King Of The Blues by B.B. King on Ace Records. King Of The Blues; Got A Right To Love My Baby by B. King; King Of The Blues by B. King Of The Blues; Got A. Please note: As music downloads are dispatched immediately after purchase, there is no possibility of cancelling these orders. In the event. Complete your B.B. King record collection. Discover B.B. King's full discography. Shop new and used Vinyl and CDs.

KING OF THE BLUES was the sixth of B.B. King's twelve Crown LPs, and if there were no other reason to be cheerful, we should congratulate the Bihari brothers for resisting the world's most obvious title for so long.

But while it may be obvious, as a description King Of The Blues is no hype.-rather, it's an accurate assessment of the man, his music and his status, both in the early 60s and now. There's not a wasted note on this CD. (Well, hardly any.-in honesty, it may take more than one play of the concluding Worried Life Blues, with its 1970 organ and girl group overdubs, to convince some listeners.) From the first bars of I've Got A Right To Love My Baby, King of the Blues defines the revolution that Riley B King wrought in the blues. You can identify precursors: the elegant logic of Lonnie Johnson, the fluid rhythms of Blind Lemon Jefferson and T-Bone Walker and the gospel passion of the Fairfield Four's Sam McCrary are all in the mix, but it took B.B. King to fuse these and other influences in the crucible of his incandescently passionate singing and playing, turning them into a new blues alloy: strong, flexible and beautifully polished.

He couldn't have done it alone, though, not the least of the pleasures to be had from King Of The Blues is listening, in Ace's exemplary sound restoration, to Maxwell Davis' punchy, economical horn charts and the impeccable rhythmic foundation supplied by Lloyd Glenn, Marshall York and Sonny Freeman. Most of the ten bonus tracks come from singles that were released after King moved to ABC, and it's frustrating that we don't know who most of the musicians were.-who played the stuttering, squalling tenor sax on Tell Me Baby, for instance? That remake of a Big Maceo song is one of several tracks that testify to King's deep knowledge of the blues heritage.-Going Down Slow and Sonny Boy Williamson's When My Heart Beats Like A Hammer (aka Million Years Blues) are others. And of course by the early 60s King was himself as much an idol and an icon as any of his precursors, and was exploring his own history with classy remakes of Whole Lot Of Lovin' and 3 O'Clock Blues.

King of the blues? You'd better believe it. By Chris Smith Share • • •. We offer free P&P to UK addresses. For all other territories packaging is free and postage is charged on a weight basis. We use Royal Mail First Class for UK deliveries and standard Air Mail for all other territories, very large orders will usually be sent via parcelforce. You may cancel your order at any time prior to your order being dispatched by emailing us at ensuring that you quote your name, address and order reference number or by telephoning +44 (0) 208 453 1311 between 9am and 5pm GMT/BST, Monday to Friday.

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His reign as King of the Blues has been as long as that of any monarch on earth. For more than half a century, Riley B. King – better known as B.B. King – has defined the blues for a worldwide audience. Since he started recording in the 1940s, he has released over fifty albums, many of them classics.

He was born September 16, 1925, on a plantation in Itta Bena, Mississippi, near Indianola. In his youth, he played on street corners for dimes, and would sometimes play in as many as four towns a night. In 1947, he hitchhiked to Memphis, TN, to pursue his music career.

Memphis was where every important musician of the South gravitated, and which supported a large musical community where every style of African American music could be found. Stayed with his cousin Bukka White, one of the most celebrated blues performers of his time, who schooled B.B. Further in the art of the blues. B.B.’s first big break came in 1948 when he performed on Sonny Boy Williamson’s radio program on KWEM out of West Memphis. This led to steady engagements at the Sixteenth Avenue Grill in West Memphis, and later to a ten-minute spot on black-staffed and managed Memphis radio station WDIA.

“King’s Spot,” became so popular, it was expanded and became the “Sepia Swing Club.” Soon B.B. Needed a catchy radio name. What started out as Beale Street Blues Boy was shortened to Blues Boy King, and eventually B.B. In the mid-1950s, 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.

Raced outdoors to safety with everyone else, then realized that he left his beloved $30 acoustic guitar inside, so he rushed back inside the burning building 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 to remind him never to do a crazy thing like fight over a woman.

Ever since, each one of B.B.’s trademark Gibson guitars has been called Lucille. Soon after his number one hit, “Three O’Clock Blues,” B.B. Began touring nationally. In 1956, B.B. And his band played an astonishing 342 one-night stands. From the chitlin circuit with its small-town cafes, juke joints, and country dance halls to rock palaces, symphony concert halls, universities, resort hotels and amphitheaters, nationally and internationally, B.B. Has become the most renowned blues musician of the past 40 years.

Over the years, B.B. Has developed one of the world’s most identifiable guitar styles.

He borrowed from Blind Lemon Jefferson, T-Bone Walker and others, integrating his precise and complex vocal-like string bends and his left hand vibrato, both of which have become indispensable components of rock guitarist’s vocabulary. His economy, his every-note-counts phrasing, has been a model for thousands of players, from Eric Clapton and George Harrison to Jeff Beck. Has mixed traditional blues, jazz, swing, mainstream pop and jump into a unique sound. 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.” In 1968, B.B. Played at the Newport Folk Festival and at Bill Graham’s Fillmore West on bills with the hottest contemporary rock artists of the day who idolized B.B.

And helped to introduce him to a young white audience. Was chosen by the Rolling Stones to open 18 American concerts for them; Ike and Tina Turner also played on 18 shows. Was inducted into the Blues Foundation Hall of Fame in 1984 and into the Rock and Roll Hall of Fame in 1987. He received NARAS’ Lifetime Achievement Grammy Award in 1987, and has received honorary doctorates from Tougaloo(MS) College in 1973; Yale University in 1977; Berklee College of Music in 1982; Rhodes College of Memphis in 1990; Mississippi Valley State University in 2002 and Brown University in 2007. In 1992, he received the National Award of Distinction from the University of Mississippi. In 1991, B.B. King’s Blues Club opened on Beale Street in Memphis, and in 1994, a second club was launched at Universal CityWalk in Los Angeles.

A third club in New York City’s Times Square opened in June 2000 and most recently two clubs opened at Foxwoods Casino in Connecticut in January 2002. In 1996, the CD-Rom On The Road With B.B. King: An Interactive Autobiography was released to rave reviews. Also in 1996, B.B.’s autobiography, “Blues All Around Me” (written with David Ritz for Avon Books) was published. In a similar vein, Doubleday published “The Arrival of B.B.

King” by Charles Sawyer, in 1980. Continued to tour extensively, averaging over 250 concerts per year around the world. Classics such as “Payin’ The Cost To Be The Boss,” “The Thrill Is Gone,” How Blue Can You Get,” “Everyday I Have The Blues,” and “Why I Sing The Blues” are concert (and fan) staples. Over the years, the Grammy Award-winner has had two #1 R&B hits, 1951’s “Three O’Clock Blues,” and 1952’s “You Don’t Know Me,” and four #2 R&B hits, 1953’s “Please Love Me,” 1954’s “You Upset Me Baby,” 1960’s “Sweet Sixteen, Part I,” and 1966’s “Don’t Answer The Door, Part I.” B.B.’s most popular crossover hit, 1970’s “The Thrill Is Gone,” went to #15 pop. On May 14th 2015 the world lost a true gentleman.

Passed away quietly in his sleep. Was fond of saying that education is something no one can take away from you, and there is a vast population of under-served children in our area who need the message of hope. We take that to heart and have many programs in place, but we need ongoing support to keep those viable and continue to add engaging and inspirational messages. Your donation can help us with resources to reach as many young people as possible. The B.B. King Museum and Delta Interpretive Center is a 501©(3) non-profit organization, so your contributions are tax-deductible.