B E A T

Truly living up to his name, Riley B. “Blues Boy” King has majestically dominated the blues scene for over 35 years. Astute management and an ear for the modern have maintained enthusiastic concert crowds and undiminished reverence for his abilities. King appeared with the finest of musicians, from black American greats The Crusaders to rock stars like Eric Clapton and Leon Russell. He has recorded hits in a hotel room, in a garage, and in the world’s foremost studios. His material has ranged from pure blues to rock numbers, pop songs, and even Broadway standards; all of which all of which benefited from his unique, inimitable musical approach. His emergent playing style was heavily influenced by both T-Bone Walker and the jazz of Charlie Christian:: Like them, but unlike many Mississippi Delta guitarists- B.B. Kin g does not use a bottleneck or slide, but he relies on his left hand fingers to create bends and vibrato. Joining radio WGRM in Greenwood , Mississippi, in late 50’s, he was spotted by blues harmonica great Sonny Boy Williamson II (AKA Rice Miller) who took him to the more important Memphis station WDIA. There, King became resident DJ and was dubbed ‘ The Beale Street Blue Boy,” later shortened to “B.B.” by station manager Don Kearn. King’s recording debut came with MISS MARTHA KING (1949). Then talent scout Ike Turner signed him to Modern Records’ RPM Subsidiary where he enjoyed an 11-year stint, soaring to No.1 on R&B charts in 1950 with THREE O’CLOCK BLUES, which featured Turner on piano, Hank Crawford on Saxophone, and Willie Mitchell on trumpet. Quickly becoming the most in demand artist on the blues circuit, King quit WDIA.
King’s eloquent guitar lines, with their torrent of notes, are perfectly matched to his emotive vocals, which combine falsetto wailing and a rich, gospel flavored tenor. Despite a couple of quirks, (He rarely plays rhythm, and never sings and plays simultaneously), King is an absolute master of his chosen genre, and has influenced countless other guitarists, notably Buddy Guy, Otis Rush, and Eric Clapton. In 1961, he switched to major ABC-Paramount label, for which he made classic albums like the seminal LIVE AT THE REGAL (1964), arguably his greatest recording. He moved to MCA in 1969, and almost immediately enjoyed a stunning artistic and commercial successwith the smash U.S. hit single THE THRILL IS GONE, featuring a superbly effective string arrangement. It came from the COMPLETELY WELL album, released the same year, and was followed by a string of collaborations with rock-based performers, reflecting King’s substantial following among younger, white audiences. King kept up a tireless recording and touring schedule throughout the 1970’s and 80’s, playing Europe, Africa, and Asia- and in 1979, even appearing in the USSR. His role as an international ambassador and elder statesmen for the blues was reflected in the lifetime award he received at the Grammy Awards ceremony in 1988. This recognized him as “one of the most original and soulful blues guitarists and singers,” the previous year, he had become on of the few bluesmen to be inducted into the Rock‘n’Roll Hall of Fame. However, King’s career is far from over. He and his trademark Gibson semi-solid guitar, “Lucille”, continue their musical odyssey onstage and in the studio; recent albums have included a BLUES SUMMIT (1993) with appearances by Robert Cray, Buddy Guy, John Lee Hooker,and others, DEUCES WILD (1997) and RIDING WITH THE KING (2000). The latter two discs both feature Eric Clapton, a close friend since the 1970’s.