.10.20] B.B. KING Live @ Umel Jazz Festival, Sweden
Tracks:
1. Intro – Instrumental
2. Let The Good Times Roll
3. I Got Some Outside Help I Don’t Need
4. Ain’t Nobody’s Business
5. Nightlife / Please Send Me Somebody To Love
6. All Over Again
7. Never Make Your Move Too Soon
8. Catfish Blues
9. One Of Those Nights
10. The Thrill Is Gone
11. How Blue Can You Get
Personnel:
B.B. King – ‘Lucille’, vocals
Leon Warren – guitar
Mike Doster – bass
Calep Humphrey – drums
Eugene Carrier – keys
James Bolden – trumpet
Edgar Synegal – sax
Walter King – sax
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[1987.04.15] B.B. KING & friends Live @ Ebony Theater Los Angeles, CA
Tracks:
1. Why I Sing the Blues
2. Please Send Me Someone to Love (w/Gladys Knight)
3. The Thrill is Gone (w/Eric Clapton & Phil Collins)
4. I’d Rather Go Blind (w/Etta James & Dr. John)
5. When Something is Wrong With My Baby (w/Billy Ocean)
6. The Sky is Crying (w/Albert King and Stevie Ray Vaughan)
7. Somebody’s Got a Hold on Me (w/Etta James)
8. In the Midnight Hour (w/Etta James)
9. Ain’t Nobody’s Bizness (w/Gladys Knight & Etta James)
10. Let the Good Times Roll
11. Take My Hand, Precious Lord
12. Finale
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[1990.05.25] B.B. KING Live At San Quentin
Tracks:
01. B.B. King Intro
02. Let the Good Times Roll
03. Every Day I Have the Blues
04. Whole Lot of Lovin’
05. Sweet Little Angel
06. Never Make a Move Too Soon
07. Into the Night
08. Ain’t Nobody’s Business
09. Thrill Is Gone
10. Peace to the World
11. Nobody Loves Me But My Mother
12. Sweet Sixteen
13. Rock Me Baby
Personnel:
B.B. King (vocals, guitar)
Leon Warren (guitar)
Walter King, Edgar Synigal (saxophone)
James Bolden (trumpet)
Eugene Carrier (keyboards)
Michael Doster (bass)
Calep Emphrey (drums)
Much gutsier than the REGAL album, this is in harmony with the patrons as King plays to a different audience; the inmates of one of America’s toughest prisons. King devotes a lot of his time every year performing to prisoners, and he coummunicates … Full Descriptionon this album without patronizing them. This is a fairly predictable set but the high level recording (presumably to block out any obscenities) makes it one of his most exciting live albums. Songs he has played a thousand times sound fresh and energetic, notably “Everyday I Have The Blues” and “Let The Good Times Roll.”
All selections recorded live at San Quentin Prison on May 25, 1990 except “Peace To The World”.
Q – Recommended – “..It will delight fans old and new.”
Down Beat (6/91) – 4 stars – Very Good – “..a loose, cooking affair that gets your blood boiling and your feet moving.”
Living Blues (5-6/91) – “King has long been involved with issues of prison reform, and like the earlier live recording he made at a penal instituion, “Live At Cook County Jail,” his empathy and concern for the inmates is reflected not only in the fact of his performance and recording, but in the quality of the performance heard here…everything is done with King’s typical intensity and substance.”
Living Blues (7-8/01, p.82) – “…Boasts crisper sound than the original….the performances are professional and well executed…”
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[1990.11] B.B. KING Live At The Apollo
Tracks:
1. When Love Comes To Town
2. Sweet Sixteen
3. The Thrill Is Gone
4. Ain’t Nobody’s Bizness
5. Paying The Cost To Be The Boss
6. All Over Again
7. Nightlife
8. Since I Met You Baby
9. Guess Who
10. Peace To The World
Recorded at the famous Apollo Theater in Harlem, New York. It was awarded the 1992 Grammy Award for Best Traditional Blues Album.
Amazon.com
It’s not that there’s anything wrong with this 1990 recording: King’s expressive guitar work and vibrant vocals rarely disappoint in a live setting, and this release here he has a top-notch big band behind him. In addition to U2’s “When Love Comes to Town,” King rolls through nine staples, including “Sweet Sixteen,” “Thrill is Gone,” and “Paying the Cost to Be the Boss.” On the other hand, King has produced a number of absolutely riveting live albums, including Live at the Regal, Blues Is King, and Live in Cook County Jail. They remain high points of blues history, relegating this solid release to the second tier.~Marc Greilsamer
From Grove Press Guide to Blues on CD
One night in the winter of 1990 the SRO audience in Harlem’s Apollo Theatre rocked in ecstasy to the blessed tones offered them by the master musician and the swinging eighteen-piece Philip Morris Superband, conducted by pianist Gene Harris. Salutes to Percy Mayfield, Ivory Joe Hunter, and Jesse Belvin (along with repertoire staples and the wondrous slow blues “All Over Again”) have no problem at all going over with the demanding African-American audience.~Frank John Hadley, 1993
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[1991.10.01] B.B. KING There Is Always One More Time
Tracks:
01. I’m Moving On (4:15)
02. Back In L.A. (5:00)
03. The Blues Come Over Me (5:13)
04. Fool Me Once (4:17)
05. The Lowdown (4:11)
06. Mean And Evil (4:20)
07. Something Up My Sleeve (4:27)
08. Roll, Roll, Roll (5:57)
09. There Is Always One More Time (8:24)
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[1992.04.21] B.B. KING Lucille
Tracks:
1 Lucille 10:16
2 You Move Me So 02:04
3 Country Girl 04:24
4 No Money, No Luck Blues 03:45
5 I Need Your Love 02:22
6 Rainin’ All The Time 02:56
7 I’m With You 02:31
8 Stop Putting The Hurt On Me 03:05
9 Watch Yourself 05:50
Personnel:
B.B. King – Vocals,Guitar
Maxwell Davis – Organ
Irving Ashby – Guitar
Bobby Forte – Tenor Saxophone
Cecil McNeely,Bob McNeely – Saxophone
Mel Moore – Trumpet
John Ewing – Trombone
Lloyd Glenn – Piano
David Allen – Bass
Jesse Sailes – Drums
DL/pass: robiusrockanblues.blogspot.com
http://rapidshare.com/files/192954204/BBK-Luci.rar
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[1993.02-03] B.B. KING Blues Summit
Tracks:
01. Playin’ With My Friends (Duet With Robert Cray) 05:18
02. Since I Met You Baby (Duet With Katie Webster) 04:45
03. I Pity The Fool (Duet With Buddy Guy) 04:36
04. You Shook Me (Duet With John Lee Hooker) 04:59
05. Something You Got (Duet With Koko Taylor) 04:02
06. There’s Something On Your Mind (Duet With Etta James) 06:02
07. Little By Little (Duet With Lowell Fulson) 04:07
08. Call It Stormy Monday (Duet With Albert Collins) 07:17
09. You’re The Boss (Duet With Ruth Brown) 04:07
10. We’re Gonna Make It (Duet With Irma Thomas) 03:51
11. I Gotta Move Out Of This Neighborhood / Nobody Loves Me But My Mother 08:57
12. Everybody’s Had The Blues (Duet With Joe Louis Walker) 04:36
B.B. King Orchestra:
B.B. King (vocals, guitar)
Leon Warren (guitar)
Walter King, Melvin Jackson (saxophone)
James Bolden (trumpet)
James Toney, Michael Doster (bass)
Calep Emphrey, Jr.(drums)
Tony Coleman (percussion)
Additional personnel:
Vasti Jackson, Mabon “Teenie” Hodges (guitars)
Kim Wilson (harmonica)
Lee Allen, Nancy Wright (saxophone)
Ben Cauley (trumpet)
Randy Waldman (synthesizer)
Antoine Salley (percussion)
Maxine Waters, Julia Tilman Waters, Maxayne Lewis (background vocals)
Additional guest artists:
Kim Wilson (vocals, harmonica)
Irma Thomas (vocals)
Katie Webster (piano, vocals)
Joe Louis Walker (guitar, vocals)
The Memphis Horns
Principally recorded at Ardent Studios, Memphis, Tennessee from February 15-19, 1993 and Fantasy Studios, Berkeley, California from March 8-12, 1993.
BLUES SUMMIT won the 1994 Grammy Award for “Traditional Blues Album.”
BLUES SUMMIT, a series of duets with a who’s who of the blues, is classic B.B. King, probably his finest album of the 1990s. And if BLUES SUMMIT proves anything, it’s that B.B. King is still hard, still a leader, still capable of raising the hairs on the back of your neck as he grooves into his sixth decade of preaching the blues.
B.B. King isn’t merely a blues innovator, he’s a student of the music, an avid collector of blues, R&B and jazz recordings. It is precisely this depth of knowledge, and his abiding love for the music, that allows BLUES SUMMIT to transcend the pitfalls that usually undermine your average supersession.
B.B. King consistently plays to the strengths of his collaborators on BLUES SUMMIT. Where B.B. King’s modern blues style is urbane and swinging, the blues of John Lee Hooker are countrified and funky, harkening back to ancient oral traditions; yet they manage to reach a thrilling down home accord on “You Shook Me.” Blues masters Robert Cray and Buddy Guy cut their teeth on B.B. King, and here they return the favor with wit and energy on “Playin’ With My Friends” and “I Pity The Fool.” His encounters with blues divas Koko Taylor, Ruth Brown, Etta James and Irma Thomas are dinstinguished by tenderness, good humor and soul, while Texas guitar legend Albert Collins inspires some torrid exchanges on “Call It Stormy Monday.” And to top it all off is B.B.’s showcase on “I Gotta Move Out Of This Neighborhood/Nobody Loves Me But My Mother,” featuring one of his most fervent recorded solos in years. Still the King.
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http://www.filesend.net/download.php?f=257895e83452c557ba904b632e876b15
[1994.05.10] B.B. KING & DIANE SCHUUR Heart To Heart
Tracks:
01. No One Ever Tells You (4:58)
02. I Can’t Stop Loving You (4:30)
03. You Don’t Know Me (3:55)
04. It Had To Be You (3:17)
05. I’m Putting All My Eggs In One Basket (3:34)
06. Glory Of Love (3:51)
07. Try A Little Tenderness (4:29)
08. Spirit In The Dark (5:03)
09. Freedom (4:45)
10. At Last (5:14)
11. They Can’t Take That Away From Me (2:50)
Personnel:
Diane Schuur (vocals, piano)
B.B. King (vocals, guitar)
Tom Scott (tenor saxophone)
Gary Foster, Daniel Higgins (saxophone)
George Graham, Warren Luening (trumpet)
George Roberts (bass trombone)
Richard Todd (French horn)
Doug Katsaros (piano, synthesizer)
Randy Waldman (synthesizer)
Paul Viapiano (guitar)
Chuck Berghofer (bass)
Vinnie Colaiuta (drums)
Bashiri Johnson (percussion)
Diva Gray, Vaneese Thomas, Karen Kamon, Jill Dell`Abate (background vocals)
Recorded at Capitol Studios, Hollywood, California and The Power Station, New York, New York.
DL:
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[1997] B.B. KING Deuces Wild
Tracks:
1. “If You Love Me” (with Van Morrison) — 5:48
2. “The Thrill Is Gone” (with Tracy Chapman) — 5:00
3. “Rock Me Baby” (with Eric Clapton) — 6:38
4. “Please Send Me Someone to Love” (with Mick Hucknall) — 4:16
5. “Baby I Love You” (with Bonnie Raitt) — 4:00
6. “Ain’t Nobody Home” (with D’Angelo) — 5:18
7. “Pauly’s Birthday Boogie” (with Jools Holland) — 3:39
8. “There Must Be a Better World Somewhere” (with Dr. John) — 4:50
9. “Confessin’ the Blues” (with Marty Stuart) — 4:32
10. “Hummingbird” (with Dionne Warwick) — 4:20
11. “Bring It Home to Me” (with Paul Carrack) — 3:10
12. “Paying the Cost To Be The Boss” (with The Rolling Stones) — 3:35
13. “Let the Good Times Roll” (with Zucchero) — 4:00
14. “Dangerous Mood” (with Joe Cocker) — 4:55
15. “Keep It Coming” (with Heavy D) — 3:57
16. “Cryin’ Won’t Help You Babe” (with David Gilmour & Paul Carrack) — 4:12
17. “Night Life” (with Willie Nelson) — 4:30
Personnel:
B.B. King (guitar)
Mick Jagger (vocals, harmonica); Paul Carrack (vocals, keyboards); David Gilmour, Dean Parks, Eric Clapton, Hugh McCracken, Lee Schell, Johnny Lee Schell, Keith Richards, Marty Stuart, Michael Landau, Neil Hubbard, Randy Jacobs, Ron Wood, Bonnie Raitt (guitar); Tamara L. Hatwan, Ken Yerke, Andrea Byers, Norman Hughes, Sid Page, Bruce Dukov, Armen Garabedian, Berj Garabedian (violin); Robert Becker (viola); Larry Colbert, Martin Tillman, Dane Little, Marston Smith, Miles Om Tackett (cello); Mickey Rafael (harmonica); Joe Saulsbury, Jr., Joe Sublett (tenor saxophone); Carl Blouin (baritone saxophone); Brian Murray, Darrell Leonard, Jamil Sharif (trumpet); Daniel Kelley, Yvonne S. Moriarty, Kurt Snyder, Daniel Kelly (French horn); Tommy Eyre (piano, Wurlitzer organ, keyboards); Jon Cleary (piano, Wurlitzer organ); Chris Stainton (piano, keyboards); Jools Holland (piano); Leon Pendarvis (organ); D’Angelo, Bill Payne (keyboards); Tony Braunagel (drums, percussion); Steve Jordan , Jim Keltner, Kenny Aronoff, Andy Newmark, Charlie Watts (drums); Lenny Castro, Paulinho Da Costa (percussion); Simon Climie, Paul Waller (programming); Terrence Forsythe, Vincent Bonham, Sir Harry Bowens (background vocals)
DEUCES WILD was nominated for a 1999 Grammy for Best Contemporary Blues Album.
Recording information: Cherokee Rec; Cherokee Recording St; Conway Studio, Hollywood, CA; Conway Studios, Hollywood, CA; Sound Castle Studios, Silverlake, CA; Westside Studios, London, England.
Down Beat (2/98, p.59) – 3 1/2 stars (out of 5) – “Every so often, the venerable Mr. King records with various pop stars: [DEUCES WILD] finds him entertaining with characteristic warmth and sincerity on a program mixing old favorites and new tunes…”
You can’t move an inch without tripping over a superstar on this album of celebrity duets. On DEUCES WILD, B. B. looks beyond the blues world to collaborate with such unlikely folks as Willie Nelson, Pink Floyd guitarist David Gilmour, and even rapper Heavy D. On newly recorded versions of classic B.B. numbers such as “The Thrill Is Gone” (with Tracy Chapman) and “Paying The Cost To Be The Boss” (with the Rolling Stones), the legendary blues guitarslinger reinvents his own material to accommodate his famous pals, whose respect for King and enthusiasm for this project are apparent on each track. Most effective are the tunes that find B.B. paired up with veteran blues belters like Joe Cocker (“Dangerous Mood”) and Van Morrison (“If You Love Me”).
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[1998.10.19] B.B. KING Blues On The Bayou
Tracks:
Blues Boys Tune
Bad Case Of Love
I’ll Survive
Mean Ole’ World
Blues Man
Broken Promise
Darlin’ What Happened
Shake It Up And Go
Blues We Like
Good Man Gone Bad
If I Lost You
Tell Me Baby
I Got Some Outside Help I Don’t Need
Blues In G
If That Ain’t It I Quit
Personnel:
B.B. King – Vocals,Guitar
Melvin Jackson – Saxophone
Tony Coleman – Percussion
James Boogaloo Bolden – Trumpet
Calep Emphrey Jr. – Drums
Leon Warren – Guitar
Michael Doster – Bass
Stanley Abernathy – Trumpet
James Sells Toney – Keyboards
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[1999.10.05] B.B. KING Let The Good Times Roll (The Music Of Louis Jordan)
Tracks:
01. Ain’t Nobody Here But Us Chickens
02. Is You Is, Or Is You Ain’t (My Baby)
03. Beware, Brother, Beware
04. Somebody Done Changed the Lock on My Door
05. Ain’t That Just Like a Woman
06. Choo Choo Ch’Boogie
07. Buzz Me
08. Early in the Mornin’
09. I’m Gonna Move to the Outskirts of Town
10. Jack, You’re Dead!
11. Knock Me a Kiss
12. Let The Good Times Roll
13. Caldonia
14. It’s A Great, Great Pleasure
15. Rusty Dusty Blues (Mama Mama Blues)
16. Sure Had A Wonderful Time Last Night
17. Saturday Night Fish Fry
18. Nobody Knows You When You’re Down and Out
Personnel:
B.B. King (vocals, guitar)
Dr. John (vocals, piano)
Russell Malone (guitar)
Hank Crawford (alto saxophone)
David “Fathead” Newman (tenor saxophone)
Marcus Belgrave (trumpet)
Neil Larsen (piano, Hammond organ)
John Heard (bass)
Earl Palmer (drums)
Lenny Castro (percussion)
Recorded at Cello Recording Studios, Hollywood, California.
Though a wry humor permeates many of B.B. King’s classic performances, “funny” is not necessarily the first word that comes to mind, making this 1999 collection of rollicking tunes written or popularized by jump-blues vocalist Louis Jordan seem an odd project at first. However, any doubts are vanquished within the first minute of the opening “Ain’t Nobody Here But Us Chickens.” Wisely avoiding straight imitation of Jordan’s unique style, King adapts the songs to suit himself. This means that “Is You Is Or Is You Ain’t My Baby” gains a sly swagger and a slightly risque undertone, as if the question is purely rhetorical. King was nearly the only member of his blues generation to still be touring and recording actively by the late ’90s, and LET THE GOOD TIMES ROLL shows this blues master at the top of his game.
“Is You Is, Or Is You Ain’t (My Baby)” won the 2001 Grammy Award for Best Pop Collaboration with Vocals. LET THE GOOD TIMES ROLL was nominated for the 2001 Grammy Award for Best Traditional Blues Album.
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[2000.04.25] B.B. KING Makin’ Love Is Good For You
Tracks:
1 I Got To Leave This Woman 00:03:36
2 Since I Fell For You 00:05:53
3 I Know 00:03:48
4 Peace Of Mind 00:04:03
5 Monday Woman 00:03:37
6 Ain’t Nobody Like My Baby 00:03:49
7 Makin’ Love Is Good For You 00:03:46
8 Don’t Go No Farther 00:04:08
9 Actions Speak Louder Than Words 00:03:08
10 What You Bet 00:03:49
11 You’re On Top 00:03:11
12 Too Good To You Baby 00:03:15
13 I’m In The Wrong Business 00:04:37
14 She’s My Baby 00:04:13
Personnel:
B.B. King (guitar)
Leon Warren, John Porter (guitar)
Walter King, Melvin Jackson (saxophone)
Joe Sublett (tenor saxophone)
Stanley Abernathy, Darrell Leonard, James Lee Golden, James Bolden (trumpet)
James Toney, Tommy Eyre (keyboards)
Calep Emphery, Jr. (drums)
Tony Braunagel (percussion)
Recorded at Dockside Studio, Maurice, Louisiana.
Rolling Stone (7/20/00, p.136) – 4 stars out of 5 – “…A good way to catch King in his own element – with his hardy road band…spinning a living blues from the motley soul of electric black Chicago, urban doo-wop, New Orleans funk and swamp rock…”
JazzTimes (10/00, p.72) – “…Showcases BB with his relentlessly touring band in an eclectic program of slow blues, ballads, infectious, organ-fueled shuffles…and upbeat funk…”
B.B. King was one of few remaining blues elder statesmen still touring and recording new material at the beginning of the new millennium. Between his 200-plus annual gigs, King found enough time to hit Louisiana and lay down 14 solid blues tracks. Picking up where he left off with his fine 1998 album BLUES ON THE BAYOU, the guitarist played it smart by returning to the studio accompanied only by his touring band of over a decade, eschewing the slew of superstar guests who had bogged down previous releases.
Overflowing with plenty of his trademark crackling licks and soulful vocals, King re-recorded new versions of some old nuggets, including “Peace Of Mind” and “You’re On Top,” in addition to writing new numbers like the up-tempo “Action Speaks Louder Than Words,” and the simmering “She’s My Baby.” The blues legend also shows off his range via a wide array of covers by artists including Tony Joe White (Makin’ Love Is Good For You), Lenny Welch (“Since I Fell For You”), Barbara George (“I Know”), and Willie Dixon (“Don’t Go No Farther”).
Amazon.com
On this thoroughly enjoyable outing, the elder blues statesman does not stray from the formula that made the Grammy-winning Blues on the Bayou such an artistic and commercial success. Recorded at Dockside Studios in Lafayette, Louisiana, and once again produced by B.B. himself, the disc features a similarly rough and tumble electric trad-blues style. The five new songs are up to his usual standards, and all 14 tracks benefit greatly from the lithe, assured support of B.B.’s touring band, the B.B. King Blues Boys. His voice and guitar playing are supple and slinky; if only we all could be doing such vital, wonderful work at the age of 74.~Mike McGonigal
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[2000.06.13] B.B. KING & ERIC CLAPTON Riding With The King
Tracks:
1. Riding With the King 4:23
2. Ten Long Years 4:40
3. Key to the Highway 3:39
4. Marry You 4:59
5. Three O’Clock Blues 8:36
6. Help the Poor 5:06
7. I Wanna Be 4:45
8. Worried Life Blues 4:25
9. Days of Old 3:00
10. When My Heart Beats Like a Hammer 7:09
11. Hold on I’m Coming 6:20
12. Come Rain or Come Shine 4:11
Amazon.com
It sounds like the beginning of a story: “So, Slowhand and the King of the Blues were riding in a car …” If this is a musical journey, it’s the kind that rolls down long, empty stretches of country highway at 80 miles an hour, with the top down and the stereo blasting. Clapton and King may be more city than country, but this collection has the relaxed, laid-back feel that only comes from a pair of veterans doing what they do best. What they do here is cover 12 classic blues songs, many of them staples of King’s repertoire, so the title of this album makes sense. Whether it’s the rollicking rock & roll of the title track, or the acoustic shuffle of “Key to the Highway,” or the sweet notes of “When My Heart Beats Like a Hammer,” a real sense of pleasure comes through on this album, the kind of pleasure one gets from jamming late at night with a good friend.~Genevieve Williams
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[2001.11.06] B.B. KING A Christmas Celebration Of Hope
Tracks:
1. Please Come Home for Christmas (Brown, Redd) 4:53
2. Lonesome Christmas (Glenn) 3:04
3. Back Door Santa (Carter, Daniel) 3:26
4. Christmas in Heaven (Ward) 4:49
5. I’ll Be Home for Christmas (Gannon, Kent, Ram) 3:47
6. To Someone That I Love (Brown) 5:01
7. Christmas Celebration (Glenn, Thomas) 3:38
8. Merry Christmas, Baby (Cavanaugh, Smalley) 3:56
9. Christmas Love (King) 2:57
10. Blue Decorations (Gillespie) 3:27
11. Christmas Comes but Once a Year (Milburn, Schubert) 4:15
12. Bringing in a Brand New Year (Ward) 2:41
13. Auld Lang Syne (Burns, Traditional) 2:21
Amazon.com
Now that Charles Brown is gone, it’s up to B.B. King to uphold the blues for Christmas. If this first collection of holiday music is any indication, he deserves his own igloo in the North Pole. Self-produced with his touring band in New Orleans during a spring heat wave, A Christmas Celebration of Hope finds King overcoming both the heat and Yuletide music clichés, turning out an inspired and rollicking album that is lit from within by King’s generous spirit and gracious heart. Like others before him, King dipped into the blues and R&B holiday canon, but instead of just recycling well-worn classics, he plucked gems like “Blues Decorations” and “Backdoor Santa” out of obscurity and polished them to a high gloss. When King does cover standards, like “Merry Christmas, Baby” and “I’ll Be Home for Christmas,” he imbues them with his own earthy personality and sleek, restrained playing. King also includes two originals in this surprise package: “Celebration,” which he first released in 1960, and the new instrumental, “Christmas Love.” This record not only will make Christmas merrier for the listener, it will also help people suffering from cancer, HIV/AIDS, and diabetes, as King has donated the proceeds to the City of Hope, the world-renowned biomedical research and treatment center. –Jaan Uhelszki
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[2003.06.10] B.B. KING Reflections
Tracks:
01. Exactly Like You (3:21)
02. On My Word Of Honor (3:22)
03. I Want A Little Girl (2:48)
04. I’ll String Along With You (3:31)
05. I Need You (3:03)
06. A Mother’s Love (2:59)
07. ( I Love You) For Sentimental Reasons (3:31)
08. Neighborhood Affair (4:27)
09. Tomorrow Night (3:36)
10. There I’ve Said It Again (3:30)
11. Always On My Mind (3:57)
12. Cross My Heart (4:29)
13. What A Wonderful World (3:57)
Personnel:
B.B. King (vocals, electric guitar)
Doyle Bramhall II (guitar)
Joe Sample (Wurlitzer piano, Fender Rhodes piano, acoustic piano)
Tom Baker (Fender Rhodes piano)
Tim Carmon (acoustic piano, Hammond B-3 organ)
Nathan East (bass)
Abe Laboriel Jr. (drums).
Recorded at Record One, Sherman Oaks, California.
Rolling Stone (07/24/03, p.86) – 3 stars out of 5 – “Still a force of nature at seventy-seven, B.B. King has made his new album, REFLECTIONS, a classy affair, tilted toward ballads and standards…”
Vibe (7/03, p.146) – 4 out of 5 – “…A set of 13 Tin Pan Alley, jazz, blues and R&B songs that have inspired and comforted him….REFLECTIONS is one of B.B. King’s most memorable…”
Having plied his trade for well over a half century, B.B. King kicks back with 2003 outing REFLECTIONS that finds him tackling a baker’s dozen worth of pop, jazz, country and blues standards. Teaming up with Eric Clapton producer Simon Climie, King is also joined by a coterie of respected sidemen including jazz great Joe Sample and blues-rocker Doyle Bramhall II. Among the many influential idols this Mississippi native tips his hat to include Louis Armstrong (a stirring “What a Wonderful World”), Nat “King Cole (the snappy “Exactly Like You”), and Frank Sinatra (a lush “I’ll String You Along.”) Oftentimes in the quest to lend an air of sophistication to a project that leans so heavily on older and more classic material, there’s always the danger of an everything-but-the-kitchen-sink approach when it comes to adding additional orchestration. Thankfully, Alan Douglas uses a light touch with his string arrangements on cuts like “On My Word of Honor” and “Neighborhood Affair,” a pair of songs previously recorded by King. With REFLECTIONS, this guitar-playing septuagenarian shows he’s hasn’t lost a step.
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[2005.09.13] B.B. KING & Friends @ 80yrs
Tracks:
1. Early In The Morning
2. Tired Of Your Jive
3. The Thrill Is Gone
4. Need Your Love So Bad
5. Ain’t Nobody Home
6. Hummingbird
7. All Over Again
8. Drivin’ Wheel
9. There Must Be A Better World Somewhere
10. Never Make Your Move Too Soon
11. Funny (How Time Slips Away)
12. Rock This House
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[2008.02.19] B.B. KING Live 2008
Tracks:
01. Mr. King Comes On Stage
02. Why I Sing The Blues
03. I Need You So
04. Bad Case of Love
05. Bluesman
06. When Love Comes to Town
07. All Over Again
08. You Are My Sunshine
09. Rock Me Baby
10. Key To The Highway
11. Thrill Is Gone
12. When The Saints Go Marching In
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[2008.08.26] B.B. KING One Kind Favor
Tracks:
01. See That My Grave Is Kept Clean
02. I Get So Weary
03. Get These Blues Off Me
04. How Many More Years
05. Waiting For Your Call
06. My Love Is Down
07. The World Is Gone Wrong
08. Blues Before Sunrise
09. Midnight Blues
10. Backwater Blues
11. Sitting On Top Of The World
12. Tomorrow Night
Personnel:
B.B. King-Vocals – guitar
Dr. John – Piano
Nathan East – Double bass
Jim Keltner – Drums
B.B. King returns to his blues roots with the help of producer T Bone Burnett on “One Kind Favor,”. The legendary artist is backed on the effort by pianist Dr. John, drummer Jim Keltner and bassist Nathan East. The track list includes such blues chestnuts as Big Bill Broonzy’s “Backwater Blues,” Lonnie Johnson’s “Tomorrow Night,” Blind Lemon Jefferson’s “See That My Grave Is Kept Clean” and T-Bone Walker’s “I Get So Weary.”
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