John Lennon openly wished he could play guitar like B.B. King. Vernon Reid came away from one of the reigning King of the Blues’ shows testifying, “This cat really does have a hell hound on his trail.” And millions of guitarists around the world count him as an influence.
On September 16, as Lucille’s papa turns a sprightly 84 years old, he’s still out on the road playing more than a hundred dates a year and winning new fans.
All of King’s hits — “The Thrill is Gone,” “Three O’Clock Blues,” “Rock Me Baby,” and many more — have become blues standards. But to celebrate the birthday of the guitarist with the coolest vibrato on the planet, let’s revisit 10 of his more obscure gems and see what they reveal:
“Miss Martha King” (1949). King’s first single, on the Bullet label, is a shuffling ode to his then-wife recorded in a Memphis radio station studio. It’s the sound of King just starting to move uptown. He’s still shouting lyrics like a country lad, but is surrounded by a distinctly urban horn section. King’s playing here is just a rudimentary precursor to his ultimate style.
“Recession Blues” (1958). Now this sounds like B.B. His voice is in full-tilt cry ‘n’ moan; his guitar wrings out stinging licks. As King sings about how he has to stop hitting the clubs and “can’t afford no liquor,” this number feels uncomfortably current.
“Rockin’ Awhile” (1963). Two years after recording a version of “Don’t Get Around Much Anymore” with the Duke Ellington Orchestra, King perfected his own horn-heavy band sound around the time of this tune, which was cut in the same session as his first version of “How Blue Can You Get.”
“Beautician Blues” (1964). Here’s King in big band blues shouter mode after finding himself as an artist. The tongue-in-cheek ode to his hairdresser baby is dead on the beat, short on guitar, and long on the gusto that’s a signature of his vocal style.
“Sloppy Drunk” (1966). Chugging and uptempo, this keyboard driven number remained in the can for nearly 30 years before it was released on the King of the Blues box set. It displays King’s largely underappreciated ability to belt out a rock tune, which he nailed on the retro teen anthem “Please Accept My Love” in 1970 and again in 1988 with U2 on “When Love Comes to Town.”
“Think It Over” (1966). Compare this to Junior Wells’ “You Don’t Love Me?” There’s a resemblance that nonetheless takes nothing away from either number.
“Fools Get Wise” (1969). How heavy is King’s funk? So heavy it’s propelled here by rhythm badasses Jerry Jemmott (bass) and Herbie Lovelle (drums). If you haven’t heard this one, wise up.
“Ghetto Woman” (1971). This rare track features King’s most languid, graceful guitar playing with some of his most elegant studio support: Gary Wright of “Dream Weaver” fame on piano, Dr.John on rhythm guitar, bassist Klaus Voorman, and drummers Ringo Starr and Jim Kelter. King often found himself in such first-class company during his ABC/Bluesway label years — a period that also yielded “The Thrill is Gone.”
“Niji Baby” (1971). Like 1965’s Live at the Regal, the album Live in Japan — never issued in the States — caught King and his road band in mid-stride. This instrumental is a slinky, elegant extension of the master’s the-growing fascination with jazz.
“Inflation Blues” (1982). King has often paid tribute to his hero Louis Jordan, making “Caledonia” and “Let the Good Times Roll” staples of his concerts. A sequel of sorts to “Recession Blues,” this tune still rings true. And thanks to Woody Shaw on trumpet and Arnette Cobb on tenor sax, it respects Jordan’s exceptional horn-based sound.