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Blues - Verschenen op 1 januari 1965 | Geffen*

Hi-Res Onderscheidingen The Qobuz Ideal Discography
B.B. King hasn't made many better pop-flavored albums than this. Besides making Leon Russell's "Hummingbird" sound like his own composition, King showed that you can put the blues into any situation and make it work. Joining King here were Leon Russell, Joe Walsh and Carole King; several pop luminaries who did more than just hang on for the ride. © Ron Wynn /TiVo
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Blues - Verschenen op 5 januari 2009 | Ace Records

Onderscheidingen Qobuz Referentie
  
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Blues - Verschenen op 1 januari 1997 | Geffen*

Onderscheidingen The Qobuz Ideal Discography
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Blues - Verschenen op 26 augustus 2013 | Fremeaux Heritage

Onderscheidingen The Qobuz Ideal Discography
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Blues - Verschenen op 4 november 1997 | Geffen

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Blues - Verschenen op 1 januari 1968 | Geffen

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A decent but short (nine songs) late '60s set, with somewhat sparser production than he'd employ with the beefier arrangements of the "Thrill Is Gone" era. Brass and stinging guitar plays a part on all of the songs, leading off with the eight-minute title track, a spoken narrative about his famous guitar. © Richie Unterberger /TiVo
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Blues - Verschenen op 1 januari 1970 | Geffen

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B.B. King is not only a timeless singer and guitarist, he's also a natural-born entertainer, and on Live at the Regal the listener is treated to an exhibition of all three of his talents. Over percolating horn hits and rolling shuffles, King treats an enthusiastic audience (at some points, they shriek after he delivers each line) to a collection of some of his greatest hits. The backing band is razor-sharp, picking up the leader's cues with almost telepathic accuracy. King's voice is rarely in this fine of form, shifting effortlessly between his falsetto and his regular range, hitting the microphone hard for gritty emphasis and backing off in moments of almost intimate tenderness. Nowhere is this more evident than at the climax of "How Blue Can You Get," where the Chicago venue threatens to explode at King's prompting. Of course, the master's guitar is all over this record, and his playing here is among the best in his long career. Displaying a jazz sensibility, King's lines are sophisticated without losing their grit. More than anything else, Live at the Regal is a textbook example of how to set up a live performance. Talking to the crowd, setting up the tunes with a vignette, King is the consummate entertainer. Live at the Regal is an absolutely necessary acquisition for fans of B.B. King or blues music in general. A high point, perhaps even the high point, for uptown blues. © Daniel Gioffre /TiVo
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Blues - Verschenen op 1 januari 1979 | Geffen

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Blues - Verschenen op 1 januari 1998 | Geffen*

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Blues - Verschenen op 25 september 2000 | Geffen*

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Blues - Verschenen op 12 april 1999 | Geffen

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Blues - Verschenen op 1 januari 1968 | Geffen

A decent but short (nine songs) late '60s set, with somewhat sparser production than he'd employ with the beefier arrangements of the "Thrill Is Gone" era. Brass and stinging guitar plays a part on all of the songs, leading off with the eight-minute title track, a spoken narrative about his famous guitar. © Richie Unterberger /TiVo
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Blues - Verschenen op 10 juni 2003 | Geffen*

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B.B. King was 77 years old when Reflections was released, which perhaps entitled him to reflect back on the song standards the album contained. Despite advancing age, King had already been unusually busy on the recording front for a septuagenarian, turning out the gold-selling duets album Deuces Wild in 1997, Blues on the Bayou in 1998, Let the Good Times Roll: The Music of Louis Jordan in 1999, the double-platinum Riding With the King with Eric Clapton and Makin' Love Is Good for You in 2000, and the seasonal recording A Christmas Celebration of Hope in 2002. For Reflections, he again worked with Simon Climie, who produced Riding With the King, and collaborated with a session band including such notables as Joe Sample, Nathan East, and Doyle Bramhall II. The songs ranged from pop evergreens like "I'll String Along With You" and "For Sentimental Reasons" to blues favorites such as Lonnie Johnson's "Tomorrow Night," with oddities like "Always on My Mind" thrown in and even a couple of remakes of the earlier King songs "Word of Honor" and "Neighborhood Affair." The arrangements, which included horn and string parts, left room for King's distinctive blues guitar work, but really supported his always expressive voice. The result was a confident, easygoing album that stylistically could have been made in 1953 as easily as 2003. Blues purists and aficionados of blues guitar would find it only partially satisfying, but it reflected the breadth of musical taste of an artist who always played the blues but never restricted himself only to blues music or blues fans. © William Ruhlmann /TiVo
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Blues - Verschenen op 1 januari 1969 | Geffen

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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 /TiVo
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Blues - Verschenen op 1 januari 1971 | Geffen*

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Ambient / New Age / Easy Listening - Verschenen op 1 januari 2001 | Geffen*

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Blues - Verschenen op 1 januari 1965 | Geffen

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B.B. King hasn't made many better pop-flavored albums than this. Besides making Leon Russell's "Hummingbird" sound like his own composition, King showed that you can put the blues into any situation and make it work. Joining King here were Leon Russell, Joe Walsh and Carole King; several pop luminaries who did more than just hang on for the ride. © Ron Wynn /TiVo
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R&B - Verschenen op 1 januari 2005 | Geffen

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Blues - Verschenen op 11 april 2015 | Blues Classics

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Blues - Verschenen op 1 januari 1970 | Geffen*

B.B. King is not only a timeless singer and guitarist, he's also a natural-born entertainer, and on Live at the Regal the listener is treated to an exhibition of all three of his talents. Over percolating horn hits and rolling shuffles, King treats an enthusiastic audience (at some points, they shriek after he delivers each line) to a collection of some of his greatest hits. The backing band is razor-sharp, picking up the leader's cues with almost telepathic accuracy. King's voice is rarely in this fine of form, shifting effortlessly between his falsetto and his regular range, hitting the microphone hard for gritty emphasis and backing off in moments of almost intimate tenderness. Nowhere is this more evident than at the climax of "How Blue Can You Get," where the Chicago venue threatens to explode at King's prompting. Of course, the master's guitar is all over this record, and his playing here is among the best in his long career. Displaying a jazz sensibility, King's lines are sophisticated without losing their grit. More than anything else, Live at the Regal is a textbook example of how to set up a live performance. Talking to the crowd, setting up the tunes with a vignette, King is the consummate entertainer. Live at the Regal is an absolutely necessary acquisition for fans of B.B. King or blues music in general. A high point, perhaps even the high point, for uptown blues. © Daniel Gioffre /TiVo