|1. Every Day I Have The Blues|
|2. Sweet Little Angel|
|3. It's My Own Fault|
|4. How Blue Can You Get?|
|5. Please Love Me|
|6. You Upset Me Baby|
|7. Worry, Worry|
|8. Woke Up This Mornin'|
|9. You Done Lost Your Good Thing Now|
|10. Help The Poor|
Beyond that, this is something that has become increasingly rare, a live blues recording where the music is played for blues people, African American working class and middle class blues people in an urban center. This all about singing and swinging and jiving and talking to the audience and the audience talking back.
When I was in Mississippi in the mid 1960s doing civil rights work, I met Blues People who loved BB King who didn't know that he played the guitar. The expression always was and still is 'BLUES SINGER," not blues guitarist. He sang the blues the way they needed to listen to and in a Blues People venue the folks will talk back to him too.
My favorite, classic moment of the blues dialog here is in "It's my own fault baby" where Riley sings "I gave you seven children, and now you want to give 'em back." All the sistas in the audience scream. Gruffer sounds came from the men.
What is essential to blues performance for BLUES PEOPLE is the constant dialog between the singer and the audience that is the heart of the native blues experience. The dialog isn't about the impeccable guitar playing on this record, or the totally righteous playing of the band, or even the fine voice of Riley B. King here, but it is about what the words the lyrics speak to the lives of the audience, and what the audience responds to the singer. That's the center of blues, not heavy guitar licks that the post-folk-post rock blues fan thinks is the essence of heavy blues.Read more ›
On this record, listen to the opening instrumental solo in "How Blue Can You Get" -- it goes on for a few minutes.
There is BB playing his heart-and-soul-swirling lead riffs; then a question and answer with sax run; followed by the play out and finally, his opening voice line ... Just get a load of the audience cheering as he finishes the lead sequence, and their utter rejoicing when he wrenches out his opening line.
Listen, and I think you'll agree, this just simply closes the door on ANYONE ever transcending a blues riff of such magnitude. It more profound an expression of "soul" than anything I have heard in 50 years of playing and listening to blues, as close to "getting religion" as one is going to get from any music.
I actually heard him do this song live (not at the Regal, but in Chicago) back in 1968. It still moves me every single time I heard it.
I gave you a brand new Ford... Read more