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B. B. King: Blues On The Bayou

 A l b u m   D e t a i l s


Label: MCA Records
Released: 1998.10.20
Time:
 64:11
Category: Blues
Producer(s): B. B. King
Rating: *********. (9/10)
Media type: CD
Web address: www.bbking.com
Appears with:
Purchase date: 2008.04.25
Price in €: 5,99



 S o n g s ,   T r a c k s


[1] Blues Boys Tune (B.B.King) - 3:29
[2] Bad Case of Love (B.B.King) - 5:28
[3] I'll Survive (B.B.King/Ling) - 4:52
[4] Mean Ole' World (B.B.King) - 4:30
[5] Blues Man (B.B.King) - 5:19
[6] Broken Promise (B.B.King/Ling) - 3:34
[7] Darlin' You Know I Love You (Bihari/B.B.King) - 5:26
[8] Shake It Up and Go (B.B.King/Taub) - 3:10
[9] Blues We Like (B.B.King) - 5:08
[10] Good Man Gone Bad (B.B.King/Taub/Washington) - 3:20
[11] If I Lost You (B.B.King/Taub) - 4:57
[12] Tell Me Baby (B.B.King/Ling) - 3:26
[13] I Got Some Help I Don't Need (Clark/B.B.King) - 4:37
[14] Blues in G (B.B.King) - 3:28
[15] If That Ain't It I Quit (B.B.King) - 3:20

 A r t i s t s ,   P e r s o n n e l


B.B. King - Guitar, Producer, Liner Notes

James Toney - Keyboards
Leon Warren - Guitar
Melvin Jackson - Saxophone
Stanley Abernathy - Trumpet
James Bolden - Trumpet, Leader
Tony Coleman - Percussion
Calep Emphrey - Drums
Phillip Marshall - String Arrangements

Sidney Seidenberg - Executive Producer
Tony Daigle - Engineer
Joe McGrath - Mixing
John Porter - Mixing
Stephen Marcussen - Mastering
Jim Watts - Assistant Engineer
Kevin Westenberg - Photography
Martie Kolbl - Coordination
 

 C o m m e n t s ,   N o t e s

1998 CD MCA 11879
1998 CS MCA 11879

Recorded at Dockside Studio, Maurice, Louisiana. Includes liner notes by B.B. King.

BLUES ON THE BAYOU won the 2000 Grammy Award for Best Traditional Blues Album.

Having just turned 73, B.B. King released BLUES ON THE BAYOU as a kind of retrospective look at 50 years of playing the blues. King produced BAYOU himself and recorded it at a remote studio in the heart of Lafayette, Louisiana with the band he'd been playing with for the past 10 years. A relaxed and well-oiled feeling is felt throughout this group of songs,some of which were newly written while others are older numbers that were dusted off and re-recorded specifically for these sessions. "Blues Boys Tune" and "Blues We Like" are solidly rendered King instrumentals and "I'll Survive" is a '50s nugget softly gilded by strings and horn charts punctuatedby James Sells Toney's fluid piano playing. King's economical use of notes means that "Mean Ole World" becomes more than just a standard shuffle and "Blues Man" not only possesses a slow burn, but could easily become his trademark song.Digging deep into his considerable catalogue, B.B. King shows impressive acumen towards life's potholes by pulling out numbers dealing with betrayal ("Broken Promise"), sassy, Louis Jordan-flavoured relationship problems ("Shake It Up And Go"), jealousy ("Good Man Gone Bad") and despair ("If I LostYou", "Tell Me Baby").



Opting for simplicity this time around, B.B. King gets by with a little help from his excellent backing band, producing an album that's evocative of the Louisiana countryside where it was recorded. After over half a century in the business, King knows what he's about: he makes playing good blues sound easy, and every track on Blues on the Bayou is a treat.

Genevieve Williams - Amazon.com's Best of 1998



There's an undeniable pleasure in listening to a veteran bluesman do his stuff. For Blues on the Bayou, which he also produced, B.B. King presents a stripped-down, simply-arranged recording that's as tight as a coiled spring and smooth as a freshly-polished dance floor. From the first track, "Blues Boys Tune," a slow instrumental dripping with organ riffs, this CD is chock-full of the sort of guitar work that a master like King makes sound effortless. Whether it's the mid-tempo playfulness of "Bad Case of Love," or the slow "Blues Man" with its sparkling-clean guitar work, or the wistfulness of "Darlin' What Happened," or the sheer sweetness of "If I Lost You," Blues on the Bayou proves why King is considered the reigning master of blues guitar. Even the violins sound right and proper here, and King's sidemen turn in some impressive work as well; there are in particular some great piano solos on this disc. On the whole, Blues on the Bayou is a slow-burning treat.

Genevieve Williams - Amazon.com essential recording



Making his producing debut, King summons a slow-rising, down-home aroma, like bacon and grits in the morning.

Entertainment Weekly



...It's all standard fare for the Delta blues king, but what really invigorates this 15-track set is rollicking instrumentals....Of course, King's tremulous, church-deacon voice caroling between (Lucille's) high-tone twangs is always a thrill. - Rating: B+

Entertainment Weekly (10/30/98, p.117)



...King is at long last back making records that resemble his brilliant live presentations...the real King has emerged once more. Blues fans everywhere, rejoice.

Living Blues (1-2/99, p.48)



Es ist ganz unbestritten ein Vergnügen, einem Veteranen des Blues zuzuhören, wenn er in seinem Element ist. Bei Blues on the Bayou, das er auch selbst produzierte, präsentiert B.B. King eine karge, einfach arrangierte Aufnahme, die so kompakt ist wie eine angespannte Spirale und so sanft und glatt wie eine frisch gebohnerte Tanzfläche. Angefangen von dem ersten Track "Blues Boys Tune", einem langsamen Instrumentalstück mit Orgel-Riffs, ist diese CD randvoll mit der Art von Leistung an der Gitarre, die bei einem Meister wie King völlig mühelos klingt. Ob bei dem verspielten "Bad Case of Love" im mittleren Tempo oder bei dem langsamen "Blues Man" mit seinem funkelnd klaren Gitarrenklang, bei dem wehmütigen "Darlin' What Happened" oder dem ganz einfach hinreißenden "If I Lost You" - Blues on the Bayou zeigt, warum King als Herrscher im Reich der Blues-Gitarre anerkannt wird. Selbst die Violinen liefern hier den angemessenen Klang und des Königs Untertanen bringen ebenso beeindruckende Leistungen; es gibt auf dieser Platte vor allen Dingen einige großartige Sololeistungen am Klavier. Alles in allem läßt Blues on the Bayou immer wieder Freude aufkommen.

Genevieve Williams - Amazon.de



Er war nie päpstlicher als der Papst, und zuweilen ließ B.B.King seinen Sound über Gebür polieren. Nun markiert das selbstproduzierte "Blues On The Bayou" eine Rückbesinnung auf die Basics. Alte und neue Stücke, in vier Tagen aufgenommen mit seiner Tourband, haben all die vertrauten Qualitäten und den auffällig relaxten Gestus. Daß die Bläser im Mix eher Beiwerk sind, King auf Synthie-Streicher nicht ganz verzichtet, schmälert das Vergnügen.

© Audio



"Back to basics" lautet die Devise, mit der B.B. King, 73 Jahre jung, die Aufnahmen zu seinem neuen Album anging. Ohne prominente Gäste wie noch auf "Blues Summit" (1993) und "Deuces Wild" (1997) spielte er - erstmalig unter eigener Produktionsregie - mit seiner Tourband live im Studio unter Verzicht auf "High-Tech-Tricks und nachträgliche Ausbesserungen. Fünfzehn Titel sind entstanden, zum Teil neue Songs aus eigener Feder, zum Teil Neuauflagen von Oldies wie "Bad Case Of Love" und "I'll Survive". Authentischer Blues, vielleicht eine Spur zu routiniert.

© Stereoplay



B.B. King made his debut as producer with Blues on the Bayou, released in October 1998. He employs the most basic of ideas for this project: record an album of B.B. King tunes, with B.B. King's regular road band, under B.B. King's supervision. Keeping it loose, relaxed, and focused, King cut this album in four days down at a secluded studio in Louisiana and came up with one of his strongest, modern-day albums in many years. No duets, no special guests, just King and his road warrior band, playing his songs with him producing the results - no overdubs, just simple, no-nonsense blues done like he would do them on-stage. The result is a no-frills, straight-ahead session that shows that King might be have been 73 at the time of this date, but he still had plenty of gas left in the tank. Tracks like "I'll Survive," and the jumping "Shake It Up and Go," "Darlin' What Happened," the minor keyed "Blues Boy Tune," the instrumental "Blues We Like," and the closing "If That's It I Quit" show him stretching out in a way he has seldom done in a studio environment, and the result is one of his best albums in recent memory.

Cub Koda - All Music Guide



Here's the B. B. King who moved mountains. After too many celeb-studded, laconic outings, this 1998 release is filled with his trademark, almost painfully eloquent guitar work on a gimmick-free selection of blues and ballads. His singing is on the money, too. With a voice as lustrous as old, well-polished wood, he imparts a melancholic defiance to the brilliant "Blues Man." His accompaniment is sparse and to the point, with James Sells Toney scoring high marks for his piano on the unhurried but insistent "Mean Ole' World" and organ on the churnin' "Bad Case of Love." Much of what B. B. sings here harkens back to classic material - the ebullient "Shake It Up and Go" updates "Bottle Up and Go," a Tommy McLennan chestnut from the '40s - but he puts the B. B. brand on this, and that makes this his best album in more than a decade.

Tim Schuller - Barnes & Noble
 

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