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Blues great pushes limits of his legend
Check out Deuces Wild sound clips at
The Planet of Sound.
By Dan Brodhead
The blues: as a genre, it combines structure and
improvisation, sorrow and bliss. It is the music of clubs and smoky roadhouses,
of soaring guitars and growling vocals. It is truly an American phenomenon. And
when one thinks of the blues, one can hardly avoid thinking about its most
famous pioneer, a man whose name has become synonymous with the genre itself:
B.B. King. That's why any time King releases an album it's big news, and you
can bet it's worth listening to.
Deuces Wild, King's latest offering, differs from many of his others;
it is a celebration of the variety and wide-reaching influence of the blues.
Ordinarily, when B.B. hits the stage or the studio, he is accompanied only by
his band and his guitar Lucille. Deuces Wild, however, pairs the the
blues pioneer with a wide variety of musical partners, some of them quite
unlikely choices.
While many of King's past albums such as B.B. King, Live in Cook County
Jail have showcased the musician's penchant for improvisation and his
amazing interaction with the audience, this one focuses on King's chemistry
with other artists. Eric Clapton, Mick Jagger, Van Morrison, Dr.
John...Deuces Wild has them all. The album pairs a veritable all-star
roster of rock and roll performers with the great blues guitarist who
influenced each of them.
The album starts slow with the mellow romance of "If You Love Me." Van
Morrison's tender lyrics take on added life with King's hoarse, authentic
vocals. The next track, perhaps B.B.'s most famous, is "The Thrill is Gone."
This melancholy tune becomes even more haunting as Tracy Chapman's soulful
vocals complement King's masterful guitar licks.
Deuces Wild peaks on "Rock Me Baby," the song in which King and
Clapton collaborate. It is a blues fanatic's dream come true. Written by Joe
Josea and B.B. King, the tune is basically an excuse for a drawn-out guitar
solo. King and Clapton, two of the best guitarists of all time, seize their
chance. King's coarse Southern voice contrasts with Clapton's softer British
tone. They lift the song skyward with seething rhythmic tirades of
improvisational licks; their guitars seem to converse in manic dialogues of
whining notes.
But one of the album's most appealing qualities is the variety of the
performers it features. It does not limit itself to pure blues artists. In
doing so, Deuces Wild shows the wide-reaching influence of the blues,
and creates a funky blend of styles. Willie Nelson, the shaggy,
Taco-Bell-endorsing country singer plays on the contemplative "Night Life."
Heavy D (formerly of "the Boyz") raps on "Keep it Coming."
Juxtaposing fragments of various musical influences against a steady blues
background, Deuces Wild becomes a sound collage and an appropriate
tribute to B.B. King's sweeping influence. (MCA)
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