B.B. King Greatest Hits [MCA]
|WINTER SALE:||$6.71 Limited Time Only|
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- Released: August 25, 1998
- Originally Released: 1998
- Label: MCA
- $0.99 on iTunes1.Every Day I Have the Blues
- $0.99 on iTunes2.Sweet Little Angel
- $1.29 on iTunes3.How Blue Can You Get?
- $1.29 on iTunes4.Paying the Cost to Be the Boss
- $1.29 on iTunes5.Don't Answer the Door
- $1.29 on iTunes6.Why I Sing the Blues
- $1.29 on iTunes7.The Thrill Is Gone
- $0.99 on iTunes8.I Like to Live the Love
- $0.99 on iTunes9.Hummingbird
- $0.99 on iTunes10.To Know You Is to Love You
- $0.69 on iTunes11.Chains and Things
- $0.99 on iTunes12.Better Not Look Down
- $0.99 on iTunes13.Never Make a Move Too Soon
- $0.99 on iTunes14.There Must Be a Better World Somewhere
- $0.99 on iTunes15.Playin' with My Friends
- $1.29 on iTunes16.When Love Comes to Town
Song previews provided courtesy of iTunes
Personnel includes: B.B. King, Robert Cray (vocals, guitar); Bono (vocals); The Edge (guitar, keyboards); Joe Walsh, Hugh McCracken, Dean Parks (guitar); Lawrence Burdine, Hank Crawford (alto saxophone); Wilton Felder (tenor saxophone, bass); David "Fathead" Newman, Vernon Slater, Johnny Board, Bobby Forte (tenor saxophone); Jerome Richardson, Ronald Cuber (baritone saxophone); Kenneth Sands, Carl Adams (trumpet); Duke Jethro (piano, organ); Leon Russell, Paul Harris, Charles Brooks (piano); Carole King (electric piano); Dr. John, Stevie Wonder, Joe Sample, Jim Pugh (keyboards); Leo Lauche, Gerald Jemott (bass); Sonny Freeman, Herbie Lovelle, Russ Kunkel, Bernard Purdie (drums); Paulinho Da Costa (percussion).
Includes liner notes by David Ritz.
Digitally remastered by Erick Labson (MCA Media Studios, North Hollywood, California).
Personnel: Robert Cray (vocals, guitar); Clydie King, Merry Clayton, Venetta Fields (vocals); Dean Parks, Hugh McCracken, Norman Harris, Roland Chambers (guitar); Quitman Dennis (saxophone); Lawrence Burdine (alto saxophone); Vernon Slater , David "Fathead" Newman , Johnny Board, Andrew Love, Bobby Forte (tenor saxophone); Barney Hubert, Jerome Richardson (baritone saxophone); Waymon Reed, Carl Adams , Gary Grant, Henry Boozier, Steve Madaio, Wayne Jackson , John Browning (trumpet); Charles Fendley, Pluma Davis (trombone); Duke Jethro (piano, organ); Leon Russell, Paul Harris (piano); Carole King (electric piano); Charles Mann (keyboards, background vocals); Joe Sample, Jim Pugh , Ron Kersey, Stevie Wonder (keyboards); James Gadson, Larry Mullen, Jr., Russ Kunkel, Stix Hooper, Sonny Freeman (drums); Larry Washington (congas); Luther Waters, Phyllis Duncan, Rebecca Evans Russell, Helen Duncan, Julia Tillman, Maxine Willard Waters, Oren Waters (background vocals).
Audio Remixers: Ron Jacobs ; Shelly Yakus.
Liner Note Author: David Ritz.
Recording information: Berkeley, CA (09/30/1963-03/12/1993); Hollywood, CA (09/30/1963-03/12/1993); Los Angeles, CA (09/30/1963-03/12/1993); New York, NY (09/30/1963-03/12/1993); Philadelphia, PA (09/30/1963-03/12/1993); Regal Theatre, Chicago, IL (09/30/1963-03/12/1993); Sun Studios (09/30/1963-03/12/1993).
Photographer: David Gahr.
Unknown Contributor Roles: Dr. John; Joe Walsh ; Leon Russell; Stevie Wonder; The Crusaders; Carole King.
Arrangers: Hank Crawford; Johnny Pate; Maxwell Davis.
Mississippi born Riley B. King began playing music on the streets of his native Indianola in the '40s, eventually moving to Memphis to pursue a career as a bluesman. He found a home as a DJ on legendary Memphis radio Station WDIA in the early '50s, a position he used to further his budding reputation as a guitarist/singer to be reckoned with. His on-air moniker, "the Beale Street Blues Boy" ultimately metamorphosed into his stage name. He spent the '50s cementing his legend as an energetic performer, playing with Johnny Ace and Bobby "Blue" Bland and on his own. His very modern, urban style was influenced not only by T-Bone Walker, but by jazz guitarist Charlie Christian. King's gestalt was miles away from the blues' rural beginnings, relying on witty, sophisticated lyrics and almost jazzy rhythms. His signature guitar style, as played on his trademark Gibson hollow-body "Lucille," combined quick vibrato with cutting, single-note lines and aggressively bent notes. His boisterous vocals, entertainment-value showmanship and gregarious personality made him beloved not just to blues aficionados, but to the larger pop audience.
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