To be elegible for this price, Add to CartKING OF THE BLUES was an attempt to contemporize B.B. King by smoothing off all the edges of his sound and using lots of synthesizers along with a number of well-known names to help accomplish this goal. Half of the songs were produced by noted '80s songwriter Jerry Williams who brought in plenty of drum machines and guests like Mick Fleetwood, Stevie Nicks and Steve Cropper on songs such as 'Can't Get Enough' and 'Standing On The Edge.' Williams even frees King up from Lucille down to focus his great vocals on 'You've Become A Habit To Me' by handling all the programming and keyboards himself. The legendary Al Kooper drops in as a producer/multi-instrumentalist on 'Let's Straighten It Out' and a radically rearranged version of 'Drowning In The Sea Of Love.' King does end up cutting loose, slicing through the slick production of 'Lay Another Log On The Fire' by squeezing out some particularly tasty licks and adding some swing to the vocal chorus of 'Business With My Baby Tonight.' Your browser does not support the audio element.

• Father Of The Blues
• Bb King King Of The Blues Album Download

Album DescriptionKING OF THE BLUES was an attempt to contemporize B.B. King by smoothing off all the edges of his sound and using lots of synthesizers along with a number of well-known names to help accomplish this goal. Half of the songs were produced by noted '80s songwriter Jerry Williams who brought in plenty of drum machines and guests like Mick Fleetwood, Stevie Nicks and Steve Cropper on songs such as 'Can't Get Enough' and 'Standing On The Edge.' Williams even frees King up from Lucille down to focus his great vocals on 'You've Become A Habit To Me' by handling all the programming and keyboards himself. The legendary Al Kooper drops in as a producer/multi-instrumentalist on 'Let's Straighten It Out' and a radically rearranged version of 'Drowning In The Sea Of Love.' King does end up cutting loose, slicing through the slick production of 'Lay Another Log On The Fire' by squeezing out some particularly tasty licks and adding some swing to the vocal chorus of 'Business With My Baby Tonight.' About the album.

1 disc(s) - 11 track(s). Total length: 00:51:19. Main artist:.

Composer:. Label:.

King Blues Master Works (180 gram double vinyl LP w/CD). Special UK Import. 24 classics on double 180 gram vinyl LP in a gatefold sleeve with an exclusive download code and CD of the entire album. Download B.B. King - King Of The Blues 1989 FLAC album free.

Genre:© 1988 MCA Records Inc. This Compilation ℗ 1988 UMG Recordings, Inc. Why buy on Qobuz.

Stream or download your musicBuy an album or an individual track. Or listen to our entire catalogue with our high-quality unlimited streaming subscriptions. Zero DRMThe downloaded files belong to you, without any usage limit. You can download them as many times as you like. Choose the format best suited for youDownload your purchases in a wide variety of formats (FLAC, ALAC, WAV, AIFF.) depending on your needs. Listen to your purchases on our appsDownload the Qobuz apps for smartphones, tablets and computers, and listen to your purchases wherever you go. Eric Clapton's stocking fillerA Christmas album (“Happy Xmas”) including an EDM version of “Jingle Bells”, “Lonesome Christmas” or a bluesier “White Christmas”: sound like a good idea?

Well, Eric Clapton's gone and done it. After all, if even Bob Dylan has ridden roughshod over tradition (on “Christmas in the Heart”), why not 'God' himself? This is far from the first time that the English musician, coming up on 74 years of age, has taken a step back from more or less traditional Blues, but this is something else. The British Blues Boom, Chronicle of a RevolutionIf Joe Bonamassa has come back with British Blues Explosion, a year after the Rolling Stones’ Blue And Lonesome, it has cemented the fact that the British Blues Boom was more than just a trend. More than a simple musical trend, it was the interest of a younger generation for the great American blues idols that had been ignored in their country, which led to a real revolution, with three major agitators leading the charge, Eric Clapton, Jeff Beck and Jimmy Page, considered in the UK as the “Holy Trinity” of rock and guitar. If they were far from being the only musicians involved, it is through their respective careers that we have discovered that blues, far from being an outdated musical genre, is some kind of getaway to other musical areas and has allowed for endless innovations.

King, King of the Blues Mississippi History Now» » B.B. King, King of the BluesKing’s first break came when he landed a spot on radio station WDIA in Memphis.Circa 1948 photograph: Michael Ochs Archives.com. Used by permission.King cut several records for Sam Phillips’s studio for Modern Records on the RPM label.

Father Of The Blues

Circa 1952 photograph: Michael Ochs Archives.com. Used by permission.B.B. King and and his guitar Lucille in Jackson, Mississippi. 1984 photograph: Eyd Kazery. Used by permission.King at 2005 groundbreaking ceremony for the B.B. King Museum in Indianola, Mississippi. Seated left is Floyd Lieberman of Lieberman Management LLC, King’s long-time manager.

Photograph by Christine Wilson. Courtesy Mississippi Department of Archives and History.King during ceremonial breaking of the ground for the B.B. King Museum in Indianola on June 10, 2005. Shown left to right are: Mike Moore, cochairman of the museum steering committee and former state attorney general; King; Floyd Lieberman, Lieberman Management LLC; and Speaker of the Mississippi House of Representatives William J. Photograph by Christine Wilson. Courtesy Mississippi Department of Archives and History.B.B.

King, King of the BluesBy Christine WilsonIn the late 1940s in Indianola, Mississippi, a young man named RileyKing was singing and playing guitar with his friends in a group called the “Famous St. John’s Gospel Singers.” They played inchurches around the Delta and even went to the stations in Greenwood and Greenville and sang on the radio – they were that good.At night Riley King changed hats and played blues on Indianola street corners for tips. He said later that when he played gospel music he got a pat on the head, but when he played the blues he got a dime. Hedidn’t have much money, and dimes were worth a lot more in the 1940s in Indianola than they are now. (He made only $15 driving a farmtractor all day.)In 1946 King tried to convince the Singers to leave Indianola andseek their fortune together as a professional group. When theyrefused, he packed his bags and took off for the music town ofMemphis, Tennessee, to live with his cousin, bluesman Bukka White.Musicians gravitated to Memphis from small towns all around. Beale Street – “the Home of the Blues” – was there, and Sam Phillips, of later Sun Records fame, had just arrived in 1945 and set up arecording studio.

Radio station WDIAKing immediately began playing around town, but his luck wasn’trunning right, and later that year he went back to Indianola to histractor job to make some money. After two years at home he was readyto try again and headed back to Memphis.

This time he got a break:Sonny Boy Williamson let him play a song on his legendary radio showout of West Memphis. It led to his landing a ten-minute spot on theblack-staffed radio station WDIA in Memphis, a spot that was sopopular King got his own show, sponsored by Peptikon Tonic. (Kingwrote the jingle: “Peptikon sure is good/ You can get it anywhere inyour neighborhood.”) Now that he was the hot new disc jockey in town,he needed a catchy name: “Beale Street Blues Boy” was shortened to“Blues Boy King” and finally to B.B. His close friends calledhim “B.”King played all the great blues on his show, naturally – includingthe “jump blues” by boogie pianists and shouters like Wynonie Harris and Louis Jordan and the Texas-style blues of Lowell Fulson and T-Bone Walker. He played other music, too: jazz, especially jazzfeaturing inventive guitarists like Charley Christian and the FrenchDjango Reinhardt, whom King had heard about from friends just backhome from overseas military service.The biggest fan of B.B. King’s radio show was, of course, Kinghimself.

The music was the most important thing in his life – theblues, the jazz, the gospel, and all the music in between – and he was determined to find a way to play his music for all those fanstuning in to his show. A string of hitsKing started to make some money at the talent shows held betweenmovies at the downtown Palace Theatre.

In 1949 he cut several recordsfor Nashville’s Bullet label and then several in Sam Phillips’sstudio for Modern Records on the RPM label. In 1951 he recorded “Three O’clock Blues” for RPM on a portable tape recorder in theMemphis YMCA. By the end of that year it was at the top of the rhythmand blues charts and stayed there for fifteen weeks. “Three O’clockBlues” proved to be a turning point of B.B. King’s career.With deep roots in the Delta blues and gospel music, King admired thebottleneck guitar sounds he heard his cousin Bukka White coaxing fromhis guitar back around the apartment. So he used his fingers – large,strong fingers – to stretch the strings, developing a technique thatwould become the basis of the B.B. King style.He had a solid string of hits during the next few years.

While King’svoice had carried his early music, now there was another voice in the music. He had taught his guitar to sing. His music began to be markedby strong guitar solos of clean, biting, single notes and left-handvibratos.

Bb King King Of The Blues Album Download

He was backed up by large bands with full horn sections(saxophones, trumpets, trombones), but that single plucked note andKing’s voice pulled you back in close, underlining the power of suchslow blues songs as “Every Day I Have the Blues,” “The Thrill is Gone,” and “Sweet Little Angel.” Essence of the bluesThat soulful, wailing guitar was grounded by King’s voice: one thathad been in pain, but had survived it – survived all those stormyMondays, his sweet angel’s flying away, the loss of the thrill. Itwas, after all, the voice of a man who had survived growing up poorin the Mississippi Delta, who had survived the death of his brotherand his mother before he had reached the age of ten and had livedalone until he was fourteen.Like others, B.B. King earned the right to sing the blues, and heenunciates every word because he wants to be heard and understood: “Every day, every day I have the blues.” Perhaps he communicates theessence of the blues, defined by jazz musician Branford Marsalis as “the consummate state of optimism: I got the blues, but it’s allright.” Or, as King himself says, “The blues is pain, but it’s painthat brings joy.”The story of Lucille illustrates B.B. King’s down-to-earth attitudeabout the blues and about life in general. In the mid-1950s he wasperforming at a dance in Twist, Arkansas, when some men began fighting and knocked over a kerosene stove, starting a fire.

Thecrowd got out safely, including King. But then he realized that he’d left his beloved $30 acoustic guitar inside and rushed back insidethe burning building to retrieve it. He narrowly survived the ordeal.He later learned the men had been fighting over a woman namedLucille, and he named his guitar Lucille as a kind of lesson, tonever do anything such as that again.

Ever since, King’s trademark Gibson guitars have all been called Lucille.In 1968, King played at the Newport Folk Festival and at the FillmoreWest in San Francisco with top rock musicians. He gradually foundhimself playing to white audiences as often as black, if not more.In 1969, King was chosen by the Rolling Stones to open for them on an American tour.Part of B.B. King’s appeal is his endearing onstage presence. Hewrestles with Lucille to pull out those heart-breaking notes, showinghis anguish in his distorted expressions. “My eyes are closed. Iforget what I look like,” he says.

“In fact, I don’t care what I looklike because the feeling that I got through what I’m doin’ is so important.”King kept on touring over the years to become probably the mostwidely known blues singer in history. For more than fifty years hehas played to audiences across the United States and the world. Hewas the first to introduce blues to Japanese, Russian, and Chineseaudiences. King has released over fifty albums, many of them classics. He continues to tour, playing over 200 concerts a yeararound the world.B.B. King was inducted into the Blues Foundation Hall of Fame in 1984and into the Rock and Roll Hall of Fame in 1987.

King’s Blues Club opened on Beale Street in Memphis, and in 1994, a secondclub opened in Los Angeles. Now there is a club on Times Square inNew York City. A museum for the King of BluesEvery year in June, B.B. King comes back to Indianola, Mississippi,to play a free Homecoming Concert and to play at the annual MedgarWiley Evers Memorial Festival. Born September 16, 1925, near IttaBena, King moved to Indianola as a young man, and he considers it home. In 2005 a documentary was made of King’s visit to Indianola’sClub Ebony – a tiny club that helped launch his career – byMississippi Public Broadcasting and the B.B. King Museum and Foundation.On June 10, 2005, the Foundation kicked off phase one of planning andbuilding for the 2.3-acre B.

King Museum complex inIndianola with a groundbreaking ceremony. The kickoff was an 80th birthdaygift for King. Three years later, in September 2008, the $15 million B. King Museum and Delta Interpretive Center had its grand opening. The museum itself is housed in the Last Brick CottonGin, where King worked in the 1940s. The complex tells King’slife story, much of it narrated by King himself, including his difficultchildhood in the Mississippi Delta and the early days of his career inMemphis.

A replica of the WDIA radio studio and a recording studio, wherevisitors are offered hands on experience at mixing an actual recording,is featured. The adjacent Delta Interpretive Center promotes acurriculum of education and cultural outreach for at-risk youngsters ofthe mostly poor Delta region.Hear B.B. King sing.A Web site complements the museum complex and offers photographs,music, (hear “Three O’clock Blues”) and more information at.Christine Wilson is director of publications for the MississippiDepartment of Archives and History and managing editor of The Journalof Mississippi History, the quarterly publication of the MississippiHistorical Society.Posted July 2005; updated October 2008Permission to use B. King's 'The Thrill is Gone' granted byLieberman Management LLC. SourcesBooth, Stanley.

“Blues Boy,” in Rythm Oil: A Journey Through theMusic of the American South. New York: Pantheon Books, 1991.Danchin, Sebastian. “Blues Boy”: The Life and Music of B.B. Jackson: University Press of Mississippi, 1998.Ferris, William. Blues from the Delta: An Illustrated Documentary on the Music and Musicians of the Mississippi Delta. Garden City, N.Y.: Anchor Books, 1979.Oliver, Paul, Harrison, Max, and Bolcom, William.

The New GroveGospel, Blues and Jazz. New York: W.W. Norton, 1986.Palmer, Robert. Deep Blues: A Musical and Cultural History of theMississippi Delta. New York: Penguin Books, 1988.Mississippi Historical Society © 2000–2017.

All rights reserved.