B.B. KING / “Live B.B. Mixtape”

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6 Responses to “B.B. KING / “Live B.B. Mixtape””

Kiini Ibura Says:
July 13th, 2009 at 3:51 pm

I just saw Soul Power, the documentary about Zaire 74, the three-day concert in Zaire that pulled together legendary black soul singers with legendary African stars, and threw Celia Cruz into the mix as well. This concert was intended to go along with the Ali Foreman fight (that was delayed so long it didn’t happen until 6 weeks later). The footage was amazing and featured these amazing performers, B.B. King was among them–and while he seemed fun, he also seemed serious about his business… like a preacher or a teacher. Yes, regal, and certain about what he needed to get done, meandering on to get done what he knows he needs to get done will all the madness fluttered around him.

Loved hearing Gladys Knight with him and really loved the repartee between him and Ruth Brown.

C. Liegh McInnis Says:
July 16th, 2009 at 2:00 am

First, Jimi said that B. B. was the best, nuff said. Second, Prince needs to get off his a** and answer King’s call to make a record together, especially since King has made this known publicly twice.

Great choices to represent the power and range of B. B. King. Together for the First Time is my favorite King record, tying Indianola Mississippi Seeds. Unlike How Blue Can You Get, IMS allows me to feel the full effect of “Nobody Loves Me But My Mother” as it kicks off the album, letting you know that this ain’t no fake a** stuff you ’bout to hear, kicking an 8 year old kid in the gut, then, much later, when he turns 18 and is just beginning to know what that phrase means, “Nobody loves me but my mother, and she could be jivin’ too.” That’s all you need. That’s the blues. Put that in some top papers and smoke it. What follows on IMS is the dissertation on his thesis statement in “Nobody Loves Me but my Mother.”

How Blue Can You Get is great for teaching people who to play yo’ instrument, how to put on a show, how to touch people, how to be unbelievable, how to be other worldly on your instrument of choice, and it is especially great for long drives across this nation where ghettos and poor people are connected by the same chains of white supremacy, but while the songs are an example of a great showman, they ain’t connected to a time or space or feeling. Don’t get me wrong; it’s a great collection. Guitar licks and vocal thunderstorms kick yo’ butt for the full length of the collection. The guitar and vocals remain penetrating, slicing you to the bone. But too many people seem to cheapen or marginalize the fact that the Blues had movements and trends, rivers breaking off and going elsewhere, eventually coming back to the lake and ocean of soul called blues. As the artists were grappling with the change in time, the music was shape-shifting to articulate that old problem in new clothes. So, IMS and Together for the First Time capture those moments in time better than the greatest hits collections.

Together for the First Time also captures perfectly them hot a** juke joints and hot a** outside festivals my family would drag me to see. Two bad dudes, both on top of their game, and knowing it, and understanding that being technically well-crafted and being showmen was supposed to converge at an intersection called greatness. It makes me remember when I wanted to be badass like them kinda dudes, wear slick a** shirts with slick a**shoes and a whole lotta slick a** attitude. And it makes me happy that I was never ashamed to be from Mississippi ‘cause I thought that the blues and blues people where the people who got the most from life. We ate better, dance more freely, loved more fully; we licked the bowl of life and squeezed all of the juice from the fruit, and all of that can be heard in Together for the First Time.

B. B. King is one of the reasons why I never had to drink or get high. His vocals and pluckin’ get in me, go down like dark liquor and salty tears, lifting me from wherever I was to where I wanted to be, which was usually just away from where I was, away from the cesspool of pain I was in, bending dem damn chords, holding them, as they punctuate his growl, blending gospels and gut bucket like the greatest peanut butter and jelly sammich yo done ever had…anyway y’all know, why I keep rambling…good choices.

C. Liegh McInnis Says:
July 16th, 2009 at 2:21 am

I forgot to add that I was raised on WDIA where there wasn’t but one type of music, good music, and the range of music, man…it’s a shame that radio, even black radio, doesn’t still articulate the whole soul and humanity of a people. On WDIA I was able to access all types of black people from the types of music that they would play. But then, it wasn’t just oldies, it was the current with the tradition. My parents’ music was my music and my music was played with my parents’ music. WDIA, as many black radio stations, was making sure that the generation gap was something with which dem other folks had to deal. Now, the accountants, posing as music men, have separated our music, and black adults and black children can’t stand each other.

Jazz Lunatique Says:
July 19th, 2009 at 10:27 pm

Just came back from the Delta and went to the B.B. King Museum in Indianola. Don’t miss it, or make a special trip. State of the art and photos, memorabilia, and commentary that emphasize and elaborate on what Kalamu says here.

Sometimes I wonder if they are still makng human beings like Mr. Riley King.

Erik Says:
January 11th, 2010 at 1:11 am

“B.B. King may not be no what they call ‘virtuoso’ on the guitar. They got plenty that can play more notes faster than him ”

I’ve seen the Man 12 times and I think that he is definitively one of the ever best Electric Guitar Players of all time.
His bellrining “Hand-Vibrato” puts John Scofield still in envy.
It needed Jimi Hendrix to further B.B.’s command of sustain and feedback.


kt Says:
March 3rd, 2010 at 11:49 am


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