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"&lt;p&gt;B.B. King is the greatest non-Chicago postwar urban bluesman, but in his later years he has cast wildly for styles, attempting to make himself &amp;quot;contemporary&amp;quot; in all the worst ways, masking his gifts as a singer and guitar player. King is a pure, unassailable bluesman, yet &lt;em&gt;King of the Blues: 1989&lt;/em&gt; is another mediocre attempt to make a timeless genius timely. Not that he can&amp;apos;t be up-to-date and inspiring; on U2&amp;apos;s &lt;em&gt;Rattle and Hum&lt;/em&gt;, the sixty-three-year-old master takes over &amp;quot;When Love Comes to Town&amp;quot; from Bono with assurance and verve.&lt;/p&gt;\r\n&lt;wm:embed type=\"related\"&gt;&lt;/wm:embed&gt;&lt;p&gt;King remains a ferocious singer, so he can even make straight pop work for him sometimes: &lt;em&gt;King of the Blues: 1989&lt;/em&gt; offers a harsh take on Gamble and Huff&amp;apos;s &amp;quot;Drowning in the Sea of Love.&amp;quot; But King, suffocated by more synthesizers than you might find in Thomas Dolby&amp;apos;s house, is generally lost on this album. For four decades, King has been a superlative bandleader, but on &lt;em&gt;King of the Blues: 1989&lt;/em&gt;, his still-titanic talents are wasted.&lt;/p&gt;"^^<http://www.w3.org/2001/XMLSchema#string>
<http://www.rollingstone.com/music/albumreviews/king-of-blues-1989-19890309>