By Ernest Barteldes
On what would have been the late B.B. King’s 90th birthday, I tuned into Brazilian radio station Educadora FM (from Salvador, Bahia), which was doing a special broadcast in honor of King, who passed away last May at the age of 89.
The record that the station chose to mark the date was Live at The Regal, an album recorded in Chicago in November 1964 and released the following year and became not only one of King’s most revered discs but also one of the most influential blues albums ever, cited by guitarists such as Eric Clapton and John Mayer, to name a few.
I was only able to hear part of the broadcast (I was on the Staten Island Ferry, which has a spotty WI-FI at times), but was immediately intrigued by it. I had certainly heard it before, but somehow it was not part of my personal collection – which I remedied as soon as I got a chance.
What we hear on Live at the Regal is B.B. King at top form playing songs that have since become classics. After a brief introduction, the album kicks off with “Every Day I Have the Blues” and going right into “Sweet Little Angel.” The band behind him (rounded out by Leo Lauchie on bass, Duke Jethro on piano, Sonny Freeman on drums plus Bobby Forte and Johnny Board on tenor saxophone) is sharp as ever, giving him the perfect backdrop for his unmistakable playing style. Songs like “Please Love Me” and “Woke Up This Morning” have a fiery quality to them, and tunes like “How Blue Can You Get?” have great response from the audience.
This was King’s first live album, which introduced him to larger audiences – he was already called “King of The Blues” back then, but the legend would grow as young folks discovered American blues across the pond via the likes of The Yardbirds and The Rolling Stones, who revered American blues even as many white Americans mostly ignored the genre.
The only thing that bothered me a bit was the sound editing – the ending of “Worry, Worry” is cut abruptly to give way to “Woke up This Morning,” and the second introduction (which I assume to be the beginning of side B on the vinyl edition) jumps into “You Upset Me Baby” – you can almost hear the click on the tape recorder.
I am hoping someone finds the source tapes to this recording (not at the Regal – the theater was demolished in 1973) and do a real nice remaster of this album – it certainly deserves it