B.B. King was an American singer-songwriter, guitarist, and record producer. King introduced a complex manner of soloing predicated on fluid series bending and shimmering vibrato that affected many later blues, electric guitar players.
King was inducted in the Rock and Roll Hall of Fame in 1987 and is among the most influential blues musicians of all time, earning the nickname “The King of the Blues,” and is considered one of the Three Kings of the Blues Guitar (along with Albert King and Freddie King, none of whom are blood-related).
King performed tirelessly during his musical career, appearing on average in over 200 concerts each year to his 70s. In 1956 alone, he looked at 342 shows. Fidlar will show you the Best Bb King Album in this guide.
Table of Contents
- 1 Best Bb King Albums 2021
- 1.1 1. Sweet Little Angel – Live at the Regal
- 1.2 2. The Thrill Is Gone – Well
- 1.3 3. Rock Me Baby – The Very Best of B.B. King Vol. 2
- 1.4 4. Three O’ Clock Blues – Singin’ the Blues
- 1.5 5. Worry, Worry, Worry – Live in Cook County Jail
- 1.6 6. King’s Special – Indianola Mississippi Seeds
- 1.7 7. You Done Lost Your Good Thing Now – Your Kind of Blues
- 1.8 8. The Reason Why I Sing the Blues – BB King And Friends: A Blues Session
- 1.9 9. Heart To Heart
- 1.10 10. King Of The Blues
Best Bb King Albums 2021
1. Sweet Little Angel – Live at the Regal
For those not familiar with the job of BB King live at the Regal is a pure classic, an absolute gem, and also an essential basis in the history of the blues.
Throughout his almost 70-year recording career, which started with 1949 single, Miss Martha King b/w Got the Blues, the Mississippi-born guitarist published over 80 studio records and an unbelievable 150 singles.
However, the one album mentioned more frequently than any other in King’s canon is 1965’s Live at the Regal, listed on November 21, 1964, in the Regal Theater in Chicago.
This 35-minute powerhouse live place kicks off with perhaps the best live medley ever listed, as B.B. segues throughout the hard-driving, horn-infused opener, Everyday I Have the Blues, to Sweet Little Angel, It’s My Fault, and How Blue Can You Get?
Blues-rock titans like Jimi Hendrix, Eric Clapton, Johnny Winter, Jeff Beck, Stevie Ray Vaughan, Mark Knopfler, Warren Haynes, and Derek Trucks have pointed to Live in the Regal as a record so powerful that it changed their lives.
In a current eulogy to B.B., Clapton said, “In case you aren’t familiar with his job, I’d encourage you to venture outside and find an album named B.B. King: Live at the Regal, that is where it started for me as a player.”
While talking essential blues records with Jeff Beck bassist Ronnie Wood back in 1968, Jimi Hendrix gave Ronnie a copy of Live at the Regal. Regarding this launch, B.B. stated, “It is considered by some to be the best recording I have ever needed. On that specific day in Chicago, everything came together.”
Sweet Little Angel is performed in the key of Db and starts with B.B.’s classic guitar intro, constructed by a blend of Db minor and major pentatonic scales.
As he solos throughout the opening, he rides on the quantity control of his guitar, dangling brightly from a lean, biting tone into some fuller, sustaining noise, performing lines which owe as much to his guitar affects T-Bone Walker and Charlie Christian since they serve to classic R&B horn amounts.
2. The Thrill Is Gone – Well
Initially published in 1951 and a Top 10 only for the song’s composer, Roy Hawkins, The Thrill Is Gone broadly considered B.B. King’s most recognized signature tune.
After B.B. captured his version from late 1969 because of his Bluesway/ABC Records album Well (a follow-up into the hugely successful Live & Well record ), it represented a marked departure from his previous recordings pop-style high production values and addition of some lush string arrangement.
A second smash, the song shot to Number Three to the R&B graph and Number 15 on the Billboard Hot 100 pop chart, and in 1970 earned him a Grammy for Best Man R&B Vocal Performance.
It remained a staple of B.B.’s live performances during his long career; leading live versions of this tune are seen on Live in Cook County Jail, Bobby Bland and B.B. King Together Again Live and Live in San Quentin. At five and a half a week, the tune is almost two times as long as the standard singles of this day.
As a functionality, B.B.’s vocals and guitar lines are less than perfection. At the first two pubs – about 10 minutes – B.B. states more musically and evokes more emotion than many guitarists do in life.
His phrasing, vibrato, melodic feel, and passionate delivery unite to provide a stunning musicality that’s undeniable. For the last two minutes of this recording, B.B. supplies a master course in the maximum order’s blues soloing.
3. Rock Me Baby – The Very Best of B.B. King Vol. 2
Upon its launch in 1964, B.B.’s first studio recording Rock Me Baby has been one of a bb king greatest hits, earning fame as his first Top 40 hit and in short order getting a blues standard.
It’s among the most coated blues tunes of all time, reworked to brilliant effect from the Jimi Hendrix Experience for their classic 1967 Monterey Pop Festival performance.
Based loosely on Lil’ Son Jackson’s 1950 single, Rockin’ and Rollin’, the tune’s deep roots could be traced back into Curtis Jones (1939’s Roll Me Mama), Big Bill Broonzy (1940’s Rocking Chair Blues), Arthur Crudup (1944’s Rock Me Mama) and Muddy Waters (1956’s Rock Me).
Most probably listed for Kent Records from the late Fifties/early Sixties, the monitor is allowed by an educated, rock-solid piano-driven arrangement with brightly succinct solo lines inserted by B.B.; you listen along with the effect of the track about the soloing styles of Eric Clapton, and Jimi Hendrix is evident.
King afterward re-recorded the tune with Clapton for his outstanding 1997 Deuces Wild record, along with other prominent artists that effectively covered the song comprise Otis Redding, the hens, the Doors, Jefferson Airplane, Deep Purple, the Rolling Stones, Slim Harpo, Lightnin’ Hopkins, Johnny Winter, Robin Trower, and Jeff Beck.
4. Three O’ Clock Blues – Singin’ the Blues
Also called 3 O’Clock Blues, blues guitarist/singer Lowell Fulson composed this tune and, upon its first release in 1948, kicked off a highly profitable career for Fulson. B.B. King covered the song for a few of his oldest singles, published in 1951 by RPM Records, and it also became a smash hit, efficiently serving to start B.B.’s livelihood as a brand new blues guitar/vocal celebrity.
Recorded on the sub-standard gear in a Memphis YMCA, the monitor nonetheless garnered national acclaim on the potency of this interplay between B.B.’s impassioned vocals and beautifully emotive improvised guitar work.
As is his typical approach, B.B. sings a lyric of this song and then answers his outspoken using a counter-balanced guitar lick, using a technique shortly recognized as telephone and response. B.B.’s variant is performed in Bb’s key, using a guitar and vocal style, not unlike that of among his biggest influences, T-Bone Walker, albeit with higher rhythmic liberty and his trademark vibrato in signs.
5. Worry, Worry, Worry – Live in Cook County Jail
As B.B.’s blossoming victory with studio records and singles was about the constant incline, ” he continued his grueling road schedule, doing an average of the unbelievable 200250 dates per year (in 1956 alone, B.B. played 342 one-nighters).
A great fire of his was to work for prison inmates; from 1990, he’d played over 50 different prisons throughout the nation.
This set, recorded at Cook County Jail in Chicago in 1971, was his first such functionality to be registered and published. He provides an unbelievable set overflowing with profound psychological energy, the centerpiece of which will be the almost 10-minute Worry, Worry, Worry, replete with chorus after chorus of a few of the most significant soloing B.B. ever listed.
B.B. explained in an interview which the adventure of playing prison inmates was, Mixed, slightly, since every time you play, you examine the faces of those individuals, and you realize that is you might have been there.
A year following this recording, in 1972, B.B. based FAIRR (The Foundation for the Advancement of Inmate Rehabilitation and Recreation) with mythical criminal defense lawyer F. Lee Bailey, designed to improve the quality of life of inmates everywhere.
6. King’s Special – Indianola Mississippi Seeds
Back in 1969, B.B. combined forces with rock album producer Bill Szymczyk (The Eagles, Joe Walsh, Elvin Bishop), and the fruits of the alliance were instant, first using the incendiary Live & Well followed by Entirely Well, which contained the hit track, The Thrill Is Gone.
This, their third alliance and published in October 1970, driven B.B.’s noise in more of a rock leadership and put him in the Business of such prominent musicians as Leon Russell, Joe Walsh, Carole King, Jerry Jemmott, Hugh McCrackin and Russ Kunkel (drummer for Linda Ronstadt, James Taylor, Bob Dylan, Neil Young, and Jackson Browne, among others).
Indianola Mississippi Seeds is frequently included with Live at the Regal and Singin’ the Blues as one of the best three B.B. King records of all time. King’s Special is a five-minute instrumental played with a too early Seventies mid-tempo funk/blues/rock texture, over that B.B. goes out with fantastic variety stylistically and mentally.
7. You Done Lost Your Good Thing Now – Your Kind of Blues
Since the opening track on B.B.’s sixth studio record, 1961’s My Kind of Blues, B.B. gets things going with a free-time chorus of the colorful unaccompanied guitar through which he shows his incorporation of this jazz influence of Lonnie Johnson and Johnny Moore, the brother of Nat King Cole guitarist Oscar Moore, together with his distinct approach to single-string soloing which is purely his own.
After a second-half chorus of voice and guitar, the ring drops in using a slow, hard-swinging sense. He effortlessly floats professionally implemented and profoundly psychological solo blues guitar lines.
8. The Reason Why I Sing the Blues – BB King And Friends: A Blues Session
Back in 1987, B.B. constructed the very best blues, R&B, and rock musicians of the afternoon to get a Showtime television special that was released shortly after on VHS and later reissued on DVD under different names.
Together with consistently powerful singing and playing out of B.B. on most of his classic tunes like The Thrill Is Gone and Allow the Good Times Roll, the event featured motivated performances by luminaries like Eric Clapton, Stevie Ray Vaughan, Albert King, Paul Butterfield, Dr. John, Etta James, and Gladys Knight, combined with Phil Collins, Chaka Chan and Billy Ocean.
On this course, we get to find the once-in-a-lifetime cooperation of Eric, Stevie, Albert, Paul, and B.B. trading pops and ripping it up, forcing one another to perform their best. Upon its launch, this series was committed to Paul Butterfield, creator of the hugely successful Paul Butterfield Blues Band, who sadly passed away on May 4, 1987.
9. Heart To Heart
In the’90s before the conclusion of his career, King created numerous collaborative records with a range of musicians, to say nothing of his most potent ’70s live papers with Bobby Bland. HEART TO HEART is one of those records, together with jazz singer and pianist Diane Schuur linking the King of the Blues to get an appropriately jazz-tinged paper.
As I’ve seen with many artists that entered their old age in the’80s and’90s, King didn’t escape the decades with no fall in quality from his records. HEART TO HEART is B.B. King’s worst record since it doesn’t feel like a B.B. King album. Schuur’s jazz influence is surely not offensive in its own right.
However, the record almost ends up having a simple listening bore Glory of Love, while nowhere near as great as Otis Redding’s cover version of the tune, nevertheless lands favorably with me because of the institution.
10. King Of The Blues
Ironically published in 1988, KING OF THE BLUES: 1989 signifies the worst of all King’s’80s records due to its overproduced noise that amuses both King’s voice and guitar.
There was some misguided leadership in altering King’s sound to another, more poppy leadership; King did not just shy away from experimentation, and it paid off with several his’70s bb king albums.
However, as somebody who does not enjoy that’80s audio, this 1988 (’89?) A variant of KING OF THE BLUES was ultimately reasonably unsatisfactory.