“Three O’Clock Blues” (1951)
Walter Iooss Jr
“Three O’Clock Blues” wasn’t B.B. King’s debut single, but this 1951 cover of Lowell Fulson’s classic track became his breakthrough hit, reigning supreme on the R&B charts for five weeks. Despite its raw recording quality, where King’s vocals and guitar overpower the other instruments, this song established the blueprint for his iconic sound. His rich, sophisticated voice engages in a captivating call-and-response with the piercing, almost sarcastic cries of his guitar. The arrangement is surprisingly refined, hinting at a more urbane sensibility than typical country blues, even incorporating a horn section. “Three O’Clock Blues” is a foundational BB King song, showcasing his early mastery of the genre and hinting at the innovations to come.
“You Upset Me Baby” (1954)
BB King performing with Lucille guitar, showcasing his energetic stage presence and signature guitar style.
King’s fourth R&B Number One hit, “You Upset Me Baby,” explodes into life with a memorable six-note horn fanfare before settling into a distinctive, looping guitar intro. While later live versions became more streamlined and energetic, this studio recording possesses a more relaxed, almost swaggering groove. It perfectly complements King’s charmingly offhanded profession of desire, delivered with a captivating blend of awe and good-natured lust. The lyrics even include a playful boast about his love interest’s “36-28-44” measurements, highlighting the timeless appeal of classic pop song themes. “You Upset Me Baby” is a quintessential BB King song, demonstrating his ability to fuse blues with popular music sensibilities and create infectious, memorable hits.
“Every Day I Have the Blues” (1955)
While Joe Williams and the Count Basie Orchestra may have outsold B.B. King’s rendition of “Every Day I Have the Blues” in 1955, King ultimately became synonymous with this enduring blues standard. By consistently opening his live performances with the song well into the 1970s, he cemented his place as the bluesman most identified with its melancholic melody. Originally penned by the Sparks brothers in the 1930s and evolving into its modern form with Memphis Slim’s 1949 track “Nobody Loves Me,” King attributed his success with “Every Day I Have the Blues” to the “crisp and relaxed” horn arrangements by Maxwell Davis. This BB King song became a live staple and a testament to his ability to reinterpret and own existing blues classics.
“Sweet Sixteen” (1960)
After experimenting with softer pop ballads in the late 1950s, seeking to broaden his audience, B.B. King’s R&B hit-making streak temporarily stalled. However, he powerfully returned to his roots with “Sweet Sixteen,” a Big Joe Turner song that King stripped of its original punchy brass arrangement. In this rendition, King’s guitar acts as a terse commentator, echoing each vocal lament with sharp, concise phrases. Verse after verse, the song builds slowly, simmering with intensity without ever fully erupting into catharsis. “Sweet Sixteen” marked a return to form for BB King, showcasing his signature vocal and guitar interplay in a more restrained yet equally impactful style, and solidifying his status among top blues artists.
“Don’t Answer the Door” (1966)
BB King in a reflective pose, highlighting his mature stage presence and the depth of emotion in his music.
By the mid-1960s, B.B. King had fully developed his mature guitar style, characterized by precise bursts of notes and a subtle, expressive left-hand vibrato, prominently featured in the moody hit “Don’t Answer the Door.” As a brooding organ subtly shifts chords in the background, King delivers insistent vocals, urging his woman to remain secluded at home, away from her family. The song’s lyrics convey a possessive fury, the source of which remains tantalizingly ambiguous. “Don’t Answer the Door” is a prime example of mature BB King songs, demonstrating his mastery of atmosphere and emotional nuance, both vocally and instrumentally, creating a compelling narrative within a blues framework.
“Why I Sing the Blues” (1969)
“Why I Sing the Blues,” the powerful climax of King’s 1969 album Live & Well, recorded with a studio band including Al Kooper on piano, is a poignant and understated yet furious catalog of the injustices faced by Black Americans throughout history. From the horrors of the Middle Passage to the realities of urban poverty, the song unflinchingly addresses systemic inequality. An added verse sees King, then in his early forties, reflecting on his own aging, adding a personal layer to the broader social commentary. Musically, “Why I Sing the Blues” features a more contemporary groove than many of his singles at the time. Interestingly, King’s former label, Kent Records, continued to release hits from their backlog of his recordings as late as 1971, demonstrating the enduring appeal of his earlier work alongside his newer sounds. This BB King song is a powerful statement, showcasing his willingness to address social issues within his music and connect his personal experiences to larger historical narratives.
“The Thrill Is Gone” (1970)
BB King performing "The Thrill Is Gone", his focused expression and guitar work conveying the emotional weight of the song.
Arguably BB King’s most iconic song and biggest pop hit, “The Thrill Is Gone” is a dramatic reimagining of Roy Hawkins’ 1951 original. Producer Bill Szymczyk, who would later work with the Eagles, crafted a sleek and controlled groove, adding restrained strings that heighten the drama and tension, creating a melodic counterpoint in the low end. King’s guitar work is at its most expansive and expressive – he delivers icy, precise pinched notes that convey dismissive finality, then lyrically expands into subtle variations on the vocal melody. “The Thrill Is Gone” elevated BB King to a new level of mainstream recognition, demonstrating his ability to blend traditional blues with contemporary production techniques to create a timeless and emotionally resonant masterpiece and one of the most recognized BB King songs.
“Chains and Things” (1970)
Following the massive success of “The Thrill Is Gone,” B.B. King increasingly experimented with pop and rock-influenced arrangements. “Chains and Things,” the most successful of six singles from his crossover hit 1970 album Indianola Mississippi Seeds, is a slow, regretful track with a distinctive, melancholic phrase born from a studio accident. King recounted hitting a “wrong note and worked my way out of it… We got the arranger to have the strings follow it.” Adding to the song’s unique texture is a haunting electric piano riff played by none other than Carole King. “Chains and Things” exemplifies BB King’s willingness to push musical boundaries and incorporate contemporary sounds into his blues foundation, resulting in innovative and commercially successful music.
“To Know You Is to Love You” (1973)
BB King in a vibrant performance, possibly during the "To Know You Is to Love You" era, reflecting the song's soulful and funk-infused style.
Stevie Wonder and Syreeta Wright co-wrote “To Know You Is to Love You,” the sprawling, eight-and-a-half-minute title track from BB King’s 1973 album. Backed by Philadelphia studio musicians who were instrumental in shaping the disco sound – including drummer Earl Young and guitarist Norman Harris – King ventured into bubbling funk territories far removed from his traditional blues stage performances. This song extended the sonic explorations initiated by “The Thrill Is Gone,” pushing his artistry even further and even earning him an appearance on Soul Train. “To Know You Is to Love You” showcases BB King’s adventurous spirit and his capacity to embrace diverse musical styles while retaining his core blues identity, demonstrating his remarkable adaptability and longevity.
“Never Make a Move Too Soon” (1978)
For his 1978 album Midnight Believer, BB King collaborated with the jazz-fusion band The Crusaders. “Never Make a Move Too Soon,” adapted from The Crusaders’ instrumental track “Greasy Spoon,” received a modern update with sly, relationship-focused lyrics and a lively, party-ready arrangement reminiscent of Marvin Gaye’s “Got to Give It Up.” Becoming a Top 20 R&B hit, the song evolved into a standard, covered by artists ranging from Bonnie Raitt to Toni Tennille. King later revisited the track as a duet with Roger Daltrey. “Never Make a Move Too Soon” highlights BB King’s ability to stay relevant and contemporary, collaborating with diverse artists and genres to create enduring and widely appealing music, proving his lasting influence across musical landscapes.
