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B. B. King (1925–2015) was an American blues musician whose recording career spanned 1949–2008. As with other blues contemporaries, King's material was primarily released on singles until the late 1950s–early 1960s, when long playing record albums became more popular.
Riley B. King (September 16, 1925 – May 14, 2015), known professionally as B. B. King, was an American blues guitarist, singer, songwriter, and record producer. He introduced a sophisticated style of soloing based on fluid string bending, shimmering vibrato, and staccato picking that influenced many later electric guitar blues players.
The song was released shortly after King's Paramount release "How Blue Can You Get" in 1964 and reached number 34 in the Billboard Hot 100. [9] [a] "Rock Me Baby" was the first of six B.B. King records to reach the Top 40. [9] In 1997, King re-recorded the song with Eric Clapton for the album Deuces Wild.
His Definitive Greatest Hits is a compilation album by American blues musician B.B. King. It was produced, sequenced & compiled by Richard M. Ganter and released on April 12, 1999, by Polygram Records .
Live in Cook County Jail is a 1971 live album by American blues musician B.B. King, recorded on September 10, 1970, in Cook County Jail in Chicago.Agreeing to a request by jail warden Winston Moore, King and his band performed for an audience of 2,117 prisoners, most of whom were young black men.
The Ultimate Collection is a compilation album by B.B. King, released in 2005. Track listing. Three O'Clock Blues" – 3:01 "Please Love Me" – 2:48
Live at the Regal is a 1965 live album by American blues guitarist and singer B.B. King.It was recorded on November 21, 1964, at the Regal Theater in Chicago.The album is widely heralded as one of the greatest blues albums ever recorded and was ranked at number 141 in Rolling Stone ' s 2003 edition of the 500 Greatest Albums of All Time list, [6] before dropping to number 299 in a 2020 ...
The New York Times panned the first side of Love Me Tender, calling it "bland, countrypolitan elevator music," but thought more highly of side two's "first-rate after-hours blues." [7] The Globe and Mail wrote that "the singing is lugubrious, the playing is by rote, and the sound is so lush that King can barely be heard above it." [8]