Where better to see B.B. King live than the home of the blues, Chicago? This set recorded in November 1966 showcases King's guitar playing and vocals in a spirited and exciting live set with a band consisting of Kenneth Sands on trumpet, Bobby Forte on tenor saxophone, Duke Jethro on organ, Louis Satterfield on bass and Sonny Freeman on drums. Blues fans consider this one of King's best live recordings and among his best albums overall.

"Get Yer Ya-Ya's Out! The Rolling Stones in Concert" holds the distinction of being the first live album by any artist to have reached #1 on the UK charts. Recorded Madison Square Garden in New York City on November 27 and 28, 1969, Ya-Ya's is considered the Stones finest live album. This three-disc remastered Ya-Ya's includes the original in all its gritty glory. Disc Two is a five-song EP from the same shows, with acoustic performances - 'Prodigal Son' and 'You Gotta Move' - from Richards and Jagger. The third disc is an unexpected treat: blistering sets by openers B.B. King plus Ike and Tina Turner (doing an outrageously steamy take on Otis Redding's 'I've Been Loving You Too Long')".

Tony Bennett's latter-day albums tend to have themes, and this one has two, as indicated by its double-barreled title: It is both a duets album and a blues album. The duet partners include ten singers who range from his recent touring partners Diana Krall and k.d. lang to fellow veterans Ray Charles, B.B. King, and Kay Starr, and younger, but still mature pop stars Stevie Wonder, Bonnie Raitt, and Billy Joel.

B.B. King's 1969 album "Completely Well" contains one of his biggest hits, a signature song of his career and his first Grammy winner, The Thrill Is Gone. The album, called "adventurous" by Rolling Stone, was produced by a young Bill Szymczyk, who would go on to produce six albums for the Eagles including Hotel California.

"Live at the Regal" is a live recording of legendary blues guitarist and vocalist B.B. King. The album was recorded November 21, 1964 and is considered one of the greatest blues albums ever recorded; reaching #141 on Rolling Stone Magazine's list of 500 Greatest Albums of All Time. Live at the Regal was selected by the Library of Congress in 2005 for permanent preservation in the National Recording Registry.

Founded in 2004 by the legendary guitarist, the Crossroads Guitar Festival has given fans an opportunity to witness truly historic performances by some of the world's greatest guitarists. A veritable "Who is Who" of guitar music can be heard on this set, including Clapton, Jeff Beck, Gary Clark Jr., Robert Cray, Billy F Gibbons, Vince Gill, Buddy Guy, B.B. King, John Mayer, Carlos Santana, Joe Walsh, Ronnie Wood, and Jimmie Vaughn, just to name a few. This compilation features 40 remastered tracks of landmark performances from all four Crossroads Guitar Festivals, which were held in 2004, 2007, 2010 and 2013. Naturally, the all-star jams deliver some of the collection's most unforgettable moments.

"To Know You Is to Love You" is the 22nd studio electric blues album by B. B. King, released in 1973. Produced by the musician and producer Dave Crawford in Philadelphia, it features the participation of Stevie Wonder and members of the famed MFSB session group, who formed the house band for Philadelphia International Records in the early and mid 1970s.

"B.B. King in London" is the nineteenth studio album by B.B. King recorded in London in 1971. He is accompanied by US session musicians and various British R&B musicians, including Alexis Korner and Rick Wright (not the same from Pink Floyd), as well as members of Spooky Tooth and Humble Pie, Greg Ridley, Steve Marriott and Jerry Shirley. The album was released in the United Kingdom on November 19, 1971 in order to coincide with the first date of King's tour of the country.

Live at the Regal is a live recording of legendary blues guitarist and vocalist B.B. King. The album was recorded November 21, 1964 and is considered one of the greatest blues albums ever recorded; reaching #141 on Rolling Stone Magazine's list of 500 Greatest Albums of All Time. Live at the Regal was selected by the Library of Congress in 2005 for permanent preservation in the National Recording Registry.

Besides the legendary B.B. King and Muddy Waters, a live Newport audience in New York hears some lesser lights such as Eddie "Cleanhead" Vinson. Of historical interest, Big Mama Thornton, Arthur "Big Boy" Crudup, and Jay McShann offer renditions of their own songs that were covered for a much larger audience by Janis Joplin, Elvis Presley, and others…

B.B. King unleashes his inner crooner on this collection of 13 of his sentimental favorites. With a five-piece studio band rather than his usual orchestra, the arrangements stay spare throughout, allowing King to exercise his classic vocal chops. His most heartfelt selection may be "A Mother's Love", a performance that seems to draw on the heartache he still carries from the loss of his own mother when he was a child, nearly 70 years ago.

One of the best live blues albums of all time from the spokesman of the Blues. Recorded in September 1970 at a free show for the inmates at the Cook County Jail in Chicago. The record spent three weeks at the top of the Souls Albums chart and is listed in Rolling Stone's 500 Greatest Albums of All Time.

The potential for a collaboration between B.B. King and Eric Clapton is enormous, of course, and the real questions concern how it is organized and executed. This first recorded pairing between the 74-year-old King and the 55-year-old Clapton was put together in the most obvious way: Clapton arranged the session using many of his regular musicians, picked the songs, and co-produced with his partner Simon Climie. That ought to mean that King would be a virtual guest star rather than earning a co-billing, but because of Clapton's respect for his elder, it nearly works the other way around.

B.B. King is not only a timeless singer and guitarist, he's also a natural-born entertainer, and on Live at the Regal the listener is treated to an exhibition of all three of his talents. Over percolating horn hits and rolling shuffles, King treats an enthusiastic audience (at some points, they shriek after he delivers each line) to a collection of some of his greatest hits. The backing band is razor-sharp, picking up the leader's cues with almost telepathic accuracy. King's voice is rarely in this fine of form, shifting effortlessly between his falsetto and his regular range, hitting the microphone hard for gritty emphasis and backing off in moments of almost intimate tenderness.