I began listening to B.B. King in March 2024. I skipped a few of his initial studio albums before moving onto Live at the Regal, which I was already somewhat familiar with. Although I had intended to eventually listen to a best-of compilation of his material, I ended up tiring myself out with the artist. Hopefully, I can find the motivation to listen to one or two down the line.
Singin' the Blues (1957): B+
The Blues (1958): B
King of the Blues (1960): B-
Live at the Regal (1965): A
Blues Is King (1967): B-
Live in Cook County Jail (1971): C+
Singin' the Blues (1957):
Like Howlin' Wolf two years later, Delta blues guitarist B.B. King was discovered in 1949 by Memphis talent scout Ike Turner (yes, that Ike Turner!), who in turn introduced him to producer Sam Phillips (yes, Elvis Presley’s future producer Sam Phillips!). Although Phillips oversaw a few of King's first recordings, this studio album's earliest cut comes later when, in 1951, "3 O'Clock Blues" hit number one on the R&B charts. From then on, B.B. King's commercial successful was light years beyond what Delta guitarists before him had been able to achieve. A few important aspects of King's music led to this breakthrough. With a natural gift for guitar, King's effortlessly soloing and his mastery of a wide array of styles had no obvious parallels in the Delta, but had instead found just as much influence from jazz records and the likes of urban blues guitarists Lonnie Johnson and T-Bone Walker. King also separated himself by assembling a band with a prominent horn section (two trumpets and three saxophones), a popular aspect of modern day R&B recordings that the other country blues artists (like Muddy Waters) generally avoided. At the same time, King was able to repurpose many hand-me-down country blues lyrics and riffs (for instance, the Elmore James riff on "Please Love Me") for his own mainstream songwriting efforts. As impressive as his commercial success, country blues reinventions, and guitar capabilities are, there are also elements of country blues that King could benefit from. Most notably, his medium-register, young voice regularly misses the wisdom, gravitas, and maturity of the elder voices that the Delta frequently nurtures. Like others before him however, that can certainly develop down the line. B+
The Blues (1958):
Although a follow-up to his debut studio album, The Blues basically covers the same time frame and thus collects a few new cuts as well as previously-released singles that were not included on his first album. Always an impressive performer, this album further emphasizes the high caliber King recorded at in his initial years. However, there is some lacking in emotional persuasion and downright entertainment. B
King of the Blues (1960):
His sixth full length LP follows the usual formula, but it is somewhat lacking in standout performances. The rewriting of blues standards doesn't particularly impress and B.B. King's band hardly excite. While seemingly at the top of their game, they play so perfectly their performances enter one ear and go out the other. B-
Live at the Regal (1965):
Although B.B King's early records were dampened by a young vocalist and a band too tightly rehearsed, this live album borders upon perfection in every aspect. More than a decade into his recording career, his handle on his impressive vocal range now allows him to hit shivering high notes, bellow with powerful confidence, and cry with crushing sensitivity. His crowd work is stuff for the ages and gives enough unpredictably to the arrangements that his absolutely killer band is properly on their feet and yet miss none of the queues. Every song is a show stopper--with guitar work that rightly puts him amongst the greatest practitioners of the instrument--from "How Blue Can You Get?" to "Worry, Worry" to "Help the Poor." A
Blues Is King (1967):
B.B. King is best in the live setting and this comes from a prime period while also collecting fairly rare material from his live repertoire. While Blues Is King sees King navigate some of his most impassioned vocals ever, his angry yells as a jealous lover doesn't illicit the same empathy that his heartache does. B-
Live in Cook County Jail (1971):
Side one collects an unnecessarily long introduction that leads into three songs that are without a doubt inferior to their Live at the Regal counterparts, not to mention that B.B. King confusingly gives the exact same relationship advice to the inmates as he gives to regular concert goers. Side two does feature decent renditions of songs not seen on Live at the Regal, but an unenthusiastic crowd and a dull horn section hardly make it worthwhile to check out. C+
