Live at the Regal
B.B. King
His plump
figure with the guitar dwarfed by his plump body forms part of our lives. Of
all, almost no matter when they were born. He was already there. Because B. B. King is the blues. His discography is as immense as his talent and has always
been known more for songs combined with his legend than for any particular
album. And especially for his live performances in a life that has practically
been permanent tour. It wasn’t until 2015 that his health began to catch up
with him a months before turning 90 years old.
In a survey
of all his albums, most likely only two of his albums would come to mind: Riding with the King, his best-selling
duet with Eric Clapton recorded at the edge of the 21st century, and
Live at the Regal, the album from 1964
and released a year after he was consecrated the definitively as the “king”, the
authentic and supreme monarch of the guitar that is immersed in the swampy
waters of the blues with the permission of the other two with right to bear the
same surname: Albert y Freddie.
That
concert took place during his time of full maturity, marked by technical
perfection and even a throat that still allowed him to play with falsettos. He
couldn’t conserve his voice, but then it also brought about a unique feature
that has made his concerts special decade after decade: the ability to wrap the
audience around his finger by having them participate in the show. His tricks
in this area have been copied almost as much as his own vibrato that has
dazzled many and strangers making it look easy when it is not.
On Live at the Regal, there are the songs
that have accompanied him throughout the majority of his career, those that
barely last three minutes long and almost achieve to condense the spirit of
those slaves who cried their sorrows amongst cotton. The majority are of other
guys, because, Riley B. King, his true name, has been above all an interpreter,
a transmitter of feelings of characters such as Memphis Slim, which begins the
album –Everyday I have the blues-, or
John Lee Hooker and his eternal lament of It’s
only my fault. Of the crop, which can be described as self-written,
although it’s not listed in the credits, it is required to highlight How blue can you get?, a fixture in repertoire
ever since. His trademark song.
Much
technological work has gone into the remastering of an essential disc for both
connoisseurs and the inexperienced listener, that in no way has it diminished
interest. On the contrary, the remastering removes that nostalgic charm that
accompanies every good blues and it is better to the listen to them in the most
“raw” version possible.