Review by Michael Gallucci
B.B. King's pleas to the literally captive audience for a round of applause for the guards watching over the prisoners on his first live album in nearly a decade is almost laughable. Unlike Johnny Cash's smirking irony on his album recorded at the same facility in 1969, where you can sense Cash's disdain for the captors is just as strong as the inmates', King seems to be totally oblivious to the fact that these are prisoners being held against their will. And that's the problem with this competent, if unremarkable, record: King is merely going through the motions. He could just as well be playing to a blue-blooded audience under the stars at some shed in the Midwest.
https://www.allmusic.com/album/live-at-san-quentin-mw0000308997
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Reseña de Michael Gallucci
Las súplicas de B.B. King al público literalmente cautivo para que aplaudan a los guardias que vigilan a los prisioneros en su primer álbum en vivo en casi una década es casi risible. A diferencia de la sonriente ironía de Johnny Cash en su álbum grabado en las mismas instalaciones en 1969, donde se puede sentir que el desdén de Cash por los captores es tan fuerte como el de los presos, King parece ser totalmente ajeno al hecho de que se trata de prisioneros retenidos contra su voluntad. Y ese es el problema con este competente, aunque poco notable, registro: King simplemente está haciendo los movimientos. También podría estar tocando para un público de sangre azul bajo las estrellas en algún cobertizo del Medio Oeste.
https://www.allmusic.com/album/live-at-san-quentin-mw0000308997
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