b b King Modern

This impressive, impeccably packaged four-CD box set focuses solely on B.B. King's 1950s and 1960s recordings for the Modern family of labels. That was a period that basically encompassed the vast majority of his work prior to 1962, though he did a few non-Modern sides before signing with ABC Paramount in early 1962 and did a few other sides for Modern in the mid-'60s. So this is basically a box-set overview of King's early career, one that saw him score many R&B hits and build a career as a blues legend, even as the blues were falling out of fashion in favor of rock and soul. As many tracks as there are here - 106 in all, four of them previously unreleased - this isn't a catchall roundup of everything the prolific King did for the label…

It is so cool to find an album that was cut by professional musicians that sound like they are having a blast and doing what they were born to do, and a perfect example of this is Smokin’ Joe Kubek and Bnois King’s Fat Man’s Shine Parlor, a killer disc from their recent return to the venerable Blind Pig Records label!

n a jaw-gnashing exercise of discographical loggerheads, The Soul of B.B. King was just a retitled version of a King album previously released on the Crown label, B.B. King. Further muddling the record-keeping, The Soul of B.B. King would appear on both the United and Custom labels (both of which were, like Crown, budget imprints of the Modern Records company)…

On this release, King comes close to equaling his past triumphs on small independent labels in the '50s and '60s. He's ditched the psuedo-hip production fodder and cut a 12-song set matching him with blues peers. His duets with Buddy Guy, John Lee Hooker, and Albert Collins are especially worthy, while the songs with Koko Taylor, Ruth Brown, and Irma Thomas have some good-natured banter and exchanges, as well as tasty vocals. The master gives willing pupils Joe Louis Walker and Robert Cray valuable lessons on their collaborations. There's also a medley in which King invokes the spirit of his chitlin circuit days, taking the vocal spotlight while his Orchestra roars along underneath.

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.

Recorded in the fall of 2006, shortly after B.B. King's 81st birthday, Live is really an abridged audio complement to a video release, containing 12 of the 19 tracks available on the DVD of the same title. King has made a lot of live albums in his time, but his approach hasn't changed much over the years. In addition to his obvious talents as a guitarist and showman, he has also been fortunate in that his chosen style of music, a version of the blues growing out of the swing-influenced jump blues of the 1940s, has not only remained perennially popular but grown in acceptance. As performed here by the B.B. King Blues Band, it is still essentially the same, a jazzy roadhouse music that leaves plenty of room for solos. At one time, most of those solos were played by King on his guitar, but now he is content to give the showcase to his horn players, as he does on "Blues Man," or organist James Toney, who claims the lion's share of "Rock Me Baby." There is still plenty of guitar work, however, and King remains seemingly as agile as ever. He is also a relaxed, comfortable frontman, engaging in easy banter with both band and audience.

Although Live & Well wasn't a landmark album in the sense of Live at the Regal, it was a significant commercial breakthrough for King, as it was the first of his LPs to enter the Top 100. That may have been because recognition from rock stars such as Eric Clapton had finally boosted his exposure to the White pop audience, but it was a worthy recording on its own merits, divided evenly between live and studio material. King's always recorded well as a live act, and it's the concert tracks that shine brightest, although the studio ones (cut with assistance from studio musicians like Al Kooper and Hugh McCracken) aren't bad.