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Track List
01) Ain't Nobody Here but Us Chickens
02) Is You Is, or Is You Ain't (My Baby)
03) Beware, Brother, Beware
04) Somebody Done Changed the Lock on My Door
05) Ain't That Just Like a Woman
06) Cho Choo Ch'Boogie
07) Buzz Me
08) Early in the Mornin'
09) I'm Gonna Move to the Outskirts of Town
10) Jack, You're Dead
11) Knock Me a Kiss
12) Let the Good Times Roll
13) Caldonia
14) It's a Great, Great Pleasure
15) Rusty Dusty Blues (Mama Mama Blues)
16) Sure Had a Wonderful Time Last Night
17) Saturday Night Fish Fry
18) Nobody Knows You When You're Down and Out
01) Ain't Nobody Here but Us Chickens
02) Is You Is, or Is You Ain't (My Baby)
03) Beware, Brother, Beware
04) Somebody Done Changed the Lock on My Door
05) Ain't That Just Like a Woman
06) Cho Choo Ch'Boogie
07) Buzz Me
08) Early in the Mornin'
09) I'm Gonna Move to the Outskirts of Town
10) Jack, You're Dead
11) Knock Me a Kiss
12) Let the Good Times Roll
13) Caldonia
14) It's a Great, Great Pleasure
15) Rusty Dusty Blues (Mama Mama Blues)
16) Sure Had a Wonderful Time Last Night
17) Saturday Night Fish Fry
18) Nobody Knows You When You're Down and Out
2:52
3:22
3:08
3:28
3:30
2:37
2:52
4:47
4:50
2:09
2:41
2:39
2:17
2:39
4:17
3:07
4:29
4:34
Data Complete
60%
Total Rating
60%Total Rating
(1 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1999
Blues
Passionate
Blues
---
Medium
Album
0 copies
Album Description
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Even if B.B. King is the King of the Blues, some might find it strange that he chose to record Let the Good Times Roll, a tribute album to Louis Jordan, the King of Jump Blues. King's work was never as boisterous or enthusiastic as Jordan's, but his debt is apparent from the first cut of the album. King may have never done straight jump blues, but his sophisticated urban blues -- complete with horn sections and an emphasis on vocals -- shows as much jump influence as it does Delta. Let the Good Times Roll brings that home with a quiet, seductive insistence. Backed by a stellar band -- featuring Dr. John on piano, drummer Earl Palmer, alto saxophonist Hank Crawford, and tenor saxophonist Dave "Fathead" Newman, among others -- B.B. King sounds loose and natural. There are stars in the band, but this is hardly a bloated all-star effort, since the focus in on delivering no-nonsense performances. Strangely enough, King doesn't play that much guitar on the album, concentrating on his vocals and letting the band interact. When he does solo, it's as elegant and tasteful as always, but the focal point is always the songs. Since he's such a fine guitarist, B.B.'s singing often goes underappreciated, but here it's at the forefront, and he shines. His phrasing is impeccable, and he always captures the spirit of the songs, either through humor or heart. Of course, that's a skill that Jordan had, as well, and realizing that sheds new light on B.B.'s music. Much of his celebrated skills as a showman and a performer indirectly came from Jordan, as did elements of his musical style. Never has that been as clear as it is on Let the Good Times Roll.
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Available in:
Even if B.B. King is the King of the Blues, some might find it strange that he chose to record Let the Good Times Roll, a tribute album to Louis Jordan, the King of Jump Blues. King's work was never as boisterous or enthusiastic as Jordan's, but his debt is apparent from the first cut of the album. King may have never done straight jump blues, but his sophisticated urban blues -- complete with horn sections and an emphasis on vocals -- shows as much jump influence as it does Delta. Let the Good Times Roll brings that home with a quiet, seductive insistence. Backed by a stellar band -- featuring Dr. John on piano, drummer Earl Palmer, alto saxophonist Hank Crawford, and tenor saxophonist Dave "Fathead" Newman, among others -- B.B. King sounds loose and natural. There are stars in the band, but this is hardly a bloated all-star effort, since the focus in on delivering no-nonsense performances. Strangely enough, King doesn't play that much guitar on the album, concentrating on his vocals and letting the band interact. When he does solo, it's as elegant and tasteful as always, but the focal point is always the songs. Since he's such a fine guitarist, B.B.'s singing often goes underappreciated, but here it's at the forefront, and he shines. His phrasing is impeccable, and he always captures the spirit of the songs, either through humor or heart. Of course, that's a skill that Jordan had, as well, and realizing that sheds new light on B.B.'s music. Much of his celebrated skills as a showman and a performer indirectly came from Jordan, as did elements of his musical style. Never has that been as clear as it is on Let the Good Times Roll.
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