I am not arrogant enough in any way believe that I can provide additional new information on a bluesman whose body of work completely altered the landscape of the music.  Nor am I any more qualified to present an extensive overview of the profound influence King had on not only individual music makers but whole generations of artists across different genres.  The man’s deep dedication to his craft and the blues, often referenced by his relentless touring schedule all the way into his last years, and the musicians who clamored to play with him, are sufficient testaments of those devotions.  As for his personal life, there are numerous books available that chronicle his life’s journey.

I’ve considered writing about King for a long, long time but, with so much information available about his astounding career, I have not felt like my efforts, as respectful as they may seem, may adequately offer the depth of analysis or reverence I feel for his decades of blues majesty. 

What I have finally realized is that it doesn’t matter if I offer anything fresh in the way of King insights; rather, I am duty-bound to set forth my feelings on King’s blues exertions as a fervent fan of the blues, someone who undoubtedly holds King upon a lofty blues pedestal.

For decades, B.B. King was rightfully the most visible, influential, and broadly known blues artist due to his nonstop touring, plus owing to his massively popular 1970 success “The Thrill Is Gone,”, blues classic that remains eminently identifiable with him, and an enduring triumph even these 55 years later.  Until this tune achieved its lofty chart status, the blues endured a position chiefly as a musical style accepted and valued, on a whole, by Blacks and pockets of youthful Caucasian fans.  By King earning his broad-based blues approval by way of “The Thrill Is Gone”, he brought the blues into homes the world over, into places it had not been before. 

King’s blues style relied upon highly basic, yet extremely effectual, single-string guitar runs.  This approach would go on to forever alter the guitar soloing structure of many musicians across numerous genres.  A swinging characteristic envelops King’s up-tempo songs, and a sorrowful, tortured sensation surrounds his more somber tunes.  His guitar solos became expansions of his vocals, whatever the tenor of the song.  When one listens to King’s blues, it can be accurately said that the arrangements pour so well and smoothly that they seem to be polished to a brilliant gleam.  A listener is seized by just how painstaking and concise the emotion of a King song can be expressed.  In short, King’s works are unadulterated and straightforward, yet astonishingly victorious.  King’s vocals unveil anxiety on the darker tunes, and yet madly celebrate on the buoyant numbers. 

King’s original R.P.M., Modern, and Kent label cuts are some of King’s best efforts, dating from the 1950s.  They abound with swinging horns, powerful vocals, always with a delicate back-and-forth, advancing an arresting energy.  They were fashioned in a manner that was considerably different than the blues’ early rural constructions, and they were extremely popular for their big band approach.

When I was doing late-night blues radio on WSND FM 88.9 South Bend/Notre Dame, a cut on a glorious all-instrumental King collection entitled “38^th Street Blues” was my show’s lead-in.  Its two-minutes and twenty-nine seconds of rollicking blues attitude always set the tone just right for my shows.  Instrumentals are often one of the least referenced aspects of King’s blues arsenal, yet he was a master of them, knowing just how to present uniquely pleasing phrasings and complementary backing from his studio mates.

As further examples, King’s sterling instrumentals from his 1950s-1960s period with both the Kent and Modern labels represent his stupendous instrumental blues competencies.  It is startling just how faultless King’s guitar journeys sound on these selections, with his overall style a bit more jazz-influenced than what he normally offered from within the studio, though many savory and exciting musical designs are presented.  King could really churn on Louis Jordan’s “Just Like A Woman,” and in addition to “38 Street Blues,” “Slidin’ And Glidin’,” “Step It Up,” “Calypso Jazz,” and “Powerhouse” are standout instrumental elections; all are top-tier King.  Never overlook King’s instrumental output.

We all know the King classics, and just how great a singer he was, but to have as indispensable his instrumentals to relish within, we should count ourselves as very fortunate, indeed.  “King Of Guitar,” without peer!

And then there are the varied King “live” recordings, many that bring the excitement of a King performance home.  Whether in front of a predominantly Black audience during his heyday, or in one of his various prison shows, or in other welcoming venues, certain of King’s captured “live” performances ideally sum up the true thrill of having King and his orchestra roll through one’s zip code, no matter where that was in the U.S. or around the world.

To wit, how I wish I had been at the show referenced below!

The audience was anticipatory and comprised, from what I can tell, of lucky radio station listeners who won admission to the show, record company executives from ABC/Dunhill Records, and various KMET-FM staffers, among others.  The show’s location was at United Western Recorders on Sunset Boulevard in Hollywood, CA, in October, 1972.  Radio station KMET-FM was presenting and broadcasting the show.  And what a show it was!  The entirety of the festivity was released as United Recorders 1972.

There are numerous “live” King collections out there, including those felt to be the best representations of a King “live” show, mainly Live At The Regal, Live At Cook County Jail, and Blues Is King.  I’ve always been partial to Blues Is King, as it seems the most authentic of all of the collections.  All are fine “live” sets, but from the opening notes of King’s performance here, until the end of the set, this CD’s offering captured me and enthralled me.  I have not been as thrilled by a B.B. King recording, studio or “live”, in a long time.  And, it now ranks highest to me of all the “live” B.B. King recordings.

On this set, King sounds rested and eager, a man knowing he has a captive audience impatient for his skills.  King bellows and roars his tales of life like a lion, exulting his known place as “The King Of The Blues.”  His guitar playing is rife with both the nuances and power that strikes his moods and whims.  Only this combination could so thoroughly convey King’s life stories.

The orchestra, nine members strong, are locked-in on King’s musical vision, providing, when the moments dictate, the subtle volume required to set the mood for a serious tune of melancholy, or unabashedly swinging to a tale in need of greater emphasis.  King leads and his orchestra follows, walking together on this day’s blues journey.

On a number of the tunes, King can be clearly heard urging his guitar solo efforts forward, seemingly lost in the moment, striving for the ideal run, and celebrating it when he makes it happen.  He is highly satisfied with his work, and he seems unashamedly proud to realize his musical ideas.

Except for a couple of very brief vocal drop-outs on this collection, the sound here is excellent.  Many recordings done for radio broadcast lack decent sound, but overall, this one does not let the listener down.

The 14-song setlist is at once both familiar and fresh, but no matter the song, each is thrust forward by King in a manner of a man who finds himself comfortable, enthusiastic, appreciative, and determined to empty the tank during this performance.  After having played the first 12 songs of the show, King assures the excitable crowd that he has more yet to provide.  In fact, King seems compelled to deliver more!  King then takes his audience and band on an almost eight-minute instrumental journey that is nothing short of brilliant.  He ends the performance by seemingly asking for forgiveness for wanting to play a new song for them that he hopes that they will enjoy, and then delivers an impassioned presentation of “Guess Who”, a tune he composed in the year of this performance, 1972.

Despite however much B.B. King music you have in your collection, and no doubt, as previously indicated, there is a lot available, you will want to make room for this one.  After all the years I have been in awe of the blues, I am still occasionally astonished at a collection that turns out to be so vital in its greatness.  B.B. King’s United Recorders 1972 is another of those recordings that remind me why I stay excited by my music of choice; the blues.

I do also, however, want to provide my comments on Blues Is King.

Sifting through the totality of accessible King “live” offerings, I’ve also always been heavily biased toward Blues Is King, as it gives its listeners, I believe, a most faithful picture of King at his peak in his performing element, an enthusiastically rabid audience hanging on his every utterance and guitar foray.   Next to the aforementioned United Recorders 1972 set, Blues Is King places a strong second in the annals of all the “live” B.B. King recordings, in my assessment.

To have been at this performance!  Originally released in the U.S. in 1967 on the BluesWay label as a 10-song collection, and then as the 12-cut outing in 1987 on MCA Records, King is found on Blues Is King as a fully-realized bluesman and entertainer, powerfully forging connections with his audience members at a Chicago venue where the overall tenor of the evening was one of going to church, with King preaching his tales of life’s experiences, highs and lows, to an eager congregation, one that reveled in his blues evangelism, and in kind they conveyed their depth of feelings right back at him.

King is zealous with his vocals, and cutting via his guitar.  The results appeared quite liberating to his flock, and this blues document stands as another  highpoint of King’s “live” blues drama and wonder.

This is a recording that situates itself as imperative in its prominence. 

Another reason of why King was a performer of extremely high eminence?  How about his gospel leanings, a very little discussed component of his substantial musical skill set.

With the seemingly endless number of B.B. King blues releases available, only once (as far as this blogger can tell) did “The King Of The Blues” ever place his obviously deeply ingrained religious inspirations and energies into producing an all-gospel collection.  A 1959 Crown label release is a thankful portrait of a side of King’s framework that fully shines a light on his profound sacred roots, in what ultimately glows as a magnificent document within his momentous career.  Any blues fan knows those glistening single-string guitar runs, but behind those hollering and swelling blues vocals lie motivations from King’s devout center. 

King had a fully faceted religious dimension, and one feels that conviction in his vocals when listening to his gospel tracks.  They are stirring and moving emotionalism personified, plain and simple, and they are important keys to completely understanding King’s numerous blues career musical factors.

Swirling organ, piano, bass, and drums surround King as he wails his spiritual bents.  Vigorous handclapping and harmonic backing spur King’s religious ambitions along; there is no guitar to be found here.  The Charioteers and The Southern California Community Choir pair divinely with King’s efforts on certain numbers.

Not understanding this side of King would be a discredit to a man who means so much to the blues!

Having seen King many times over the years, one particular performance stands out for me as being my perception as the epitome of a King “live” show.  In May, 1987, King brought his skills and orchestra to the O’Laughlin Auditorium at St. Mary’s College in Notre Dame, IN.  The show was opened with a powerful performance by Chicago blues giant Son Seals and his fine band.  When King and his orchestra arrived on-stage and their show began, Seals and his band could be seen in the side shadows of the stage, completely transfixed by what King and the orchestra were providing.  There was King in all his stately blues nobility, roaring his blues, regal in his colorful attire, his fine orchestra in their tuxedos, assuring all present that “The King Of The Blues” was indeed in the house!  His orchestra swayed with rocking coolness when required, and brought it way down when such a mood was dictated.  Full songs were sung, as King’s powerful and emotion-laden vocals evoked the distinct impressions left by life’s circumstances, while his guitar playing cut, seared, and tugged at the heart until no patron was unfazed by it.  To me, this show represented what King and his orchestra, at the pinnacle of their game, were all about.  The performance remains burned into my mind these 38 years later.

As you can read, my overview of B.B. King here is not my usual fare of detailing both a blues artist’s life and rise up the musical chain.  They are my thoughts on why King remains one of the most important blues musicians, musicians period, ever.  There are scholarly books that one can turn to learn the intricacies of King’s personal years; that is best left to those learned individuals. 

Below is a representation of King’s very broad musical award nominations and wins, plus other recognitions.  I urge you to review it.  Perhaps much better and succinct than I it reveals why King and his work will most likely stand the broad test of time.

Grammy Recognitions

• 1970 – Grammy Nominee for Best R&B Vocal Performance, Male for “Live And Well”
• 1971 – Grammy Winner for Best R&B Vocal Performance, Male for “The Thrill Is Gone”
• 1972 – Grammy Nominee for Best R&B Vocal Performance, Male for “Ain’t Nobody Home”
• 1978 – Grammy Nominee for Best R&B Vocal Performance, Male for “It’s Just A Matter Of Time”
• 1981 – Grammy Nominee for Best R&B Instrumental Performance for “When I’m Wrong”
• 1982 – Grammy Winner for Best Ethnic Or Traditional Folk Recording for “There Must Be A Better World Somewhere”
• 1983 – Grammy Nominee for Best R&B Performance By A Duo Or Group With Vocal for “Street Life”
• 1984 – Grammy Winner for Best Traditional Blues Recording for “Blues “N’ Jazz”
• 1986 – Grammy Winner for Best Traditional Blues Recording for “My Guitar Sings The Blues”
• 1987 – Grammy Winner – Lifetime Achievement Award
• 1988 – Grammy Nominee for Best Contemporary Blues Recording for “Standing On The Edge Of Love”
• 1990 – Grammy Nominee for Best Contemporary Blues Recording for “King Of The Blues: 1989”
• 1990 – Grammy Nominee for Best Rock Performance By A Duo Or Group With Vocal for “When Love Comes To Town” (shared with The Edge)
• 1991 – Grammy Nominee for Best Contemporary Blues Recording for “Red Hot And Blue”
• 1991 – Grammy Nominee for Best Country Vocal Collaboration for “Waiting On The Light To Change” (shared with Randy Travis)
• 1991 – Grammy Winner for Best Traditional Blues Recording for “Live At San Quentin”
• 1992 – Grammy Winner for Best Traditional Blues Album for “Live At The Apollo”
• 1994 – Grammy Winner for Best Traditional Blues Album for “Blues Summit”
• 1995 – Grammy Nominee for Best Country Vocal Collaboration for “Patches” (shared with George Jones)
• 1996- Grammy Nominee for Best Spoken Word Album For Children for “John Henry” (shared with Doris Wilhousky and Denzel Washington)
• 1997 – Grammy Winner for Best Rock Instrumental Performance for “SRV Shuffle” (shared with Art Neville, John, Buddy Guy, Robert Cray, Bonnie Raitt, Eric Clapton, and Jimmie Vaughan)
• 1999 – Grammy Nominee for Best Traditional Blues Album for “Deuces Wild”
• 2000 – Grammy Winner for Best Traditional Blues Album for “Blues On The Bayou”
• 2001 – Grammy Nominee for Best Traditional Blues Album for “Let The Good Times Roll”
• 2001 – Grammy Winner for Best Pop Collaboration With Vocals for “Is You Is, Or Is You Ain’t (My Baby)” (shared with Dr. John)
• 2002 – Grammy Winner for Best Traditional Blues Album for “Riding With The King” (shared with Eric Clapton, Simone Climie, and Alan Douglas)
• 2003 – Grammy Winner for Best Traditional Blues Album for “A Christmas Celebration Of Hope” (shared with Anthony Daigle and John Holbrock)
• 2003 – Grammy Winner for Best Pop Instrumental Performance for “Auld Lang Syne”
• 2005 – Grammy Nominee for Best Traditional R&B Vocal Performance for “Sinner’s Prayer” (shared with Ray Charles)
• 2006 – Grammy Winner for Best Traditional Blues Album for “80” (shared with Nathaniel Kunkel)
• 2009 – Grammy Winner for Best Traditional Blues Album for “One Kind Favor” (shared with T Bone Burnett and Mike Piersante)

Image Awards (NAACP)

• 2002 – Nominee for Outstanding Performance In A Youth Or Children’s Series/Special for “Sesame Street”

Hollywood Walk Of Fame

• Star on the Hollywood Walk Of Fame – August, 1990

MTV Video Music Awards

• 1989 – Winner for Best Video From A Film for “When Love Comes To Town” – U2 & B.B. King – U2 “Rattle And Hum” (shared with U2)

The Kennedy Center Honors

• 1995 – Winner

CMA Awards

• Country Music Association – 1994 – Nominee for Album Of The Year for “Rhythm, Country & Blues” (22 fellow performers)

MOBO (Music Of Black Origin) Awards

• 1998 – Winner for MOBO Lifetime Achievement Award