The 500 with Josh Adam Meyers

Episode 141 – B.B. King: Live at the Regal
Guest: Wayne Federman
Date: September 24, 2025

Episode Overview

In this episode, host Josh Adam Meyers is joined by comedian, writer, and music historian Wayne Federman to discuss B.B. King’s legendary 1965 live album, Live at the Regal, which holds the #141 spot on Rolling Stone’s 500 Greatest Albums list (falling to #299 in the most recent update). The episode is a passionate exploration of B.B. King’s legacy, the origins of electric blues, cultural context of the era, personal anecdotes, and a breakdown of the album’s enduring magic. Wayne’s encyclopedic knowledge, coupled with Josh’s comedic rapport, make for a highly engaging and informative conversation.

Key Discussion Points & Insights

1. How B.B. King Changed Blues Forever

• Wayne Federman hails B.B. King as “the roots of all of this” when it comes to electric blues, arguing that King was pivotal in shaping the Memphis (not just Chicago) sound.
• Wayne: “He is the dude. Of creating the basic image of the electric blues in Memphis… then it made its way up to Chicago and they took all the credit.” (12:48)
• B.B. was not just influential for his guitar work, but also for his powerful, emotional singing.

2. B.B. King’s Place Among the Legends

• King is affectionately grouped with Albert King and Freddie King as a member of “the three Kings of blues guitar.”
• Josh reflects on Rolling Stone’s 2023 rankings, noting B.B. King landed at #8 among the greatest guitarists of all time.

3. The Story of Lucille

• Wayne provides the legendary backstory for King’s cherished guitar "Lucille":
  – During a gig in a Texas club in 1949, a fire broke out after two men fought over a woman named Lucille. King risked his life to save his guitar and later named it after her to remind himself “never run into a burning building” and as a tribute to the woman whose name caused the chaos.
  – “That was stupid. Can't believe I did that... and as tribute to this woman, Lucille...” (32:22)

4. The Chitlin’ Circuit & Black Show Biz History

• Detailed descriptions of the Chitlin’ Circuit: a network of Black clubs/theaters (like the Regal, the Apollo, Uptown, Howard) where blues/soul/R&B artists could perform during segregation.
• Both King and James Brown honed their live acts on this circuit; Live at the Regal is positioned as a response to Brown’s Live at the Apollo (1963).
  – Wayne: “They were working all those Black clubs… you got to entertain these crowds…” (24:13)

5. B.B. King's Performance Style & Technique

• Not a Chord Guy: King innovated by not playing rhythm chords while singing; he alternated soul-drenched vocals with searing solos.
• Emphasis on emotional expressiveness over technical speed:
  – Wayne compares King’s soloing to David Gilmour: “They’re recreating the human voice with the guitar… making the guitar sing.” (47:19)
• King’s signature: bending notes, slow vibrato, and making every phrase count emotionally.
• Light gauge strings: so he could achieve distinct bends and vibrato.

6. Crossover & Influence

• B.B. King’s mainstream breakthrough didn’t happen until the late '60s/early '70s, with "The Thrill Is Gone".
• British Invasion, Clapton’s championing, and performing for younger/white audiences was key to his wider success.
• King’s influence on guitarists (Clapton, Slash, Buddy Guy, Stevie Ray Vaughan, etc.) is repeatedly stressed. – “Every time Clapton… he was like, ‘Why are you talking to me? B.B. King is alive. I stole all my stuff from B.B. King.’” (17:25)

7. King’s Life & Character

• Born Riley B. King in Mississippi, became "B.B." while working as a DJ ("Blues Boy King").
• Prolific performer – played hundreds of shows per year, often until late in life despite declining health (“road dog”).
• Notably fathered at least 15–18 children; discussion of paternity and generosity toward claimants.
• Fun facts: guest on TV/ads ("Cosby Show," "Sesame Street," "McDonald's"), licensed pilot, Chitlin' Circuit legend.

8. The Album: Live at the Regal (1965)

• Live Setting: Captures B.B. King with a tight band, a raucous and supportive mostly Black audience at Chicago’s Regal Theatre.
• Standout performance: emotional range, song selection, crowd engagement – a snapshot of blues at its peak.
• King's live albums compared: Live at the Regal (“incredible fidelity,” important before Cook County Jail), considered more impactful culturally and musically. – “He starts the concert at 10…” (58:41)

Notable Quotes & Memorable Moments

“He is the dude… creating the basic image of the electric blues in Memphis… then it made its way up to Chicago and they took all the credit.”
— Wayne Federman (12:48)

“One of the greatest guitar players of all time isn’t really playing along with the song is wild.”
— Wayne Federman (46:32)

“They’re recreating the human voice with the guitar… making the guitar sing.”
— Wayne Federman (47:19)

"Every day I have the blues, I just think it...that band is cooking."
— Wayne Federman (59:19)

“If you want to know where the electric blues… all the different colors, you could start with B.B. King. And this album absolutely captures… what it was like to see that guy live…”
— Wayne Federman (72:10)

“All of it. You can heavy pet to this record. This is what the blues is about… sex music. It’s like, it’s very basic primal music.”
— Wayne Federman (71:46)

Essential Timestamps

• Intro chatter, travel stories, Wayne’s recurring guest slot: ~2:57–13:24
• Why B.B. King is “The King,” context & origins: 12:35–18:09
• The Lucille story: 31:15–33:45
• History of the Chitlin’ Circuit & B.B. as bandleader: 43:00–45:52
• King’s guitar style (no rhythm, all feel), emotional blues: 45:52–47:45
• Rolling Stone’s Top Guitarists list rundown: 62:09–68:11
• Album favorites (‘Every Day I Have the Blues,’ ‘Sweet Little Angel’), lyrical form of blues: 58:41–61:59
• Discussion of “Help the Poor” as the only skippable track: 69:37–70:20
• Conclusion & Wayne’s elevator pitch: 72:09–73:12

Album Favorites, Critiques, and Summing Up

• Favorite Tracks:
  Wayne loves the high-octane openers “Sweet Little Angel” and “Every Day I Have the Blues” for their energy and musicianship.
• Least Favorite:
  "Help the Poor" described as the “one…like social commentary track” that doesn’t fit as well with the rest of the record.
• Summing Up:
  Wayne: “If you want to know where the electric blues… all the different colors, you could start with B.B. King. And this album absolutely captures… what it was like to see that guy live…” (72:10)

For Listeners New to B.B. King

• Live at the Regal is held up as a live-album gold standard: dramatic, emotional, crowd-involving, and both musically killin’ and historically significant. If you want to feel what the blues sounded like on a wild night in 1960s Chicago, this is it.

Final Takeaways

• Cultural Importance: Live at the Regal is a window into Black performance spaces, the genesis of electric blues, and B.B.’s unique artistry.
• Legacy: King’s guitar “voice” and showmanship are foundational for R&B, blues, and rock.
• Recommended: For both newbies and blues aficionados—essential, timeless, and a bona fide classic.

Next Episode Teaser:
Episode 140: Blondie – Parallel Lines.
Stay tuned!

Wayne Federman’s Upcoming Gig:

• October 4, Auburn Public Theater, Auburn, NY

Follow Josh:

• @joshadamyers

Podcast Links:

• Website: the500podcast.com
• Email: 500podcastmail@gmail.com