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BB King, Albert King, Freddie King – The Three Kings: Live in
the Seventies – Floating World FLOATM6441
www.floatingworldrecords.co.uk

These three guys should not need any introduction from me,
three of the most influential blues guitarists (and performers) of
the modern era. If you don’t know them, then this might not be
the most immediate release to make their acquaintance; on the
other hand, if it was, I guarantee you’d still be pretty impressed
anyway.

Floating World have put out individual sets from these guys’ 70s live recordings before, and on
this double CD they are presented with one track by Albert, then one by BB, then one from
Freddie, from the beginning to end. It actually enables the listener to appreciate each one’s finer
points. BB was recorded in a club for a radio show, and the sound is not quite as sharp as the
other two. There is also more of BB’s banter, but also plenty of his strong vocals and exemplary
guitar work; Albert works through some of his finest numbers with his matter-of-fact but

always spot-on vocals and his biting guitar work right up-front, and Freddie shows off the licks
that have influenced so many, including live performances of his instrumentals ‘The Stumble’
and ‘Hideaway’ – his vocals are also so muscular too.

These three helped define today’s blues and these performances help to show why. What more
need I say?

Norman Darwen

Mario Rossi - Smoke Burst - Independent
www.mariorossiband.com

Blues from Brazil, from a singer and guitarist who worked with
John Primer on two tours in the south of his country. This is his
third album, and an energetic effort it is too.

The opener is also the title track, a guitar showcase with blues-
rock licks over a cool backing, including some moody organ
playing. The strutting ‘Leavin’ For A Walk’ shows that Mario also
has a fine voice for blues-rock, whilst the fine slow blues of ‘It
Means Blues’ presents the sultry ‘n’ sassy sounding Brazilian guest
vocalist Lu Vitti; she makes a very positive impression, whilst Mario and his band offer a “wee

wee hours” styled backing.
In contrast, ‘There’s No Hope For Willie Brown’ is a lively harp-driven blues with a strong Bo
Diddley influence - it is a memorable number, Steve Bell’s playing the harp and the lyrics seems

to be inspired by the 1986 film ‘Crossroads’ (I think). ‘Don’t Tell Me What To Do’ is aggressive
sounding blues-rock, tending far more towards the latter part of that description; so too is the
instrumental ‘Jammin’ For Jimi’.

‘Expensive Instinct’ is closer to the blues (if still loud), and sets things up nicely for the closing
slow blues, ‘Cold Lonely Nights’ - meaty guitar work, good horns, nice organ cushion, subtle,
strong rhythm, fine vocal and classic lyrics. It is a highly impressive way to finish…

Norman Darwen