1 	See That My Grave Is Kept Clean 	
2 	I Get So Weary 	
3 	Get These Blues Off Me 	
4 	How Many More Years 	
5 	Waiting For Your Call 	
6 	My Love Is Down 	
7 	The World Gone Wrong 	
8 	Blues Before Sunrise 	
9 	Midnight Blues 	
10 	Backwater Blues 	
11 	Siting On Top Of The World 	
12 	Tomorrow Night

B.B. King 	Guitar, Vocals
Jay Bellerose - Drums, Percussion
Jeffrey Clayton - Sax (Alto)
Dr. John - Piano
Nathan East - Bass (Acoustic)
Mike Elizondo - Bass (Acoustic), Bass (Electric)
Keith Fiddmont - Sax (Alto)
Ernie Fields Jr. - Sax (Baritone)
Alex Iles - Euphonium
Jim Keltner - Drums, Percussion
Neil Larsen - Hammond B3
Darrell Leonard - Trumpet
Ira Nepus - Trombone
Charles Owens - Sax (Tenor)
Charles Owens II - Sax (Tenor)
Thomas R. Peterson - Sax (Tenor)
Johnny Lee Schell - Guitar
Rickey Woodard - Sax (Tenor)
Snooky Young - Trumpet

For One Kind Favor, King and producer T-Bone Burnett decided to go forward into the past, the artist revisiting "The B.B. King That Was," recording songs that he originally performed at the beginning of his career, or were influential on his development as a blues artist and performer.

One Kind Favor is more than just another covers album, however. Before venturing into the studio, Burnett handed King a list of some 200 songs, from which they chose the 12 tunes represented on the album. The tracklist of One Kind Favor reads like a veritable "who's who" of influential early-era blues music. From Blind Lemon Jefferson's "See That My Grave Is Kept Clean" and T-Bone Walker's "Get These Blues Off Me," One Kind Favor also includes songs by Howlin' Wolf, Lonnie Johnson, John Lee Hooker, Big Bill Broonzy, and others.

To further ensure the proper atmosphere for King's performances, Burnett put together a veteran band that includes Dr. John on piano, journeyman rock drummer Jim Keltner, and even an acoustic bass player to record the songs live under studio conditions similar to those experienced by King in the early-1950s.

The proof is in the grooves, because both the sound and the feel of One Kind Favor harkens back to an earlier, and simpler blues era.

Kicking off the album with Jefferson's "See That My Grave Is Kept Clean" - One Kind Favor takes its name from a line in the song - the band delivers a syncopated rhythm behind King's low-key vocals and elegant guitar lines. Although the sound of King's version of the song varies greatly from Blind Lemon's original, the heart and soul of Jefferson's intent remains intact.

Walker's "Get These Blues Off Me" is written here as a sultry, slow-burning ember, with a muted horn section and distinctive piano notes playing off of King's torch-style solos. King's angular vocals stand in contrast to the softly-swaying background, punching through the darkness with passion and anguish. Chicago blues giant Howlin' Wolf's "How Many More Years" is probably the closest that King comes to his traditional jazz-blues sound, the song supported by an undercurrent of swinging horns and boogie piano breaks, complemented by King's fluid fretboard tones.

One of three Lonnie Johnson songs included on One Kind Favor, "My Love Is Down" benefits from Dr. John's New Orleans-flavored ivory bashing and King's uncharacteristically gruff vocals. Another of the songs from Johnson, one of King's major influences, "Tomorrow Night" closes out the album with a definite old-school vibe. Sounding like a late-night lounge-closer, accompanied by Dr. John's graceful notes and his own filigree guitarwork, King's vocals are a key or two lower, wrapping the lyrics in a rich baritone that is full of life and laughter.

Tackling a wonderfully-overlooked Mississippi Sheiks tune - remembered, no doubt, from King's days in Memphis - "The World Gone Wrong" is a bluesy romp, with razor-sharp fretwork, raucous vocals, and a stomping rhythm that drives the song somewhat astray from its 1930s string band roots. Another Sheiks' song, the standard "Sitting On Top Of The World," has been recorded by everybody from Big Bill Broonzy and Howlin' Wolf to Ray Charles and even Chet Atkins. King imagines the song as a straight-up, country blues-tinged rocker, with exceptional solos interspersed between King's deliberate reading of the lyrics.

A trip through John Lee Hooker's "Blues Before Sunrise" is afforded a touch of rolling honky-tonk piano behind King's mournful vocals, the veteran bluesman crying out the song's lyrics; in-between, King's famed guitar "Lucille" sheds a few tears itself, the road-weary instrument taking on a life of its own, pouring emotion through the speakers. "Midnight Blues" takes on a slightly Chicago blues feel with jazzy horns accompanying one of King's best vocal performances, the Kokomo Arnold gem amped up a notch by the guitarist's imaginative fretwork.

No doubt about it, this is the kind of stuff that B.B. King has built a legend on, and One Kind Favor further cements the guitarist's legacy as one of the greatest performers that the blues has ever produced. Choice covers, stellar guitar playing, throwback production...what's not to like? One Kind Favor is a considerable late-career statement from one of the Delta's last true blues warriors. --- Reverend Keith A. Gordon, blues.about.com

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1. Caldonia
2. How Blue Can You Get
3. Goin' Down Slow
4. I Got Some Help I Don't Need
5. Just A Little Love
6. The Thrill Is Gone

B.B. King's King Biscuit Flower Hour captures the legendary blues guitarist in concert in the '80s. The presence of George Benson on "I Got Some Help I Don't Need" and "Just a Little Love," and Johnny & Edgar Winter on "Goin' Down Slow," suggests that the concert was more special than it actually was. In reality, it was simply an average concert with B.B. running through average material; the only classics were "How Blue Can You Get" and "The Thrill Is Gone." The performances are competent, but not inspired, making the disc really of interest to hardcore B.B. collectors, especially since there's a lot of better live B.B. on the market. --- Stephen Thomas Erlewine, Rovi

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01. Intro
02. Why I Sing the Blues
03. Please Send Me Someone to Love
04. The Thrill Is Gone
05. I'd Rather Go Blind
06. When Something Is Wrong with My Baby
07. The Sky Is Crying
08. Something's Got a Hold on Me
09. In the Midnight Hour
10. Ain't Nobody's Business
11. Let the Good Times Roll
12. Take My Hand, Precious Lord

B.B. King
Eric Clapton
Phil Collins
Gladys Knight
Albert King
Steve Ray Vaughan
Etta James
Paul Butterfield
Dr. John
Chaka Kahn
Billy Ocean

It's an all-star blues extravaganza as legendary guitarist B.B. King brings a whole host of popular performers to the stage for a magical night of music captured live at the Ebony Showcase Theater on April 15, 1987. In addition to such classics as {&"The Thrill Is Gone"} and {&"In the Midnight Hour,"} King is joined by such talented contemporaries as Eric Clapton, Etta James, Dr. John, Phil Collins, Stevie Ray Vaughan, Albert King, Billy Ocean, and Chaka Kahn in performing nine more songs including {&"Ain't Nobody's Business,"} {&"The Sky Is Crying,"} and {&"Let the Good Times Roll."} ~ Jason Buchanan, Rovi

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1 	Early In The Morning    Featuring – Van Morrison	4:50
2 	Tired Of Your Jive    Featuring – Billy F Gibbons	3:52
3 	The Thrill Is Gone    Featuring – Eric Clapton	5:03
4 	Need Your Love So Bad    Featuring – Sheryl Crow	3:57
5 	Ain't Nobody Home    Featuring – Daryl Hall	3:51
6 	Hummingbird    Featuring – John Mayer		4:41
7 	All Over Again    Featuring – Mark Knopfler	4:53
8 	Drivin' Wheel    Featuring – Glenn Frey	4:19
9 	There Must Be A Better World Somewhere    Featuring – Gloria Estefan	6:50
10 	Never Make Your Move Too Soon    Featuring – Roger Daltrey	4:59
11 	Funny How Time Slips Away    Featuring – Bobby Bland	4:08
12 	Rock This House    Featuring – Elton John	3:06
13 	Early In The Morning (Alternate Take - B.B. Solo) 	3:57

B.B. King – Guitar, Vocals
Guy Babylon - Keyboards
Bob Birch - Bass
Bobby "Blue" Bland - Vocals
Robbie Buchanan - Keyboards, Organ
David Campbell - Conductor, String Arrangements
Larry Campbell - Guitar
Eric Clapton - Guitar
Clem Clempson - Guitar
Sheryl Crow - Vocals
Roger Daltrey - Vocals
Gloria Estefan - Vocals
Brandon Fields - Saxophone
Glenn Frey - Guitar, Vocals
Billy Gibbons - Guitar, Vocals
Gary Grant - Trumpet
Daryl Hall - Vocals
Jerry Hey - Conductor, Horn Arrangements, Trumpet
Elton John - Piano, Vocals
Davey Johnstone - Guitar
Mark Knopfler - Guitar
Russ Kunkel - Drums
John Mahon - Percussion
John Mayer - Guitar, Vocals
Brian Mitchell - Keyboards
Van Morrison - Harmonica, Vocals
Nigel Olsson - Drums
Dean Parks - Guitar, Guitar (Rhythm)
William Frank "Bill" Reichenbach Jr. - Trombone
Leland Sklar - Bass
Luke Smith - Organ (Hammond)
Chris Stainton - Keyboards
Ian Thomas - Drums
Billy Ward - Drums
T-Bone Wolk - Bass

Released the week of B.B. King's 80th birthday, 80 is a star-studded duets album, the first B.B. released since 1997's Deuces Wild. It was recorded in a variety of locations in the spring of 2005 and features a variety of guest artists, ranging from the familiar (Van Morrison, Eric Clapton, Bobby Bland) to the unsurprising (Billy Gibbons, Mark Knopfler, Elton John, Sheryl Crow) to the frankly bewildering (John Mayer, Daryl Hall, Gloria Estefan). Unfortunately, the material isn't quite as wide-ranging -- in fact, it leans toward the overly familiar, with a pleasant, thoroughly bland version of "The Thrill Is Gone" with Eric Clapton sadly living up to its title. There are a couple other bum tracks -- most notably the turgid slow blues "There Must Be a Better World Somewhere," which drags on for an interminable seven minutes, or a full six minutes longer than needed to prove that sultry blues is not Gloria Estefan's forte -- but for the most part, 80 plays better than it reads on paper. Most of it is solid, straight-ahead big band blues, firmly within B.B.'s comfort zone and sounding appropriately comfortable -- not as in boring, but warm, relaxed, and friendly, whether he's playing with old friends like Bobby Bland or with John Mayer, who acquits himself well as a guitarist, even if his voice is overwhelmed by B.B.'s towering presence. There are couple of nice little surprises along the way, such as how "Ain't Nobody Home" with Daryl Hall works up a nice soulful groove or how Sheryl Crow reveals that she's a convincing blues singer (there are also some unpleasant surprises, as on "Tired of Your Jive," an otherwise fine track that's derailed by the realization that Billy Gibbons' voice has been torn to shreds, leaving a phlegmy mess behind), but the best moments come from the old guard of the British Invasion. Roger Daltrey proves that he's singing better than ever with "Never Make Your Move Too Soon," Elton John and his house band really cook on a terrific "Rock This House," but it's Van Morrison who steals the show with "Early in the Morning," a clean but down-and-dirty version of the standard. It's the best thing here, but it's unfortunate that it kicks off the album, since it suggests that this might be a harder-hitting blues album than normal from B.B. It's not -- it's a slick, stylish, professional record, one that's actually a little more straightforward than he's been at any time since, well, Deuces Wild. Coming after some truly interesting records over the last few years, the predictability of 80 is a bit of a disappointment, but there's still a bunch of good stuff to hear, and, no matter how you look at it, for B.B. to be recording and still sounding vital at 80 is a remarkable thing even if the album that commemorates his birthday falls short of the remarkable itself. --- Stephen Thomas Erlewine, Rovi

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A1 	Why Do Things Happen To Me 	2:46
A2 	Ruby Lee 	2:37
A3 	When My Heart Beats Like A Hammer 	2:54
A4 	Past Day 	3:16
A5 	Boogie Woogie Woman 	2:48
A6 	Early In The Morning 	2:38
B1 	I Want To Get Married 	3:02
B2 	That Ain't The Way To Do It 	2:20
B3 	Troubles, Troubles, Troubles 	2:58
B4 	Don't You Want A Man Like Me 	2:39
B5 	You Know I Go For You 	2:39
B6 	What Can I Do 	2:48

Originally released in 1958 by the budget-priced Crown label, The Blues collected a dozen sides B.B. King cut for RPM and Kent between 1951 and 1958. (RPM and Kent were owned by the Bahari Brothers who also ran Crown, which explains how one of the true prestige artists of the blues ended up on such a notoriously cheap-o label.) As was often the case with Crown's product, The Blues used a single hit tune (in this case "When My Heart Beats Like a Hammer," a Top Ten R&B chart entry in 1954) to help sell a package of lesser-known material, but thankfully the label also picked some great tunes that hardly sound like filler, even if they didn't make the charts. The material on The Blues is dominated by muscular, horn-driven performances with King's interjections of single-note riffs and powerful string bends punctuating the arrangements, and King's songwriting was already stellar, with "I Want to Get Married," "Don't You Want a Man Like Me," and "Ruby Lee" demonstrating his way with a melody and a lyrical conceit. While King's recordings gained a greater depth and emotional force as he moved into the '60s, his RPM takes were the work of a man who already had an enviable command of his instrument and a real gift as a vocalist and songwriter, and though he would get better with time, The Blues demonstrates he was already near the top of his class. ---Mark Deming, Rovi

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A1 	Precious Lord 	
A2 	Save A Seat For Me 	
A3 	Ole Time Religion 	
A4 	Sweet Chariot 	
A5 	Servant's Prayer 	
B1 	Jesus Gave Me Water 	
B2 	I Never Heard A Man 	
B3 	Army Of The Lord 	
B4 	I Am Willing To Run All The Way 	
B5 	I'm Working On The Building

B.B. King – guitar, vocals

For a good part of the 1950s B.B. King recorded for the Bihari Brothers' RPM and Kent labels, and the brothers would in turn issue collections of these singles on LP as part of their discount Crown Records series. B.B. King Sings Spirituals originally appeared as a Crown LP in 1959, but it was less a collection of singles than a true labor of love for King, who took it as an opportunity to return to the Baptist and Pentecostal church music of his childhood. This Diablo Records reissue reproduces the Crown LP in the original sequence. It's easy to forget that King isn't just a blues player with a particularly distinctive guitar style; he is also a singer, and in the 1950s he really worked more to the R&B side of the field than to the blues half, and, as these tracks show, his roots were always deep in gospel. The instrumentation here is sparse and appropriate to the spiritual material, just organ, piano, bass, and drums with tons of handclapping and choral support, and absolutely no guitar. King's singing here is a bit of a revelation to those who only know him for his blues work, as he breaks loose and sings vigorously on numbers like the rollicking "Ole Time Religion" and a stomping "Army of the Lord." This is B.B. King, one supposes, before the thrill was gone. He sounds absolutely jubilant. --- Steve Leggett, Rovi

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01. Please Love Me (2:49)
02. You Know I Love You (3:02)
03. Boogie Woogie Woman (2:45)
04. Woke Up This Morning (My Baby's Gone) (2:54)
05. Three O'clock Blues (2:59)
06. You Upset Me Baby (3:04)
07. Whole Lotta' Love (3:08)
08. Sneakin' Around (2:57)
09. Every Day I Have The Blues (2:50)
10. Please Accept My Love (2:33)
11. Sweet Little Angel (2:59)
12. Bad Luck (2:51)
13. I Want To Get Married (3:03)
14. Troubles, Troubles, Troubles (2:55)
15. Crying Won't Help You (2:56)
16. Sweet Sixteen Part 1 (3:44)
17. Sweet Sixteen Part 2 (2:29)
18. (I've) Got A Right To Love My Baby (3:14)
19. My Fault (3:31)
20. You Done Lost Your Good Thing Now (5:07)

Riley “B.B.” King has been called the “King of the Blues” and “Ambassador of the Blues,” and indeed he’s reigned across the decades as the genre’s most recognizable and influential artist. His half-century of success owes much to his hard work as a touring musician who consistently logged between 200 and 300 shows a year. Through it all he’s remained faithful to the blues while keeping abreast of contemporary trends and deftly incorporating other favored forms - jazz and pop, for instance - into his musical overview. Much like such colleagues and contemporaries as Buddy Guy and John Lee Hooker, B.B. King managed to change with the changing times while adhering to his blues roots.

As a guitarist, King is best-known for his single-note solos, played on a hollowbody Gibson guitar. King’s unique tone is velvety and regal, with a discernible sting. He’s known for his trilling vibrato, wicked string bends, and a judicious approach that makes every note count. Back in the early days, King nicknamed his guitar “Lucille,” as if it were a woman with whom he was having a dialogue. In fact, King regards his guitar as an extension of his voice (and vice versa). “The minute I stop singing orally,” King has noted, “I start to sing by playing Lucille.”

There have been many Lucilles over the years, and Gibson has even marketed a namesake model with King’s approval. King selected the name in the mid-Fifties after rescuing his guitar from a nightclub fire started by two men arguing over a woman. Her name? Lucille. ---rockhall.com

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01 – Don’t Answer The Door
02 – Let The Good Times Roll
03 – The Thrill Is Gone
04 – Paying The Cost To Be The Boss
05 – Caldonia
06 – Going Out Of My Mind (Walking Dr. Bill)
07 – Guess Who
08 – Lucille
09 – All Over Again

For more than 60 years, bluesman B.B. King has carried on his romance with Lucille — a name he first gave his guitar in 1949 and has adopted for every one he’s picked up since. As a guitarist, King favors a slow burning style so effortless it can be difficult to tell just how damned good he is as a player. He takes a similar approach to vocals, often delivering songs as casually as someone trading stories over a couple of beers. Of course, in those moments King does let loose (check out his version of live staple “The Thrill is Gone” on this year’s “Don’t Answer the Door”) his vocals still cut to the bone. --- host.madison.com

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01. So Excited (B.B.King, Gerald Jemmott) - 5:34
02. No Good (Ferdinand Washington, B.B.King) - 4:35
03. You're Losin' Me (Ferdinand Washington, B.B.King) - 4:52
04. What Happened (B.B.King) - 4:40
05. Confessin' The Blues (Jay McShann, Walter Brown) - 4:53
06. Key To My Kingdom (Maxwell Davis, Joe Josea, Claude Baum) - 3:17
07. Cryin' Won't Help You Now (B.B.King) - 6:23
08. You're Mean (B.B.King, Gerald Jemmott, Hugh McCracken, Paul Harris, Herbie Lovelle) - 10:01
09. The Thrill Is Gone (Art Benson, Dale Pettite) - 5:23
10. Fools Get Wise (June,1969) (B.B.King) - 2:36

Personnel:
- B.B.King - guitar, vocals
- Paul Harris - piano, electric piano, organ
- Hugh McCracken - guitar
- Gerald "Fingers" Jemmott - bass
- Herbie Lovelle - drums
+
- Bert "Super Charts" DeCoteaux - strings and horns arrangements
- Bill Szymczyk - producer

Completely Well was B.B. King's breakthrough album in 1969, which finally got him the long-deserved acclaim that was no less than his due. It contained his signature number, "The Thrill Is Gone," and eight other tunes, six of them emanating from King's pen, usually in a co-writing situation. Hardliners point to the horn charts and the overdubbed strings as the beginning of the end of King's old style that so identifiably earmarked his early sides for the Bihari Brothers and his later tracks for ABC, but this is truly the album that made the world sit up and take notice of B.B. King. The plus points include loose arrangements and a small combo behind him that never dwarfs the proceedings or gets in the way. King, for his part, sounds like he's having a ball, playing and singing at peak power. This is certainly not the place to start your B.B. King collection, but it's a nice stop along the way before you finish it. ---Cub Koda, Rovi

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01. Sweet Sixteen
02. (I’m Gonna) Quit My Baby
03. I Was Blind
04. What Can I Do AKA Just Sing The Blues
05. Some Day Somewhere AKA Someday Baby
06. Sneakin’ Around
07. Ten Long Years AKA I Had A Woman
08. Be Careful With A Fool
09. Whole Lotta’ Love AKA Whole Lot Of Lovin'
10. Days Of Old

The ninth instalment in Ace's attractively priced resuscitation and expansion of B.B. King's Crown albums, courtesy of series supervisor John Broven, showcases King's fifth LP for the budget label, originally issued in early 1960. It finds B.B. in full stride and reflects an eclecticism that displayed the breadth of B.B.'s music and talents, and represented attempts to cope with changing trends. Accordingly, the album presents the original mixture of mostly later RPM and early Kent singles anchored by the unified album version of the classic two-part single 'Sweet Sixteen' which ranks among B.B.'s most definitive and impassioned moments. It ranges through some of the signature 50s hits which were staples on ghetto jukeboxes and record players (five of the tracks charted either R&B or Pop); a couple of flip sides; and a handful of ballads and rock'n'roll flirtations, enhanced with eight mostly obscure bonus tracks.

The original LP reached back to 1952 for a Memphis alternate take of 'Some Day Somewhere' (B.B.'s rendition of Lowell Fulson's 'Midnight Showers Of Rain', also covered in Memphis by Willie Nix). But the heart of the album presented B.B. in a more fully-developed mode, at his peak of vocal range and suppleness and closer to the crystallisation of a guitar style that rapidly became established as the model for contemporary blues, framed by the nuanced, stylish arrangements of Maxwell Davis and occasionally topped off with his tenor sax solos. Plas Johnson, the New Orleans transplant who supplanted Davis as the first call R & B tenor in Los Angeles as blues was elbowed out by rock'n'roll, makes a rousing contribution similar to his solo on T-Bone Walker's 'Two Bones And A Pick' on the RPM single and bonus track 'Bim Bam'. It was an unabashed rock'n'roll outing, with lyric references to hits of the day, which B.B. disparages. Controversy almost drips from the grooves despite Plas' efforts, although the jive dancers will almost certainly lap it up.

One of B.B.'s greatest and favourite foils, pianist Lloyd Glenn, also graces several tracks, perhaps most notably on the alternate take of 'Down Now' which was in part B.B.'s lament about his Internal Revenue Service problems. The 1955 session-mate ballads 'Sneakin' Around' and 'I Was Blind' (with a vocal chorus by some Kings Men" who couldn't have got much further from 'Louie Louie') remind us how early a softer side of B.B. was evident. On more solid blues ground, it's worth noting Otis Rush's adaptation of 'Be Careful Of A Fool' into his version of 'Mean Old World' and B.B.'s sanitisation of Dr Clayton's song of homicidal intent, 'Cheating And Lying Blues', into 'Quit My Baby'. --- acerecords.co.uk

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