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Along with his beloved guitar ‘Lucille,’ B.B. King brought the blues out of the margins and into the mainstream of America.

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B.B. King was the undisputed King of the Blues. Part of this was down to his incredible work ethic. Even in his final years, he was still performing 100 concerts a year with his famous guitar he named Lucille. In playing so many shows and continuing to release albums, he introduced people to the music he loved and made people realize that the blues could make you happy, just as easily as they can make you sad.

Riley B. King was born in Indianola, deep in the Mississippi Delta, in 1925. He was the son of Alfred King and Nora Ella King. He was named Riley after the Irishman who owned the plantation on which his parents lived and worked. “My dad and Mr. O’Riley were such good friends,” B.B. remembered, “he named me after him, but he left the O off. When I got big enough to know about it, I asked my dad one day, ‘why is it that you named me after Mr. O’Riley, why did you leave the O off?’ He said you didn’t look Irish enough!”

According to B.B. King, “Any time you’re born on a plantation you have no choice. Plantation first, that’s always first.“ But it was not long before The Beale Street Blues Boy, as Riley B. King became known, sought to change all that. The sharecropper’s son first went to Memphis in 1946 and stayed with his cousin Bukka White, but soon returned to Indianola to work as a tractor driver. “My salary, which was the basic salary for us tractor drivers, [was] $22 and a half a week. [That] was a lot of money compared to the other people that was working there,” explained King.

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But music was calling. King had already been singing and playing guitar for many years by that point. Inspired by Sonny Boy Williamson ’s radio show, young Riley moved back to Memphis in 1948.

One of his first guitar teachers during this time period was Blues legend Robert Lockwood. In Robert Palmer’s Deep Blues , Lockwood claims that King’s “time was apesh-t. I had a hard time trying to teach him.” Nonetheless, King “got to audition for Sonny Boy, it was one of the Ivory Joe Hunter songs called ‘Blues of Sunrise.’ Sonny Boy had been working out a little place called the 16th Street Grill down in West Memphis. So he asked the lady that he had been working for, her name was Miss Annie, ‘I’m going to send him down in my place tonight.’ My job was to play for the young people that didn’t gamble. The 16th Street Grill had a gambling place in the back, if a guy came and brought his girlfriend or his wife that didn’t gamble my job was to keep them happy by playing music for them to dance. They seemed to enjoy me playing, so Miss Annie said, ‘if you can get a job on the radio like Sonny Boy, I’ll give you this job and I’ll pay you $12 and a half a night. And I’ll give you six days of work, room and board.’ Man, I couldn’t believe it.”

King soon began working at WDIA, a local radio station. “When I was a disc jockey, they use to bill me as Blues Boy, the boy from Beale Street. People would write me and instead of saying the Blues Boy, they’d just abbreviate it to B.B.” His popularity in Memphis earned him the chance to record for Bullet in 1949. His first sides weren’t particularly successful, but then Sam Phillips got B.B. into his Memphis Recording Services studio in September 1950.

The start of the most successful long-running career in blues history

At the time, RPM Records’ Bahiri brothers were visiting Memphis in search of talent, and agreed to release the sides that King had cut with Phillips. These records failed to catch hold and so Joe Bihari, the youngest brother, went to Memphis and recorded B.B. in a room at the YMCA on January 8, 1951. On a subsequent visit to Memphis, Bihari recorded B.B.’s version of Lowell Fulson’s “Three O’Clock Blues.” It entered the chart on December 29, 1951 and eventually spent five weeks at No.1 in early 1952. Not quite an overnight sensation, but it was the start of the most successful long-running career in modern blues history.

In the early years of his success, King stayed in Memphis where he was a big star… but he wasn’t always the biggest star on every stage. “We were in Memphis at the Auditorium, Elvis was there watching,” King remembered. “Performing were Bobby Bland, Little Milton, Little Junior Parker, Howlin’ Wolf and myself. Everybody had been on stage. Bobby Bland, a stage mover man, he can move the people, Little Milton and myself, you know we do what we do, but we couldn’t move the crowd quickly like Bobby Bland. We had been on and now Howlin’ Wolf is up and the people are going crazy. Milton says, ‘Something is going on out there.’ Junior Parker says, ‘Let’s check it out.’ So Wolf is doing ‘Spoonful,’ now we go out there and he’s on his knees crawling round on the floor. The people just going crazy, so finally we figured out what it was; the seat of his pants was busted! And all of his business is hanging out!”

The origin of Lucille

One night while B.B. was playing at a club in Twist Arkansas, there was a fight and a stove was knocked over which set fire to the wooden building. The band and audience rushed outside before King realized that he had left his beloved $30 guitar inside. Rushing back into the burning building, he managed to get his guitar – even though he almost died in the process. The fight in the club? It was all over a woman named Lucille, which is how B.B.’s guitar got its name. Every one of the 20 or so custom-made Gibson guitars that King played during this career were called Lucille.

Throughout the time King recorded for RPM, he churned out hit after hit, topping the R&B chart three more times. He left RPM for Kent in late 1958, a stop that lasted throughout much of the 60s. While he never again topped the R&B charts, he had plenty of hits. His sweet gospel-tinged voice coupled with his brilliant single string picking proved an irresistible combination.

“I’m trying to get people to see that we are our brother’s keeper; red, white, black, brown or yellow, rich or poor, we all have the blues.” – B.B. King

Discovered by the young rock fraternity

By the late 1960s King, like many of his fellow blues guitar players, was “discovered” by the young white rock fraternity. It gave his commercial career a real boost. In 1970, “The Thrill is Gone” made No.3 on the R&B chart. It also crossed over to the Hot 100 and became his biggest hit when it made No.15. In 1969 he visited Europe for the first of many visits; audiences, well aware of the legend’s influence on Eric Clapton , Peter Green, et al., readily accepted him. A good portion of that esteem was based on King’s album Live At The Regal , recorded in 1964. “Well B.B. was like a hero,” explained Mick Fleetwood. “The band? You listen to the way that band swings on Live at The Regal , it’s just like a steam roller.”

Much of King’s success can be attributed to his live shows. He was one of the hardest working live performers, playing 250 – 300 dates a year, even in some of his lean years. He also had a knack for keeping his bands together. “The guys are not only great musicians, they’re loyal to me, I’m loyal to them, and we get together and have a good time,” King said in 2000. “Everybody’s been with me a long time, my late drummer, Sonny Freeman was with me around 18 years and now my senior trumpeter has been with me 21 years and everybody, except one, has been with me more than 10 years.”

In 1969 King toured America with the Rolling Stones . According to Bill Wyman, “We used to go on side stage and watch B.B. play. He had a 12-piece band and they were brilliant musicians. The thing that always stunned me about his playing was the way he hammered it out and then he’d just go down to a whisper. There was just silence in the place, you could hear a pin drop. He would suddenly start to build it to a big climax, that’s what I liked about his playing, the dimensions of his music.”

The elder statesman of the blues

In 1988, the year after he was inducted into the Rock and Roll Hall of Fame, King worked with U2 on their album Rattle & Hum . His performance on “When Love Comes to Town” proved he still had it, even at 63 years old. This wasn’t the first time King had played with others. Notable collaborations include The Crusaders, Diane Schuur, Alexis Korner, Stevie Winwood , and Bobby Bland. In 2001, King and Eric Clapton won a Grammy award for the album Riding With The King .

Perhaps one of his finest albums, however, was a tribute record. Like many of his contemporaries, King was inspired by Louis Jordan . For many years, King spoke of wanting to record an album of the legendary bandleader’s material. In 1999, he finally did, acknowledging his debt to Louis and celebrating the “King of the Jukeboxes.” The album’s title, appropriately, was Let the Good Times Roll , a song which King used to open his live shows for decades.

The legacy of B.B. King

B.B. King’s great skill was to bring the blues out of the margins and into the mainstream of American music. He took the music he heard as a kid, mixed it and matched it with a bewildering variety of other styles, and eventually helped bring the blues into the digital age. His legacy will loom large over music for years to come.

Looking for more? Discover how ‘Live At The Regal’ took B.B. King from Beale Street blues boy to global legend .

20 Comments

May 15, 2015 at 8:35 am

What a sad day!!!

YILMAZ ORHUN- IZMIR TURKEY

May 15, 2015 at 11:39 am

YILMAZ ORHUN – FROM IZMIR – TURKEY. I was so sorry to hear about Mr. BB KING . He will be missed by all of us. I’d like to extend my sympathy to you and to your family. We were sad to learn that Mr BB.KING passed away. My condolence Our condolence over the death of your relatives.

May 15, 2015 at 8:51 am

I never thought that loosing a man so beloved would get jammed up with this headline. to startle so many fans that were not rxpecting his passing barely a week aftrr we were told he was in hospice just lacks overall compassion. Onr of the great Kings of the Blues has passed away. An era of the true elder statesmen draws closr to its end as one of the great blues elders passed away today. He will be missed by so many around the world. Somewhere he is having a great reception.

Tammy Piccolo

May 15, 2015 at 8:55 am

Thank You Mr. Armstrong for sharing your most presious God given gift to the world. Your music isn’t just music for it lives on in the souls of those it has and will continue to inspire and bring joy to. I always desired a autographed photo of you, you sang my all time favorite song “It’s A Wonderful World” but I never could afford it or even to see you live. Thank you and God Bless you and those who shared you with the world. Rest In Peace

May 15, 2015 at 8:57 am

Miss him! Tearful! He gave us indescribably beautiful memories! Royal Albert Hall in the 90s ! RIP BB. The thrill is now really gone!

Betina Christensen

May 15, 2015 at 9:08 am

We all lost a Great Soul, our King Mr. B. B. King

May 15, 2015 at 9:13 am

I apoligize for my last post. I obviously am not very knowledgable about music and musicians. Although I do have some of mr kings music too and feel the same way about his gift of music to the world. God Bless and Rest in Peace Mr King.

May 15, 2015 at 9:21 am

Kudos for the wonderful article … Mr. King recently performed here in Atlantic Canada late last year … Although he may be gone from this place … The Thrill was always live on …….

May 15, 2015 at 9:25 am

The Thrill will always live on ……. ~I now stand corrected~

May 15, 2015 at 9:28 am

The Thrill will always live on ……. ~I stand corrected~

Eldon wheeler

May 15, 2015 at 9:46 am

THE KING IS DEAD, BUT WILL NOT BE FORGOTTEN. THANK YOU B.B. (and Lucille) FOR GIVING AND BLESSING US WITH YOUR BEAUTIFUL BLUES SOUND, THE MUSIC WORLD WILL NEVER FORGET YOU .

May 15, 2015 at 9:53 am

It is a sad day indeed,but now B.B King is playing the Blues in heaven. He may be gone,but his music will live on forever. Hail to the King.

Peter Lundvall

May 15, 2015 at 11:05 am

Yes, the King is dead, but the art lives.

May 15, 2015 at 3:15 pm

My dad was born in October ’25 and died in ’67. BB has, in a small but enriching way, filled these intervening years with the wisdom, fun, and heartfelt principles that my dad could have reflected, to us kids. BB’s children and grand children have been blessed in those intangible ways that I, on this side, do deeply admire and reflectively find comfort. May their lives continue in loving memory of one whom they called Daddy.

May 15, 2015 at 3:25 pm

BB, the few times I saw you in concert you just ruled the house.And I do mean ruled the house.I thank God for letting us share with you and your talent.At least now you are out of pain and you won’t have to be sticking yourself anymore.RIP BB, May God Bless you.

Darius Randolph

May 15, 2015 at 4:48 pm

Mr. B.B. King, will certainly be missed, I grow up listen, to his music at my Aunt Gladys house in Atlanta, Ga., and she was and still is a super fan of his, she really loved his music and so did all of us, and the people who came to her home.

Every time she entertained guests in her home, she would rock the night the with the record collection that she had, of Mr. B.B King.

To the family of Mr. King may your Hearts continue to hold him, dearly with in, and so will we, although, I never met, Mr. King, I feel like I did by listen to his music.

It is my heart felt pray, that our HEAVENLY Father, Almighty GOD, provide the strength, to help your family make it through, your difficult time of bereavement.

Anita Zachery

May 15, 2015 at 8:39 pm

MR B.B.KING ..WILL BE TRULY MISSED…..He was the KING-OF-THE BLUES…I remember meeting him in BESSEMER ALABAMA at the Madison Night Spot along with Ted Taylor…oh what a performance that night.In 1971/72….he came to Dayton ohio and my Dad went with them to Detroit Mi….love you MR.KING….R.I.P.

May 15, 2015 at 9:07 pm

It is impossible to live, hide the tears – but will life. With God.For him there better than us here.

Barry Phillips { Brighton } U.K.

May 16, 2015 at 12:38 am

Rest up now Mr B.B. King, you’ve given the world so much pleasure and joy, your heritage will live on in millions of memories, and millions of hearts throughout the world! From being born on a humble plantation to worldwide fame, love and respect, in a long and productive 89 year journey, you deserve that rest B.B. your work is done!

May 16, 2015 at 2:02 am

God Bless the memory of one of the greatest blues performers of all time. B.B. King will always be remembered as a great guitarist, singer and lover of the blues. May his soul rest in peace.

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It's Not Easy Being B. The Trailblazing Reign of B.B. King.

Tom Richards October 14, 2021 4:00AM

For many years, he was the ultimate road dog, sometimes playing over 300 live dates per year. tweet this

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Definitive B.B. King Biography ‘King of the Blues’ Available to Pre-Order

Read this sneak peek telling the story of “3 O'Clock Blues” – the song that launched the great man’s career.

‘King of the Blues’, scheduled for release on October 5 in the United States from Atlantic Monthly Books and 14 October in Britain from Grove Press U.K., delivers the first full and authoritative biography of B.B. King , the guitarist Eric Clapton termed "the most important artist the blues has ever produced."

Daniel de Visé presents King as the archetypal guitar hero, a man whose unique, vocal style of solo guitar came to dominate popular music. The author interviewed nearly every surviving member of King's inner circle and tapped a wealth of historical sources, including crucial clippings from the Guitar Player archives.

In this fascinating and insightful excerpt from the book, de Visé tells the story of how the blues guitar legend recorded his breakthrough hit, “3 O'Clock Blues.” 

One night in February or March 1951, Ike Turner was driving back to Clarksdale from a gig with his band when he came upon a mass of cars parked outside a roadhouse and a sign announcing that night’s performer as B.B. King. Turner walked into the club and found B.B. At their last meeting, Turner had sat in with B.B.’s band as a favor. Now, Turner asked B.B. if his band could play a song. B.B. agreed, and, by Turner’s account, the Kings of Rhythm “tore the house down.” At night’s end, B.B. told Turner, “Y’all got a good group. Have you ever made any recordings?” Turner, still a teenager, confessed to B.B. that he didn’t know how. B.B. replied, “I think I can set up a recording for you in Memphis with Sam Phillips.” He told Turner to show up at Sam’s studio around 10 a.m. on the next Wednesday.

B.B. turned up at the Memphis Recording Service studio shortly after Turner and his band. He pulled Phillips aside to tell the producer what he had heard at the club. At this session, Phillips was about to hear something else altogether. On the way to the studio, someone in Turner’s band had dropped a guitar amp . When the guitarist plugged in, the amp produced a horrible rasp. Everyone was deflated – except Phillips. He told the band the guitar would sound “different,” in a good way. He ran out to find brown wrapping paper to wad up inside the cabinet as a mute. Turner didn’t know quite what to make of the frenetic young producer, and he didn’t really care. “All I could picture was B.B.’s picture being tacked up on the posters,” Turner recalled. “That’s the next thing I was gonna be.”

The session yielded “Rocket 88,” a song later claimed by Phillips as the first true rock ’n’ roll single. Its distinctive quality lay in the sonic interplay between the saxophone and the oddly distorted guitar, which doubled the bass part through most of the song before briefly harmonizing with the horns at the end. Just as Phillips had predicted, it sounded like nothing that had been recorded before. The song rocketed to the top of the rhythm-and-blues chart, establishing Phillips as a major producer.

In April 1951, WDIA lost one of its stars. “Hot Rod” Hulbert decamped to radio station WITH in Baltimore. His exit left an opening for host of his three o’clock daily show, Sepia Swing Club . Bert Ferguson awarded it to B.B., who, after two years at WDIA, finally became a regular deejay with a weekly salary. The distinction is more important than it sounds. With his fifteen-minute slots singing the blues and hawking Pep-ti-kon, B.B. had enjoyed growing fame in juke joints around Memphis. But he had not been recognized, let alone embraced, by the city’s larger African American community, the rarified world of black-tie charity balls and award dinners. By the spring of 1951, B.B. ruled the roadhouses, but he had not been mentioned in any news article or column in the African American press in Memphis or anyplace else. He had not attained the civic currency of fellow deejays Nat and A. C. “Moohah” Williams, both established Memphis celebrities with newspaper columns of their own. All of that was about to change.

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B.B.’s first singles on Modern Records sold well around Memphis but failed to chart nationally. The Bihari brothers, still trolling for a hit, sent B.B. back to the Memphis Recording Service several times between the fall of 1950 and spring of 1951. The rift with Sam Phillips over B.B.’s contract quietly faded: Phillips needed their business. Affable Joe Bihari, at twenty-five the youngest of the Bihari boys, supervised a session in May 1951. B.B.’s backing band included the full Newborn family: Phineas Sr. on drums, Phineas Jr. on piano, and younger brother Calvin a new presence on second guitar, with other musicians supplying bass and horns.

The single Joe Bihari culled from this date was a cover of a rollicking boogie-woogie number by the Chicago blues guitarist Tampa Red, titled “She’s Dynamite” and chosen for its commercial promise. B.B.’s recording, like Tampa Red’s original, was prototypical rock ’n’ roll, anchored by a galloping boogie-woogie bass line, doubled on piano, and adorned with stabbing, two-string guitar bursts and tinkling piano triplets. The production hummed with overdrive. B.B. sang with abandon, capturing the sensuality of Tampa Red’s lyric. No one could fail to divine the meaning of the raucous refrain, celebrating a lover who “knows what to do” and “knows what it’s all about.” Sam Phillips harbored high hopes and dispatched the single to several deejays. But the Billboard reviewer dismissed “She’s Dynamite” as “ordinary.” The song appeared on a few local charts, but it made no mark on the national stage.

B.B.’s Modern Records singles weren’t selling well, but his career as a disc jockey stood in full flower. In October 1951, “Gatemouth” Moore departed WDIA for a new African American radio station in Birmingham. Once again, the beneficiary was B.B., who took Moore’s prized 1 p.m. slot with a new show titled Bee Bee’s Jeebies . Lucky Strike cigarettes bought time on B.B.’s shows, making him WDIA’s first African American personality with a national sponsor. B.B. made a credible Lucky Strike pitchman, being a smoker himself, even if the product he now touted was far worse for one’s health than Pep-ti-kon. In November, the radio station put B.B.’s face atop a display ad in the Tri-State Defender , a new weekly newspaper for the African American population of Memphis and environs, for its annual Goodwill Revue, a Christmastime fundraiser for the city’s Black community. B.B.’s currency was rising.

“You know, I’ve watched that boy go up the ladder, from just a 5-minute [ sic ] segment on Nat’s Jamboree to where he now has a series of programs all his own, and every one a hit,” wrote A. C. “Moohah” Williams, B.B.’s fellow deejay, in his column for the Tri-State Defender . “I’ve tried to figure what makes him click… and I’ve come to the conclusion… The reason B.B. is banging at the top of nearly every Hooper Rating is his all-fired sincerity.” Hooper Ratings measured a radio program’s listening audience, and the latest numbers revealed B.B. as a bona fide Memphis radio star. His close study of Arthur Godfrey had paid off.

B.B. had now cut several strong singles with Sam Phillips and the Bihari brothers. Had their collaboration continued, who knows what direction B.B.’s career might have taken. But in 1951, Sam and the Biharis fell out for good. This time, Phillips betrayed the Biharis. The brothers had the right of first refusal on everything Phillips recorded. That spring, Phillips sold the master of “Rocket 88” to a rival record maker from Chicago, Leonard Chess. The Biharis felt double-crossed.

The Chess brothers already controlled Chicago’s greatest blues-man, Muddy Waters. Now they sought to corner the market on Chicago blues, most of which was really Mississippi blues, by way of Memphis. Phillips gave the Chess brothers both “Rocket 88” and Howlin’ Wolf, who migrated north after making his name as a West Memphis deejay. Wolf’s Chess debut, “How Many More Years,” emerged in August 1951 and further redefined the Chicago sound.

Sam Phillips had no contractual power over B.B., so the rising star of Memphis blues remained in Memphis, out of the clutches of Chess. The Biharis set about finding new studio space for B.B.’s next session. They settled on the “colored” YMCA – conveniently, a block away from the rooming house where B.B. and Martha now lived. Joe Bihari rented a room at the Y for the September 1951 recording date and drove over with a Magnecord reel-to-reel tape machine in his car. He hung blankets over the windows to mask the sounds of passing cars.

Many men have claimed to have played at the Memphis Y that day: success, it is said, has many fathers. Hank Crawford, a teenager destined for jazz stardom, might or might not have played sax on B.B.’s session, possibly joined by Fred “Sweet Daddy Goodlow” Ford or Evelyn “Mama Nuts” Young or Ben Branch or Richard Sanders or Adolph “Billy” Duncan – but surely not by all of them. Bandleader Tuff Green might have handled the crucial bass part, or perhaps it was James “Shinny” Walker. Willie Mitchell, bound for fame as Al Green’s producer, might have played trumpet. Either Earl Forest, Phineas Newborn Sr., or Ted Curry manned the drums. Calvin Newborn might have provided a second guitar. If memories seem fuzzy, that is partly because Joe Bihari was recording several artists that day: the corridors of the Y hummed like a Memphis blues convention.

The song chosen for B.B.’s session was “3 O’Clock Blues,” a 1948 hit for Lowell Fulson, a West Coast blues guitarist. B.B. had the single on heavy rotation on Sepia Swing Club . Fulson rewarded the deejay by allowing him to record it. B.B. set out to put his own stamp of sincere intensity on Fulson’s song, whose lyrics “start out as an insomniac’s lament, but end up with a weepy farewell more suited to a suicide note.” It seemed perfect for B.B.’s emerging vocal style, fervent, intimate, and intense. But after the first take of “3 O’Clock Blues,” Joe Bihari recalled, “nothing was happening. It was just not working.” Joe called a fifteen-minute break. Part of the problem was the pianist, whom Joe recalled as young Phineas Newborn. Joe found his playing too jazzy: this song needed a blues beat. During the break, Joe heard someone playing the very piano part he imagined. He ran back into the recording room, shouting, “That’s what I want!” and found Ike Turner sitting at the piano. Joe hired Turner on the spot and sent Phineas Newborn home.

Joe tried a second take, and the song came together. “3 O’Clock Blues” was the first recording to showcase B.B. and Lucille in equal measure. It was also the first to feature both his voice and guitar high above the rest of the mix, if “mix” is the right word for a recording made on a monaural reel-to-reel tape recorder. Sam Phillips and his engineers had given plenty of space to B.B.’s voice but less to Lucille’s. No one in B.B.’s entourage had given him much credit as a guitarist. Now, at last, B.B. and Lucille stood front and center in a recording, commanding the listener’s attention. Lucille opened the song with a long, confident run of emotive notes. The horns fell into place as B.B. began to sing, marching along like a funeral procession. “Three o’clock in the morning,” he lamented, “can’t even close my eyes.” Lucille wailed a wordless reply. Ike Turner’s barroom piano tinkled in the background, combining with the dirge-like horns to weave a chilly veil of suspense.

“3 O’Clock Blues” was a triumph both for Lucille and for B.B., whose warmth and humanity finally prevailed over his native reticence on disc. Perhaps his newfound success as a deejay had loosened him up. As B.B. concluded the second verse, vowing to go down to the boilin’ ground if he couldn’t find his baby, he retreated into his speaking voice, just like Charley Patton of old, to comment on what he had just sung: “That’s where the mens hang out at.” His commentary rolled on as Lucille proceeded into an emphatic solo. He punctuated her forceful licks with cries of “Yeah!” and “Come out, baby!” The solo was simple and tasteful and masterful. Some of Lucille’s velvety phrases ended in long, sustained tones, drenched in vibrato. Others just stopped, as if B.B.’s guitar were catching her breath. B.B. erred only on the song’s final chord, which he played a half step too high. Tape was expensive, so Joe Bihari didn’t bother with another take. The rest of the performance was breathtaking. For all of Sam Phillips’s genius, the youngest Bihari brother had finally coaxed greatness from B.B. King.

“When I got back to California,” Joe recalled, “I listened to it, and I knew we had a hit record then.”

Pre-order your copy of 'King of the Blues: The Rise and Reign of B.B. King' by Daniel de Visé here .

Rod Brakes is a music journalist with an expertise in guitars. Having spent many years at the coalface as a guitar dealer and tech, Rod's more recent work as a writer covering artists, industry pros and gear includes contributions for leading publications and websites such as  Guitarist ,  Total Guitar , Guitar World ,  Guitar Player  and  MusicRadar   in addition to specialist music books, blogs and social media. He is also a lifelong musician.

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The King Blues

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'King of the Blues': New revelations mark definitive B.B. King biography

When Pulitzer Prize-winning journalist and author Daniel de Visé began contemplating a biography of B.B. King — one of the most iconic figures in American music — he was shocked at what he discovered. 

“I was stunned when I realized a major bio on him hadn’t come out since 1980, when Charlie Sawyer published his book on B.B. And B.B.’s own memoirs were almost 25 years old. It felt like there was an opportunity there to tell a big story. I love books that take a huge important person and explain why they are so well known,” says de Visé who will discuss his new book, “King of the Blues: The Rise and Reign of B.B. King,” during a free event at Memphis Listening Lab on Saturday. 

For de Visé, each of his books have come with a personal connection. His first biography, “Andy and Don” — a dual portrait of the professional and personal relationship between Andy Griffith and Don Knotts — was a matter of family, as de Visé is Knotts' brother-in-law. His next book, "The Comeback,"  about cycling legend Greg LeMond, was inspired by de Visé's father, a native of Belgium who was a major cycling enthusiast. 

de Visé ultimately came to write King’s story through his love of the blues. Raised in Chicago, he grew up seeing the city’s great bluesmen in concert as a teenager and studied music before becoming a successful newspaper journalist. 

“I was always a kind of frustrated music writer. I knew wanted to write some kind of music book. And, for me, B.B. was the ultimate topic. I think he’s the only true blues superstar,” says de Visé. “When you look at his career, he played something like 17,000 gigs in 90 different countries… it’s incredible. I mean, we sold the foreign rights to this book in places like Estonia. That tells you the reach he had.”   

de Visé began work on the King book in 2018 — three years after King’s May 2015 passing — and started his research in the Delta, Memphis and the Mid-South where the musician’s early roots lay. 

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Memphis was 'the big city' to B.B. King

Riley B. King was born Sept. 16, 1925, in Berclair, Mississippi, between Itta Bena and Indianola. The great-grandson of a slave, his childhood was filled with heartbreak, as he lost most of his family by the time he was a teen. Blues music — through the records of Lonnie Johnson and Blind Lemon Jefferson and via his cousin, the slide guitar master Bukka White — had a profound effect on the young King who, between work at the local cotton plantation, would spend Saturday afternoons picking and playing on the street corners of Indianola. 

By the late ’40s King had moved to the Bluff City, where he soaked up the city's hothouse musical atmosphere. “It was the big city to him,” says de Visé. “He made two pilgrimages to Memphis. The first one was aborted, as he wasn’t able to get the foothold he wanted. So he returned to Indianola and returned to life there. But he eventually came back to Memphis for good in 1949.”

Before long, he went knocking on the doors of Memphis’ Black-oriented radio station WDIA, where he made his name as a performer and radio personality. King would rise through the regional entertainment ranks, recording at Sam Phillips’ fledgling Memphis Recording Service, and releasing his first sides for the Modern and R.P.M. labels. He scored his first hit record, the chart-topping R&B number “3 O’Clock Blues, in 1952.

“B.B. was a citizen of the world,” says de Visé, “but Memphis was massively important to his history. It was the center of his universe, as much as Chicago was the center of Muddy Waters' or Howlin’ Wolf’s universe.”

B.B. King: 'Greatest blues singer' to 'guitar hero'

One of the most interesting aspects of “King of the Blues” is how it recognizes and contextualizes the fact that King was heralded more, at least initially, as a vocalist than a guitar player.  

“Throughout B.B.'s early career as an entertainer, in the Black R&B genre, he was almost never celebrated for his guitar work, he was known as ‘the greatest blues singer,’ over and over again in hundreds of clippings. His fans, the African American press, almost took it for granted that he played guitar,” says de Visé. 

“It’s hard to get your head around that now because there was so much adulation for his guitar work later on. But all the way up to (1964’s famed) ‘Live at the Regal’ album he’s introduced as ‘ladies and gentlemen… the world’s greatest blues singer.’”

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It would, however, be King’s innovations as a guitarist that stand as his greatest legacy.

“Historically speaking, B.B King created a role for the guitar, for the electric guitar, at the absolute center of popular music,” says de Visé. “I think it’s because of B.B. that you have these successive generations of guitar heroes. Guitar was a backbench instrument in 1949 when B.B. recorded his first sides. There weren’t very many people playing guitars and leading combos. The R&B charts were filled with singers, and singers who played piano or saxophone. The guitar was not at the front and center of R&B music then. 

“B.B. took this lineage of people who had developed a solo guitar style — starting with Lonnie Johnson and Charlie Christian and T-Bone Walker — and his big innovation was the idea of the guitar being an extension of his voice, his own singing voice. That set him apart from all the others. He took the vibrato of classical violin and added in the cry of the Hawaiian steel guitar, the plaintive sound of early country and the exhortations of Bob Wills’ band, and he created this vocal style of solo guitar."

His work would come to resonate profoundly in Britain, where a generation of budding rock guitarists — from Eric Clapton to Jeff Beck to Jimmy Page — felt his impact in the 1960s. "All these guitar players started listening to him," says de Visé, "and a decade and a half later he was repurposed as a guitar hero.” 

'King of the Blues' dives into B.B. King's personal life, musical success

Beyond the creative aspects, “King of the Blues” offers a deep investigation into King’s personal life and history as well, and de Visé provides a wealth of new revelations. One claim in the book — which King’s estate has pushed back against — is that none of King’s 15 children were his. de Visé’s research suggests that an accident as a boy left King unable to have children of his own, though he would eventually accept numerous paternity claims and support a contingent of sons and daughters. 

“The way I see it is that B.B. lost his own family when he was young. He was an only child, his brother died in infancy. His mother left his father when he was 5. Then his mother died when he was 10. His grandmother died when he was 14. His family just vanished and evaporated. So I think he spent the rest of his life trying to build a family,” says de Visé. 

“It’s really lovely and actually quite poignant that he built and supported this family and he didn’t care whether they were his children or not. He embraced every single paternity claim without question… until he didn’t. There was a point that he stopped and said the family’s full, we’re done. The fact that they probably weren’t his biological children is fascinating. I think he just loved and cherished the idea of having a family.” 

The book also looks at how King became the blues' biggest star and how he managed to remain a relevant musical figure for seven decades. 

Starting in the late-’60s with his crossover to the white rock market, and his biggest chart triumph with 1969’s Top 20 hit and Grammy-winning single “The Thrill Is Gone,” King would become a kind of ambassador for the genre, exposing the music to its biggest audiences through his appearances on television, in film and on the road. He continued to tour tirelessly until the end of his life, spending an average of 250 nights on the road most years.

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“Every decade brought a kind of renewal for him,” says de Visé. “In the late '60s he began playing places like the Fillmore, for white pop fans, and then he toured with the Rolling Stones in 1969. By the end of the 1970s, he had his first big comeback LPs as a record maker, working with producer Stewart Levine and the Crusaders, and then by end of the '80s he was working with U2, who worshipped him. He was able to be reinvigorated and reintroduced to mainstream audiences every so often.”   

Over the course of his career, King would record some 80 albums, and de Visé notes that there's a scope and breadth to those recordings that’s often overlooked. 

“Considering he’s the greatest blues artist, it’s striking how many dozens of records he made that don’t sound anything like 12-bar blues. Some of the really great records he made with (producer) Bill Szymczyk at the close of the ‘60s or Stewart Levine in the late-‘70s, there’s tons of stuff on those records that doesn’t sound like blues. He’s branching out to funk and jazz and rock, all these genres, and at times he’s very far removed from Delta blues,” says de Visé. 

“That’s a big part of why he stayed on top for so long. He kept stretching into these different areas. That's why his story is so interesting too — he really was an innovator and a visionary.” 

'King of the Blues'

Daniel de Visé discusses "King of the Blues: The Rise and Reign of B.B. King" 

6:30 p.m. Saturday at  Memphis Listening Lab, 1350 Concourse Ave., Suite 269

The event is free. For more information go to MemphisListeningLab.org . 

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Starting with founding members Itch on vocals and Jamie Jazz on the ukulele and additional vocals in 2004, The King Blues revived punk rock and made it accessible to a younger generation from a modern perspective. Soon after the band expanded to include guitar, bass and percussion.

Taking heed of great influencers such as Public Enemy, Black Flag and The Clash, the band explored controversial political issues particularly relating to their hometown of London, cleverly expressed through Itch’s blunt and genius lyrics in tracks such as “The Streets Are Ours” and “Power to the People”. With a mission to make a radical change even if the means were through musical expression, still a powerful weapon The King Blues went full force. Although not strictly defined as being a punk rock band, The King Blues were able to infuse reggae, hip hop, ska and folk to create their unique distinctive sound.

Spoken word plays a large part of The King Blues and in live performances adds to their mission statement whilst providing perfectly timed tempo changes. “Mr Music Man” sees the re-introduction of the ukulele see them go back to their roots, the addition of a string section adding a completely different dimension to The King Blues. Saving the best for last for the encore, they can’t go wrong with “Sound of Revolt”, “Holiday” and ending with “Save The World, Get The Girl” prone to including a mass stage invasion, the perfect ending to an inspired live set.

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If you like your gigs dynamic and energetic then you need look no further - Itch has charisma oozing from every pire and his mastery of the Ukulele will be a surprise for the uninitiated an influential character in many of today’s ‘post punk’ bands The King Blues have been massively overlooked but are worthy of your attention a must for any lover of chest pounding shout along music dictating life in the UK

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Visit the Museum

Artist To Icon, 1960s

This gallery chronicles B.B. King’s development from a musician touring the Chitlin’ Circuit in the South. The exhibit examines how the Civil Rights movement shaped the music of the time.

Memphis, 1950s

This gallery takes visitors on an adventure as Riley B. King finds his way to the airwaves of WDIA where you can hear firsthand accounts of Riley’s conversion to the Beale Street Boy.

The Delta, 1930s

Here you will encounter some of the challenges Social history of the time and a firsthand account of Riley B. King’s life on the farm as a sharecropper and tractor driver.

The Theatre

Start your journey through the Mississippi Delta and the life of B.B. King in a theater featuring the very latest in high-definition projection and audio technology.

The Final Decade

Exhibits that focus on the last decade of B.B. King’s life have been added to the award-winning museum that bears his name. Items acquired from King that are part of the 4,500 s.f. addition include two of his personal automobiles—a Rolls Royce Silver Shadow and a custom painted Chevy El Camino.

Memorial Courtyard

Along with the existing granite tablet to mark the final resting place of the King of the Blues, part of the Memorial Garden is a life-size bronze of King holding his beloved Lucille - the perfect chance for photo opportunities.

Admissions & Tour Info

Regular hours (temporary).

* Children under 14 must be accompanied by an adult. * Military discounts available with valid ID. * Prices subject to change without notice.

HOLIDAY CLOSINGS

Tour groups, catered tour group packages.

Catered Tour Group Packages are also available for 20 or more adults. These include admission to the Museum, a catered lunch at Club Ebony and, a live blues musician to perform during the lunch at Club Ebony. If you have any questions regarding the pricing or other available packages, please contact Robert Terrell at 662-887-9539 or [email protected].

B.B. King – A Web Film Series

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The 6th Annual Queen City Blues Festival

Tickets starting at $64

The Blues Is Alright Tour comes to the Bojangles Coliseum with the 6 th Annual Queen City Blues Festival on Saturday, March 2 at 7 p.m. The Blues is musical storytelling filled with stark emotion and a revolving reality check. It’s authentically raw; transforming tragedy, adversity and heartache into a visceral and cathartic experience. This special night of emotive lyrics and guitar-driven accompaniment features performances by Lenny Williams , Tucka, King George, Pokey Bear, J-Wonn and West Love .

Artist Bios

ABOUT TUCKA

Equally influenced by R. Kelly and Barry White, Louisiana's Tucka James is an R&B singer who can deliver "pillow talk" songs that recall the grooves of the 70’s, 80’s, and 2010’s. He kicked off his career in 2007, singing lead vocals with Keith Frank & the Soileau Zydeco Band. He introduced his solo career in 2008, along with his nickname "the King of Swing." He soon became a regional Louisiana favorite, and opened gigs for Mystikal and Lenny Williams. His Love Rehab album landed in 2009 with songs like "Sex on My Mind" and "Myspace Love." Forever King followed in 2011, then in 2015 he released Love Rehab 2. For more information on Tucka, visit https://www.tuckajames.com/ and follow @TUCKA on Facebook and @tuckakingofswing on Instagram.

ABOUT KING GEORGE

Bursting onto the Southern Soul scene with his signature party-centric sound filled with R&B flair, King George has quickly become a fan-favorite. Based out of Hopkins, SC, King George exploded on the Southern Soul scene and rose quickly to headliner status on The Blues Is Alright Tour this past Spring 2023. His highly anticipated album, Juke Joint Music was released in 2022 after launching onto the music scene via YouTube in 2020. For old-school music lovers, King George’s music is the perfect combination of R&B, soul, and funk that is sure to get anyone to do a little two-step. With his rich tone and satin-smooth vocals, his songs, “Keep on Rollin”, “Too Long”, “Friday Night” and “Leave & Party” are his top hits. There can only be one king: King George. For more information on King George, visit www.803kinggeorge.com and follow @King George on Facebook and @803kinggeorge on Instagram.

ABOUT POKEY BEAR

Wardell “Pokey Bear” Brown was born on February 2, 1970 in Baton Rouge, Louisiana. He is known for his soulful sound of music in the Blues/Southern Soul genre; however, he did not start out that way. Pokey Bear began his career as a rap music artist, but after doing it for a while decided to try other styles. His venture off into other styles of music would lead him to be the soulful singer that he is today. He was first recognized in music for his first two projects produced by Beat Flippa. Particularly his songs entitled “They Call me Pokey” and “Side Piece,” The song “Side Piece” happened as a result of a hook that was written by Heavy in which he asked Pokey to write lyrics to. He has worked with artists such as Tyree Neal, Adrian Bagher, Ms. Pat, Veronica Raelle, and Cupid. For more information on Pokey Bear, follow @Big Pokey Bear-JSP on Facebook and @bigpokeybearjsp on Instagram.

ABOUT J-WONN

​ Jawonn Smith, better known by his stage name J-Wonn, is a soul singer that hails from Jackson, MS and has built a name for himself following the release of his hit single “I Got This Record”. His love of Blues came from growing up around his mother and grandmother, who would often sing around the house. At the age of 13, J-Wonn began writing music of his own and went on to write for many Blues and Soul singers. One of his proudest writing credits came from penning a track for the legendary soul artist Lenny Williams. During high school, he was a member of a hip hop group that also included elements of R&B. The group gained an artist development deal and it helped Smith to learn a lot about navigating the music industry. It also gave him an opportunity to grow as an artist. J-Wonn's latest single entitled "Move On" is available on all digital & video platforms.” J-Wonn followed up “I Got This Record” with several other hits that were in continuous rotation on Southern Soul radio stations across the Southeast region. He has also won several awards from various outlets including Best Entertainer, Artist of the Year, and Best New Single. He finished working on his second full-length album The Legacy which had led to collaborations with a wide range of different artists and an expansion of his brand of J-Wonn’s world to new ears. His latest single entitled "Move On" is doing great J-Wonn also released the video on his VEVO channel. For more information on J-Wonn, please visit www.J-WONN.com and follow @jwonn on Facebook.

ABOUT WEST LOVE

Hailing from the Mississippi Delta, West's voice carries the weight of generations of blues legends and the passion of his own experiences. With a mesmerizing stage presence and a voice that's equal parts gravel and honey, West Love has earned a reputation as a modern-day blues torchbearer. He weaves tales of love, loss, and life's struggles into every note, evoking raw emotions that resonate deep within the listener's soul. West's distinctive guitar skills, inspired by the greats like Robert Johnson and Muddy Waters, complement his evocative vocals, creating a sound that's both timeless and contemporary. He has graced stages worldwide, leaving audiences enchanted with his authentic blues sound. West Love is a true testament to the enduring power of the blues and a reminder that its heartbeat continues to thrive in the hands of exceptional artists like him.

This performance is produced by North American Entertainment Group Inc., one of the leading independent promoters of entertainment tours and live events in the United States, in conjunction with Heritage Entertainment Group.

ABOUT NORTH AMERICAN ENTERTAINMENT GROUP: North American Entertainment Group, Inc. is one of the largest independent promoters of entertainment tours and live events in the United States. With more than 25 years in the industry and an extensive history in venue management, NAEG has consistently delivered the hottest concerts, comedy shows and theatrical entertainment to venues in more than 100 markets. Beyond the stage, NAEG has produced television specials, concert DVD’s, online content and branded merchandise. A company distinguished by creativity in tour packaging and marketing strategy, NAEG’s success resounds in the memories of those who have attended their events. North American Entertainment Group is an umbrella company of several popular, hit subdivisions. With experience in all types of entertainment (comedy, hip hop, jazz and more), North American Entertainment Group is always searching the horizon for pinnacles of new entertainment to deliver to cities around the country. For more information, visit northamericanentertainment.com

Ticket Information

Purchase tickets for events at Bojangles Coliseum and Ovens Auditorium at ticketmaster.com or with the Ticketmaster mobile app.

Tickets are required for everyone age two (2) years or older. Some shows require tickets for infants. You can confirm the age requirement for a show by calling (704) 335-3100 .

2700 East Independence Blvd. Charlotte, NC 28205 (704) 335-3100

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2700 East Independence Blvd. Charlotte, NC 28205

• May 12, 2023

The Blues Is Alright Tour with King George, Tucka, Pokey Bear & more rolls into Orlando this Fall

Get ready for a special night of emotive lyrics and guitar-driven accompaniment with performances by King George, Tucka, Pokey Bear, and more!

Just announced, The Blues Is Alright Tour rolls into Addition Financial Arena here in Orlando on Friday, November 3 at 8pm!

Produced by Heritage Entertainment, The Blues Is Alright Tour showcases a star-studded lineup of world-class Blues artists, including Blues legends King George, Tucka, Pokey Bear, and more.

Tickets are available on Friday, May 19 at 10 am via Ticketmaster .

For the very latest news and information from Orlando and Central Florida, check back often here at Gotta Go Orlando as we keep you informed throughout the day, every day.

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THE BLUES IS ALRIGHT TOUR COMES TO RICHMOND

Oct. 20 , 2023, features king george, tucka, pokey bear, lenny williams, j-wonn, & west love, for immediate release.

THE BLUES IS ALRIGHT TOUR COMES TO RICHMOND ON FEBRUARY 24, 2024 & FEATURES KING GEORGE, TUCKA, POKEY BEAR, LENNY WILLIAMS, J-WONN, & WEST LOVE

Tickets On Sale Starting Friday, October 27 at 10AM Local

(October 20, 2023 – Richmond, VA) –The Blues Is Alright Tour comes to the Altria Theater on Saturday, February 24, 2024. The Blues is musical storytelling filled with stark emotion and a revolving reality check. It’s authentically raw; transforming tragedy, adversity and heartache into a visceral and cathartic experience. This special night of emotive lyrics and guitar-driven accompaniment features performances by King George, Tucka, Pokey Bear, Lenny Williams, J-Wonn, and West Love.

Tickets go on sale to the general public Friday, October 27, at 10:00AM. Tickets will be available online at altriatheater.com, by phone at (800) 514-3849 via Etix, or in-person at the Altria Theater Box Office, located at 6 N. Laurel Street, open Monday-Friday, 10AM-2PM local.

As a courtesy reminder, Altria Theater urges ticket buyers to buy direct from the Altria Theater website or from the sources listed above. All other ticketing sources are through unauthorized sellers. More information on buying direct can be found at altriatheater.com/events/buy-direct.

For more information, visit altriatheater.com.

SHOW DETAILS: Date: Saturday, February 24, 2024 Showtime: 7PM Venue: Altria Theatre, 6 N Laurel Street, Richmond, VA 23220

Prices: $59, $75, $99, $125, $175 Tickets: https://www.etix.com/ticket/p/58020818

Pre-Sale Code: BLUES

ABOUT KING GEORGE

Bursting onto the Southern Soul scene with his signature party-centric sound filled with R&B flair, King George has quickly become a fan-favorite. Based out of Hopkins, SC, King George exploded on the Southern Soul scene and rose quickly to headliner status on The Blues Is Alright Tour this past Spring 2023. His highly anticipated album, Juke Joint Music was released in 2022 after launching onto the music scene via YouTube in 2020.  For old-school music lovers, King George’s music is the perfect combination of R&B, soul, and funk that is sure to get anyone to do a little two-step. With his rich tone and satin-smooth vocals, his songs, “Keep on Rollin”, “Too Long”, “Friday Night” and “Leave & Party” are his top hits. There can only be one king: King George. For more information on King George, visit www.803kinggeorge.com and follow @King George on Facebook and @803kinggeorge on Instagram.

ABOUT TUCKA

Equally influenced by  R. Kelly and Barry White, Louisiana's Tucka James is an R&B singer who can deliver "pillow talk" songs that recall the grooves of the 70’s, 80’s, and 2010’s. He kicked off his career in 2007, singing lead vocals with Keith Frank & the Soileau Zydeco Band. He introduced his solo career in 2008, along with his nickname "the King of Swing." He soon became a regional Louisiana favorite, and opened gigs for Mystikal and Lenny Williams. His Love Rehab album landed in 2009 with songs like "Sex on My Mind" and "Myspace Love." Forever King followed in 2011, then in 2015 he released Love Rehab 2. For more information on Tucka, visit https://www.tuckajames.com/ and follow @TUCKA on Facebook and @tuckakingofswing on Instagram.

ABOUT POKEY BEAR

Wardell “Pokey Bear” Brown was born on February 2, 1970 in Baton Rouge, Louisiana. He is known for his soulful sound of music in the Blues/Southern Soul genre; however, he did not start out that way. Pokey Bear began his career as a rap music artist, but after doing it for a while decided to try other styles. His venture off into other styles of music would lead him to be the soulful singer that he is today. He was first recognized in music for his first two projects produced by Beat Flippa. Particularly his songs entitled “They Call me Pokey” and “Side Piece,” The song “Side Piece” happened as a result of a hook that was written by Heavy in which he asked Pokey to write lyrics to. He has worked with artists such as Tyree Neal, Adrian Bagher, Ms. Pat, Veronica Raelle, and Cupid. For more information on Pokey Bear, follow @Big Pokey Bear-JSP on Facebook and @bigpokeybearjsp on Instagram.

ABOUT LENNY WILLIAMS

The ultimate soul crooner, Oakland, California native Lenny Williams possesses one of the most distinctive voices in contemporary music. With his rich, passionate vocal style, he is rightfully regarded as one of R & B’s most influential soul men. Williams began his musical career making records that have subsequently become R&B and Pop classics, tunes like the mega-hit “Cause I Love You” (recorded on his solo album) and “So Very Hard to Go” which he recorded as the lead singer for Tower of Power. Lenny Williams' style has transcended into the new millennium, influencing many of today’s newest R&B and Pop vocalists. Lenny and Kanye West were honored recipients of the BMI Songwriter’s Award for the song “Over Night Celebrity,” recorded by rapper, Twista. Lenny sounds better than ever as he continues to perform around the world focusing on love. “Love is what has gotten me thru all of these years. I look for love and I surround myself with it,” said Williams. He is able to take the listener to the heart of love with such soulful composure because love will never go out of style. For more information on Lenny Williams, visit  www.Lenny Williams.com and follow @Lenny Williams on Facebook and @thereallennywilliams on Instagram.

ABOUT J-WONN

​ Jawonn Smith, better known by his stage name J-Wonn, is a soul singer that hails from Jackson, MS and has built a name for himself following the release of his hit single “I Got This Record”. His love of Blues came from growing up around his mother and grandmother, who would often sing around the house. At the age of 13, J-Wonn began writing music of his own and went on to write for many Blues and Soul singers. One of his proudest writing credits came from penning a track for the legendary soul artist Lenny Williams. During high school, he was a member of a hip hop group that also included elements of R&B. The group gained an artist development deal and it helped Smith to learn a lot about navigating the music industry. It also gave him an opportunity to grow as an artist. J-Wonn's latest single entitled "Move On" is available on all digital & video platforms.” J-Wonn followed up “I Got This Record” with several other hits that were in continuous rotation on Southern Soul radio stations across the Southeast region. He has also won several awards from various outlets including Best Entertainer, Artist of the Year, and Best New Single. He finished working on his second full-length album The Legacy which had led to collaborations with a wide range of different artists and an expansion of his brand of J-Wonn’s world to new ears. His latest single entitled "Move On" is doing great J-Wonn also released the video on his VEVO channel. For more information on J-Wonn, please visit www.J-WONN.com and follow @jwonn on Facebook.     

ABOUT WEST LOVE

Hailing from the Mississippi Delta, West's voice carries the weight of generations of blues legends and the passion of his own experiences. With a mesmerizing stage presence and a voice that's equal parts gravel and honey, West Love has earned a reputation as a modern-day blues torchbearer. He weaves tales of love, loss, and life's struggles into every note, evoking raw emotions that resonate deep within the listener's soul. West's distinctive guitar skills, inspired by the greats like Robert Johnson and Muddy Waters, complement his evocative vocals, creating a sound that's both timeless and contemporary. He has graced stages worldwide, leaving audiences enchanted with his authentic blues sound. West Love is a true testament to the enduring power of the blues and a reminder that its heartbeat continues to thrive in the hands of exceptional artists like him.

This performance is produced by North American Entertainment Group Inc., one of the leading independent promoters of entertainment tours and live events in the United States, in conjunction with Heritage Entertainment Group.

ABOUT NORTH AMERICAN ENTERTAINMENT GROUP: North American Entertainment Group, Inc. is one of the largest independent promoters of entertainment tours and live events in the United States. With more than 25 years in the industry and an extensive history in venue management, NAEG has consistently delivered the hottest concerts, comedy shows and theatrical entertainment to venues in more than 100 markets. Beyond the stage, NAEG has produced television specials, concert DVD’s, online content and branded merchandise. A company distinguished by creativity in tour packaging and marketing strategy, NAEG’s success resounds in the memories of those who have attended their events. North American Entertainment Group is an umbrella company of several popular, hit subdivisions. With experience in all types of entertainment (comedy, hip hop, jazz and more), North American Entertainment Group is always searching the horizon for pinnacles of new entertainment to deliver to cities around the country. For more information, visit northamericanentertainment.com  

About ASM Richmond

ASM Richmond is the Richmond, Virginia division of ASM Global, the world’s leading provider of innovative venue services and live experiences. The company manages three local venues including Altria Theater and Dominion Energy Center on behalf of the Richmond Performing Arts Corporation (RPAC) and Bon Secours Training Center on behalf of the Richmond Economic Development Authority. Previously known as SMG Richmond, the company became ASM Richmond in 2019 following the merger between its parent company, SMG Worldwide, and AEG Facilities. ASM Richmond oversees all facets of venue management including administration and finance, sales and marketing, event production and promotion, and facilities maintenance.

The Blues is Alright Tour

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The 16th Annual Motor City Blues Festival Featuring Tucka, King George, Pokey Bear, Theodis Ealey, J-Wonn And West Love Comes To The Fox Theatre Saturday, March 23

(DETROIT – October 20, 2023) – The Blues Is Alright Tour comes to the Fox Theatre with the 16th Annual Motor City Blues Festival on Saturday, March 23 at 7 p.m. The Blues is musical storytelling filled with stark emotion and a revolving reality check. It’s authentically raw; transforming tragedy, adversity and heartache into a visceral and cathartic experience. This special night of emotive lyrics and guitar-driven accompaniment features performances by Tucka, King George, Pokey Bear, Theodis Ealey, J-Wonn and West Love. Comerica Bank is the exclusive presenting partner of the Fox Theatre.

Tickets go on sale Friday, October 27 at 10 a.m. at 313Presents.com and Ticketmaster.com . Presale tickets go on sale Wednesday, October 25 at 10 a.m. 

About Tucka

Equally influenced by R. Kelly and Barry White, Louisiana’s Tucka James is an R&B singer who can deliver “pillow talk” songs that recall the grooves of the 70’s, 80’s, and 2010’s. He kicked off his career in 2007, singing lead vocals with Keith Frank & the Soileau Zydeco Band. He introduced his solo career in 2008, along with his nickname “the King of Swing.” He soon became a regional Louisiana favorite, and opened gigs for Mystikal and Lenny Williams. His Love Rehab album landed in 2009 with songs like “Sex on My Mind” and “Myspace Love.” Forever King followed in 2011, then in 2015 he released Love Rehab 2. For more information on Tucka, visit www.tuckajames.com and follow @TUCKA on Facebook and @tuckakingofswing on Instagram. 

About King George

Bursting onto the Southern Soul scene with his signature party-centric sound filled with R&B flair, King George has quickly become a fan-favorite. Based out of Hopkins, SC, King George exploded on the Southern Soul scene and rose quickly to headliner status on The Blues Is Alright Tour this past Spring 2023. His highly anticipated album, Juke Joint Music was released in 2022 after launching onto the music scene via YouTube in 2020. For old-school music lovers, King George’s music is the perfect combination of R&B, soul, and funk that is sure to get anyone to do a little two-step. With his rich tone and satin-smooth vocals, his songs, “Keep on Rollin,” “Too Long,” “Friday Night” and “Leave & Party” are his top hits. There can only be one king: King George. For more information on King George, visit www.803kinggeorge.com and follow @King George on Facebook and @803kinggeorge on Instagram. 

About Pokey Bear

Wardell “Pokey Bear” Brown was born on February 2, 1970 in Baton Rouge, Louisiana. He is known for his soulful sound of music in the Blues/Southern Soul genre; however, he did not start out that way. Pokey Bear began his career as a rap music artist, but after doing it for a while decided to try other styles. His venture off into other styles of music would lead him to be the soulful singer that he is today. He was first recognized in music for his first two projects produced by Beat Flippa. Particularly his songs entitled “They Call me Pokey” and “Side Piece,” The song “Side Piece” happened as a result of a hook that was written by Heavy in which he asked Pokey to write lyrics to. He has worked with artists such as Tyree Neal, Adrian Bagher, Ms. Pat, Veronica Raelle, and Cupid. For more information on Pokey Bear, follow @Big Pokey Bear-JSP on Facebook and @bigpokeybearjsp on Instagram.

About Theodis Ealey 

Blues guitarist, vocalist, songwriter, producer and entertainer……just a few of the titles that describe the phenomenon of Theodis Ealey. This Mississippi native first picked up an instrument when his older brother, “Y” “Z” Ealey first taught him how to play at the age of four. Ichiban Records, a respected blues label in Atlanta, recognized Theodis’ multiple talents and immediately signed him to a deal in 1991. Over the next six years, Theodis and Ichiban Records would enjoy four very successful albums. The “Bluesman Lover” made lemonade out of lemons when Ichiban Records eventually closed its doors. Seizing the moment, Theodis Ealey used this opportunity to create his new label home, IFGAM Records. The 2004 “Stand Up In It” project was a runaway success as the #1 Single on Billboard’s Hot R&B/Hip Hop Singles Sales Chart for five consecutive weeks, debuting at #5 on Billboard’s Blues Album Chart and #69 on Billboard’s R&B/Hip Hop Charts. For more information on Theodis Ealey, visit TheodisEaley.com and follow @Theodis Ealey Official on Facebook, @theodisealey on Instagram and @theodisealey on X (formerly Twitter).

About J-Wonn

Jawonn Smith, better known by his stage name J-Wonn, is a soul singer that hails from Jackson, MS and has built a name for himself following the release of his hit single “I Got This Record.” His love of Blues came from growing up around his mother and grandmother, who would often sing around the house. At the age of 13, J-Wonn began writing music of his own and went on to write for many Blues and Soul singers. One of his proudest writing credits came from penning a track for the legendary soul artist Lenny Williams. During high school, he was a member of a hip hop group that also included elements of R&B. The group gained an artist development deal and it helped Smith to learn a lot about navigating the music industry. It also gave him an opportunity to grow as an artist. J-Wonn’s latest single entitled “Move On” is available on all digital & video platforms. J-Wonn followed up “I Got This Record” with several other hits that were in continuous rotation on Southern Soul radio stations across the Southeast region. He has also won several awards from various outlets including Best Entertainer, Artist of the Year and Best New Single. He finished working on his second full-length album The Legacy which had led to collaborations with a wide range of different artists and an expansion of his brand of J-Wonn’s world to new ears. His latest single entitled “Move On” was also released on video on his VEVO channel. For more information on J-Wonn, please visit www.J-WONN.com and follow @jwonn on Facebook. 

About West Love

Hailing from the Mississippi Delta, West's voice carries the weight of generations of blues legends and the passion of her own experiences. With a mesmerizing stage presence and a voice that's equal parts gravel and honey, West Love has earned a reputation as a modern-day blues torchbearer. She weaves tales of love, loss, and life's struggles into every note, evoking raw emotions that resonate deep within the listener's soul. West's distinctive guitar skills, inspired by the greats like Robert Johnson and Muddy Waters, complement her evocative vocals, creating a sound that's both timeless and contemporary. She has graced stages worldwide, leaving audiences enchanted with his authentic blues sound. West Love is a true testament to the enduring power of the blues and a reminder that its heartbeat continues to thrive in the hands of exceptional artists like her.

This performance is produced by North American Entertainment Group Inc., one of the leading independent promoters of entertainment tours and live events in the United States, in conjunction with Heritage Entertainment Group.

Fox Theatre

Event starts 7:00 pm.

Ohio-born The Black Keys to perform in October at Nationwide Arena

The Black Keys , the Grammy-winning blues-rock duo hailing from Akron, will return to their home state during their 2024 North American tour, which will stop at Nationwide Arena on Oct. 24.

American Express Card Members can purchase tickets before the general public starting at 10 p.m. Tuesday through 10 p.m. Thursday. Additional presales will run throughout the week ahead of the general sale beginning at 10 a.m. Friday. Visit livenation.com and theblackkeys.com for all details.

The Black Keys played the Schottenstein Center in 2012 and their upcoming “International Players Tour” comes on the heels of two successful performances at SXSW earlier this month. The tour is in support of their new album, “Ohio Players,” due out on Friday. They will be joined on the road with indie folk band The Head and the Heart.

The pair — Dan Auerbach and Patrick Carney — started as an indie act, recording in basements and producing their own records. After self-producing and recording their first four albums in makeshift studios, the duo recorded their fifth album, "Attack & Release" in 2008 in a professional studio, hiring producer Danger Mouse, who has worked with artists such as the Red Hot Chili Peppers, Gorillaz, Norah Jones, Adele, A$AP Rocky and many others.

Review: Despite illness, Fall Out Boy delivers at sold-out Columbus concert

The Black Keys' commercial breakthrough came with the 2010 album, "Brothers," which along with its chart-topping single "Tighten Up," earned them two Grammy Awards. Their follow-up album and its hit single , "Lonely Boy," won three Grammys. Other hits include "Gold on the Ceiling" and "Little Black Submarines."

Several Black Keys songs have been used in film and television, including on series such as "How I Met Your Mother," "New Girl, "The Good Doctor" and "Sons of Anarchy."

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Box Office: 724-836-8000

BEAT: 80s King Crimson

Former King Crimson members ADRIAN BELEW and TONY LEVIN band together with guitar virtuoso STEVE VAI and explosive Tool drummer DANNY CAREY for the first time to create BEAT, a creative reinterpretation of the three iconic 80s KING CRIMSON albums – Discipline, Beat, and Three Of A Perfect Pair. They will come together this fall for an extensive tour across North America  performing repertoire from these three King Crimson iconic albums The BEAT Tour will begin in San Jose, CA on September 12 at the Civic Center with the final show planned for November 8 at Las Vegas, NV’s The Theater at Virgin Hotels. An artist pre-sale goes live today at Noon Eastern (Password: BEATTOUR), with the general on-sale set for Friday, April 5 at 10am local time here: www.BEAT-tour.com .

Guitarist Adrian Belew reflects, “The 1981 through 1984 King Crimson created a music all its own. Timeless. Beautiful. Complex. Fierce.  For the fans who lived through it then, and the ones who never got to witness it, our aim is to bring it to life again. A monumental task but we’re going for it!  There are not enough exclamation points to express my excitement!”

Guitarist Steve Vai states, “Being a part of this ensemble is an extraordinary privilege and opportunity to perform some of the most beloved, timeless, and monumental music of the 80’s (and beyond) with truly inspired musicians. This music resonates deeply with me. Adrian, Tony and Danny are unique musicians with an otherworldly insight into presenting rich musical complexities in a very accessible way, and I am looking forward to searching each other’s musical minds in real time on stage. I’m sure sparks will fly.” He continues, “Father Robert Fripp is one of our historical geniuses. His highly specific and exceptionally brilliant guitar technique is studied and revered. His contribution to the quality of my musical life, and so many others is supreme. I can assure the fans of KC that I will be putting my best foot forward to respect this great music with the care and intensity it deserves. Did I say ‘sparks will fly?’”

Bassist Tony Levin offers, “This is going to be quite a tour. Revisiting some of my favorite music is a treat in itself, but in company of this stellar lineup, I expect to have my musical butt kicked! And it’s also great that we’re not just playing a few shows, we’re hitting it hard. So, Road Dogs are coming to your area soon.”

Drummer Danny Carey shares, “I am very excited to share the stage with three of my favorite musicians on the planet. Tony, Steve and Adrian have always been a source of inspiration for me since the beginning of my career, and now to be able to share a bit of my musical journey with them is a dream come true. There’s nothing better to make some sparks fly and light a fire under your ass than getting out of your musical comfort zone, and I can’t think of any other three guys I’d rather do this with.  I think I can speak for all of us when I say I hope all of our fans are as excited as we are about this tour.”

The vision for this undertaking emanated from initial dialogue between Angelo Bundini aka Scrote and Adrian Belew. Tour Producer Bundini recalls, “When Adrian called me to help bring his idea to fruition, I immediately thought it best to focus on the 80s albums:  Discipline, Beat,  and  Three Of A Perfect Pair.  These three records famously marked Adrian and Tony’s entry into King Crimson. Their fluid, melodic virtuosity, and Fripp’s and Bruford’s dramatic precision created a totally unique, dynamic push and pull that would influence nearly every rock musician and/or band going forward for years, if not decades, to come.”

Tickets: $59.75, $69.75, $84.75, $109.75, $129.75

VIP OPTIONS

Beat meet & greet package ( limited availability).

• One premium reserved ticket located in the first 5 rows
• Early entry into the venue
• Exclusive preshow meet & greet with Adrian Belew, Steve Vai, Tony Levin & Danny Carey
• Personal photograph with Adrian Belew, Steve Vai, Tony Levin & Danny Carey
• Limited edition BEAT tour poster; autographed
• BEAT challenge coin
• BEAT tote bag
• Exclusive BEAT tour merch item
• Official meet & greet laminate & lanyard

BEAT VIP Tour Package ( Limited availability)

• One premium reserved ticket located in the first 15 rows
• Commemorative tour laminate & lanyard
• + Add to Google Calendar
• + iCal / Outlook export
• PLEASE NOTE: Doors open one hour prior to the showtime listed above.

Drusky Entertainment

Share this event, ticket sales are final; no refunds or exchanges unless the show is canceled. in the event of a cancellation or postponement, certain service and historic preservation charges are not refundable., ticket guidelines, the palace theatre 21 west otterman street greensburg, pa 15601, • westmoreland    cultural trust • greensburg garden   & civic center.

BOX OFFICE: 724-836-8000 Monday - Friday 9am - 5pm

The Palace Theatre has been a major force in Westmoreland County’s cultural scene for generations. Opened September 2, 1926, as the Manos Theatre, The Palace Theatre today hosts the widest variety of live entertainment in the area in a beautifully renovated 1369-seat facility, located across from the county courthouse.

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