B.B. King Tickets

Short Biography
THE KING OF BLUES RETURNS:
BB KING TO TOUR AUSTRALIA IN 2011
"... his life is so inextricably tied to the blues, the road and Lucille, that you feel, as long as he keeps playing, he might go on forever.

His voice boomed. His guitar playing was economical and effortless." The Telegraph UK

"He is the King of Blues and to most of us, BB King IS the blues." Ultimate Guitar

"The ache, the anger, the elegance and the edge of Mr. King's blues are undiminished and authentic." The New York Times

His reign as King of the Blues has been as long as that of any monarch on earth, and today Chugg Entertainment is thrilled to annou...

Short Biography
THE KING OF BLUES RETURNS:
BB KING TO TOUR AUSTRALIA IN 2011
"... his life is so inextricably tied to the blues, the road and Lucille, that you feel, as long as he keeps playing, he might go on forever.

His voice boomed. His guitar playing was economical and effortless." The Telegraph UK

"He is the King of Blues and to most of us, BB King IS the blues." Ultimate Guitar

"The ache, the anger, the elegance and the edge of Mr. King's blues are undiminished and authentic." The New York Times

His reign as King of the Blues has been as long as that of any monarch on earth, and today Chugg Entertainment is thrilled to announce that Mississippi blues impresario, BB King, will be making his long awaited return to Australia in Easter 2011.

Already announced for Byron Bay's Bluesfest, BB King will also be appearing at Sydney's State Theatre on
Tuesday 12th April and Hisense Arena in Melbourne on Saturday 16th April.

Riley B. King - better known as BB King - has been making records and touring longer than most of his fans have been alive. For more than sixty years, he has defined the blues for a worldwide audience and is one of the last surviving links to the blues that gave birth to rock ‘n roll as we know it. This man has earned every ounce of veneration he gets.

From humble beginnings as a hungry young blues man who at age 12 bought his first guitar for $15, BB King has been recording since the 1940s and has released over 75 albums, many of them classics, and won 15 Grammy® Awards. He was ranked #3 on Rolling Stone's "100 Greatest Guitarists Of All Time," and has been inducted into the Blues Foundation Hall of Fame and the Rock & Roll Hall of Fame and received the Presidential Medal of Freedom, the National Medal of the Arts, the Kennedy Center Honors, the Grammy® Lifetime Achievement Award and the NARM (National Association of Recording Merchandisers) Chairman's Award, among many other awards. In a special ceremony at the Library of Congress, Librarian of Congress, James H. Billington presented B.B. with a "Living Legend" medal in honour of his achievements as a musician and ambassador for the blues.

In 2008, BB King released the Grammy® Award winning One Kind Favor, a new album featuring covers of old blues songs from his early influences. The set revisits the music that influenced B.B. in the 1950s, the beginning of King's extraordinary professional journey that, literally, changed the texture of modern blues playing.

Having performed more than 10,000 concerts, it is clear that time has no apparent effect on BB, other than to make him more popular, more cherished and more relevant than ever. Run, don't walk, to see this international superstar prove that he can still make his beloved guitar, the wondrous Lucille, moan like nobody's business, that he can still growl in that way that all blues singers have been trying to imitate for decades, and that he can still win over a crowd.

TICKETS FOR SYDNEY & MELBOURNE SHOWS ON SALE WEDNESDAY 8TH DECEMBER, 9AM

In-depth Biography
Universally hailed as the reigning king of the blues, the legendary B.B. King is without a doubt the single most important electric guitarist of the last half century. His bent notes and staccato picking style have influenced legions of contemporary bluesmen, while his gritty and confident voice -- capable of wringing every nuance from any lyric -- provides a worthy match for his passionate playing. Between 1951 and 1985, King notched an impressive 74 entries on Billboard's R&B charts, and he was one of the few full-fledged blues artists to score a major pop hit when his 1970 smash "The Thrill Is Gone" crossed over to mainstream success (engendering memorable appearances on The Ed Sullivan Show and American Bandstand). Since that time, he has partnered with such musicians as Eric Clapton and U2 while managing his own acclaimed solo career, all the while maintaining his immediately recognizable style on the electric guitar.

The seeds of Riley B. King's enduring talent were sown deep in the blues-rich Mississippi Delta, where he was born in 1925 near the town of Itta Bena. He was shuttled between his mother's home and his grandmother's residence as a child, his father having left the family when King was very young. The youth put in long days working as a sharecropper and devoutly sang the Lord's praises at church before moving to Indianola -- another town located in the heart of the Delta -- in 1943.

Country and gospel music left an indelible impression on King's musical mindset as he matured, along with the styles of blues greats (T-Bone Walker and Lonnie Johnson) and jazz geniuses (Charlie Christian and Django Reinhardt). In 1946, he set off for Memphis to look up his cousin, a rough-edged country blues guitarist named Bukka White. For ten invaluable months, White taught his eager young relative the finer points of playing blues guitar. After returning briefly to Indianola and the sharecropper's eternal struggle with his wife Martha, King returned to Memphis in late 1948. This time, he stuck around for a while.

King was soon broadcasting his music live via Memphis radio station WDIA, a frequency that had only recently switched to a pioneering all-black format. Local club owners preferred that their attractions also held down radio gigs so they could plug their nightly appearances on the air. When WDIA DJ Maurice "Hot Rod" Hulbert exited his air shift, King took over his record-spinning duties. At first tagged "The Peptikon Boy" (an alcohol-loaded elixir that rivaled Hadacol) when WDIA put him on the air, King's on-air handle became the "Beale Street Blues Boy," later shortened to Blues Boy and then a far snappier B.B.

1949 was a four-star breakthrough year for King. He cut his first four tracks for Jim Bulleit's Bullet Records (including a number entitled "Miss Martha King" after his wife), then signed a contract with the Bihari Brothers' Los Angeles-based RPM Records. King cut a plethora of sides in Memphis over the next couple of years for RPM, many of them produced by a relative newcomer named Sam Phillips (whose Sun Records was still a distant dream at that point in time). Phillips was independently producing sides for both the Biharis and Chess; his stable also included Howlin' Wolf, Rosco Gordon, and fellow WDIA personality Rufus Thomas.

The Biharis also recorded some of King's early output themselves, erecting portable recording equipment wherever they could locate a suitable facility. King's first national R&B chart-topper in 1951, "Three O'Clock Blues" (previously waxed by Lowell Fulson), was cut at a Memphis YMCA. King's Memphis running partners included vocalist Bobby Bland, drummer Earl Forest, and ballad-singing pianist Johnny Ace. When King hit the road to promote "Three O'Clock Blues," he handed the group, known as the Beale Streeters, over to Ace.

It was during this era that King first named his beloved guitar "Lucille." Seems that while he was playing a joint in a little Arkansas town called Twist, fisticuffs broke out between two jealous suitors over a lady. The brawlers knocked over a kerosene-filled garbage pail that was heating the place, setting the room ablaze. In the frantic scramble to escape the flames, King left his guitar inside. He foolishly ran back in to retrieve it, dodging the flames and almost losing his life. When the smoke had cleared, King learned that the lady who had inspired such violent passion was named Lucille. Plenty of Lucilles have passed through his hands since; Gibson has even marketed a B.B.-approved guitar model under the name.

The 1950s saw King establish himself as a perennially formidable hitmaking force in the R&B field. Recording mostly in L.A. (the WDIA air shift became impossible to maintain by 1953 due to King's endless touring) for RPM and its successor Kent, King scored 20 chart items during that musically tumultuous decade, including such memorable efforts as "You Know I Love You" (1952); "Woke Up This Morning" and "Please Love Me" (1953); "When My Heart Beats like a Hammer," "Whole Lotta' Love," and "You Upset Me Baby" (1954); "Every Day I Have the Blues" (another Fulson remake), the dreamy blues ballad "Sneakin' Around," and "Ten Long Years" (1955); "Bad Luck," "Sweet Little Angel," and a Platters-like "On My Word of Honor" (1956); and "Please Accept My Love" (first cut by Jimmy Wilson) in 1958. King's guitar attack grew more aggressive and pointed as the decade progressed, influencing a legion of up-and-coming axemen across the nation.

In 1960, King's impassioned two-sided revival of Joe Turner's "Sweet Sixteen" became another mammoth seller, and his "Got a Right to Love My Baby" and "Partin' Time" weren't far behind. But Kent couldn't hang onto a star like King forever (and he may have been tired of watching his new LPs consigned directly into the 99-cent bins on the Biharis' cheapo Crown logo). King moved over to ABC-Paramount Records in 1962, following the lead of Lloyd Price, Ray Charles, and before long, Fats Domino.

In November of 1964, the guitarist cut his seminal Live at the Regal album at the fabled Chicago theater and excitement virtually leaped out of the grooves. That same year, he enjoyed a minor hit with "How Blue Can You Get," one of his many signature tunes. 1966's "Don't Answer the Door" and "Paying the Cost to Be the Boss" two years later were Top Ten R&B entries, and the socially charged and funk-tinged "Why I Sing the Blues" just missed achieving the same status in 1969.

Across-the-board stardom finally arrived in 1969 for the deserving guitarist, when he crashed the mainstream consciousness in a big way with a stately, violin-drenched minor-key treatment of Roy Hawkins' "The Thrill Is Gone" that was quite a departure from the concise horn-powered backing King had customarily employed. At last, pop audiences were convinced that they should get to know King better: not only was the track a number-three R&B smash, it vaulted to the upper reaches of the pop lists as well.

King was one of a precious few bluesmen to score hits consistently during the 1970s, and for good reason: he wasn't afraid to experiment with the idiom. In 1973, he ventured to Philadelphia to record a pair of huge sellers, "To Know You Is to Love You" and "I Like to Live the Love," with the same silky rhythm section that powered the hits of the Spinners and the O'Jays. In 1976, he teamed up with his old cohort Bland to wax some well-received duets. And in 1978, he joined forces with the jazzy Crusaders to make the gloriously funky "Never Make Your Move Too Soon" and an inspiring "When It All Comes Down." Occasionally, the daring deviations veered off-course; Love Me Tender, an album that attempted to harness the Nashville country sound, was an artistic disaster.

Although his concerts were consistently as satisfying as anyone in the field (King asserted himself as a road warrior of remarkable resiliency who gigged an average of 300 nights a year), King tempered his studio activities somewhat. Nevertheless, his 1993 MCA disc Blues Summit was a return to form, as King duetted with his peers (John Lee Hooker, Etta James, Fulson, Koko Taylor) on a program of standards. Other notable releases from that period include 1999's Let the Good Times Roll: The Music of Louis Jordan and 2000's Riding with the King, a collaboration with Eric Clapton. King celebrated his 80th birthday in 2005 with the star-studded album 80, which featured guest spots from such varied artists as Gloria Estefan, John Mayer, and Van Morrison. Live was issued in 2008; that same year, King released an engaging return to pure blues, One Kind Favor, which eschewed the slick sounds of his 21st century work for a stripped-back approach. ~ Bill Dahl, Rovi