Most of B.B. King's studio albums of the '80s and '90s tend to de-emphasize his guitar playing and consist largely of forgettable originals and obvious attempts at pop hits. However this CD (which was cut in the studios) is on a higher level and is quite rewarding. Most of the tunes were co-written by pianist Joe Sample and Will Jennings, and the majority are quite catchy and memorable. Certainly it is easy to sing along with the refrains of "I'm Moving On," "Back in L.A." and "Roll, Roll, Roll." On this date King usually overdubbed his guitar to play along with his vocals (somehow the interplay does not sound spontaneous) but it does not detract from the final results. The intelligent and philosophical lyrics fit King's style very well and his voice is very much in prime form. Well worth acquiring.
Born in Dublin, Mississippi in 1943, Jimmy Burns derived his earliest inspiration from the records of Muddy Waters, John Lee Hooker and others. After Jimmy moved to Chicago in the mid-'50s he discovered a scene that was perfect for the meld of traditional blues, churchy emotionalism, and forward-looking pop/R&B sophistication that by then comprised his musical aesthetic. When he finally signed with Delmark in the mid-'90s, he was primed and ready to take his place as a leading blues recording artist. Live at B.L.U.E.S. captures perfectly the indelible combination of joyful spirits, warm-hearted intimacy, and sharp-witted intelligence that characterizes Jimmy Burns, as both a musician and a man. With special guest vocalist Jesse Fortune.
What's the first thing you think of when you hear the word budget? It's a meager little word, one that all too often comes after tight. Maybe you think of this word as an adjective, something to describe a cheap and substandard car or hotel. Budget brings to mind rationing, a kind of money diet. If you're like many people, budgeting is something you do with a kind of deflated spirit: budgeting means bargain bin quality and the sad sense that what you want is going to be just out of reach.
There Must Be a Better World Somewhere is the twenty seventh studio album by B. B. King released in 1981. It was awarded the Grammy Award for Best Ethnic or Traditional Recording the following year.
' The JB's grab at a piece of the disco market that made Van McCoy a solo star with this production. It's excellent throughout despite James Brown's subdued arrangements on some songs. "(It's Not the Express) It's the JB's Monaurail," usually a six-minute song, rambles for over eight. Fred Wesley's funky trombone peppers "All Aboard the Soul Funky Train" (an update of "Night Train"). "Transmograpfication" is similar to jazz trumpeter Eddie Henderson's crossover attempts on his Sunburst and Realization albums. "Thank You for Letting Me Be Myself and You Be Yours" is better than the title, with a Dyke and the Blazers-type vocal that sets it right.' Andrew.Hamilton@allmusic.com
Listening to this work so soon after hearing Zauberflote one is amazed anew that Mozart could write two such totally contrasted pieces within months of each other. Here, in the composer's last opera seria, we are in another world, one of formality tempered by the deep emotions engendered by love and jealousy. Instead of birdcatchers and Masonic rights we are dealing with historic figures in a supposedly historic context with down-to-earth feelings. For each Mozart finds precisely the appropriate music.