Born as Riley B. King, he began broadcasting his music live on a Memphis radio station called WDIA. At first, he used the name The Peptikon Boy on air, which later was changed to The Beale Street Blues Boy, and then further shortened to just Blues Boy or B.B.
King's first hit on the R&B charts was "Three o'Clock in the Morning" in 1951. He first found success outside the blues market with the 1968 remake of the Roy Hawkins tune, "The Thrill Is Gone", which became a hit on both pop and R&B charts, a rare feat. King's mainstream success continued throughout the 1970s with songs like "To Know You Is to Love You" and "I Like to Live the Love". From 1951 to 1985, King appeared on Billboard's R&B charts seventy-four times.
King continued to record until his 80's, compilations of classic songs with other top artists, and new collaborative material with artists like Eric Clapton.
Further facts:
Early life
King was born in a cabin on a cotton plantation outside of Berclair, Mississippi, to Albert King and Nora Ella Farr on September 16, 1925. In 1930, his father left the family, and his mother married another man. King was raised by his maternal grandmother Elnora Farr in Kilmichael, Mississippi.[8]
As a kid, King sang in the gospel choir at Elkhorn Baptist Church in Kilmichael. It seems that at the age of 12, he purchased his first guitar for $15.00,[8] although another source indicates he was given his first guitar by Bukka White, his mother's first cousin (King's grandmother and White's mother were sisters).[9] In 1943, King left Kilmichael to work as a tractor driver and play guitar with the Famous St. John's Quartet of Inverness, Mississippi, performing at area churches and on WGRM in Greenwood, Mississippi.
In 1946, King followed Bukka White to Memphis, Tennessee. White took him in for the next ten months. However, King shortly returned to Mississippi, where he decided to prepare himself better for the next visit, and returned to West Memphis, Arkansas, two years later in 1948. He performed on Sonny Boy Williamson's radio program on KWEM in West Memphis, where he began to develop an audience. King's appearances led to steady engagements at the Sixteenth Avenue Grill in West Memphis and later to a ten-minute spot on the Memphis radio station WDIA. King's Spot became so popular, it was expanded and became the Sepia Swing Club.
Initially he worked at WDIA as a singer and disc jockey, gaining the nickname Beale Street Blues Boy, which was later shortened to Blues Boy and finally to B.B. It was there that he first met T-Bone Walker. "Once I'd heard him for the first time, I knew I'd have to have [an electric guitar] myself. 'Had' to have one, short of stealing!", he said.
Career
1949–2005
In 1949, King began recording songs under contract with Los Angeles-based RPM Records. Many of King's early recordings were produced by Sam Phillips, who later founded Sun Records. Before his RPM contract, King had debuted on Bullet Records by issuing the single "Miss Martha King" (1949), which did not chart well. "My very first recordings [in 1949] were for a company out of Nashville called Bullet, the Bullet Record Transcription company," King recalls. "I had horns that very first session. I had Phineas Newborn on piano; his father played drums, and his brother, Calvin, played guitar with me. I had Tuff Green on bass, Ben Branch on tenor sax, his brother, Thomas Branch, on trumpet, and a lady trombone player. The Newborn family were the house band at the famous Plantation Inn in West Memphis.
Performing with his famous guitar, Lucille
King assembled his own band; the B.B. King Review, under the leadership of Millard Lee. The band initially consisted of Calvin Owens and Kenneth Sands (trumpet), Lawrence Burdin (alto saxophone), George Coleman (tenor saxophone),[17] Floyd Newman (baritone saxophone), Millard Lee (piano), George Joyner (bass) and Earl Forest and Ted Curry (drums). Onzie Horne was a trained musician elicited as an arranger to assist King with his compositions. By his own admission, he cannot play chords well[18] and always relies on improvisation. This was followed by tours across the USA with performances in major theaters in cities such as Washington, D.C., Chicago, Los Angeles, Detroit and St. Louis, as well as numerous gigs in small clubs and juke joints of the southern US states.
In the winter of 1949, King played at a dance hall in Twist, Arkansas. In order to heat the hall, a barrel half-filled with kerosene was lit, a fairly common practice at the time. During a performance, two men began to fight, knocking over the burning barrel and sending burning fuel across the floor. The hall burst into flames, which triggered an evacuation. Once outside, King realized that he had left his guitar inside the burning building. He entered the blaze to retrieve his beloved instrument, a Gibson hollow electric. The next day, King learned that the two men were fighting over a woman named Lucille. King named that first guitar Lucille, as well as every one he owned since that experience, as a reminder never again to do something as stupid as run into a burning building for a replaceable guitar.
King meanwhile toured the entire "Chitlin' circuit" and 1956 became a record-breaking year, with 342 concerts booked. The same year he founded his own record label, Blues Boys Kingdom, with headquarters at Beale Street in Memphis. There, among other projects, he produced artists such as Millard Lee and Levi Seabury.
In the 1950s, B.B. King became one of the most important names in R&B music, amassing an impressive list of hits including "3 O'Clock Blues",[14] "You Know I Love You," "Woke Up This Morning," "Please Love Me," "When My Heart Beats like a Hammer," "Whole Lotta Love," "You Upset Me Baby," "Every Day I Have the Blues", "Sneakin' Around," "Ten Long Years," "Bad Luck," "Sweet Little Angel", "On My Word of Honor," and "Please Accept My Love." King was extremely busy during this period and made 342 appearances and 3 recording sessions in 1956 alone. In 1962, King signed to ABC-Paramount Records, which was later absorbed into MCA Records, and this hence into his current label, Geffen Records. In November 1964, King recorded the Live at the Regal album at the Regal Theater in Chicago, Illinois.
King won a 1970 Grammy Award for the song "The Thrill Is Gone"; his version became a hit on both the pop and R&B charts, which was rare during that time for an R&B artist. It also gained the number 183 spot in Rolling Stone magazine's 500 Greatest Songs of All Time. He gained further visibility among rock audiences as an opening act on The Rolling Stones' 1969 American Tour. King's mainstream success continued throughout the 1970s with songs like "To Know You is to Love You" and "I Like to Live the Love".
King was inducted into the Blues Hall of Fame in 1980, and into the Rock and Roll Hall of Fame in 1987. In 2004 he was awarded the international Polar Music Prize, given to artists "in recognition of exceptional achievements in the creation and advancement of music."
B.B. King in concert in France 1989
From the 1980s onward he has continued to maintain a highly visible and active career, appearing on numerous television shows and performing 300 nights a year. In 1988, King reached a new generation of fans with the single "When Love Comes to Town", a collaborative effort between King and the Irish band U2 on their Rattle and Hum album. Also that year King played for the 1988 Republican National Convention at the behest of the notorious Republican operative Lee Atwater. King has remained friendly with the Bush Family ever since and in 1990 was awarded the Presidential Medal of the Arts by George H.W. Bush and the Medal of Freedom by George W. Bush in 2008. In 2000, King teamed up with guitarist Eric Clapton to record Riding With the King. In 1998, King appeared in The Blues Brothers 2000, playing the part of the lead singer of the Louisiana Gator Boys, along with Clapton, Dr. John, Koko Taylor and Bo Diddley.
2006–present: farewell tour and later activities[edit]
On 2006, King went on a "farewell" world tour, although he has been active ever since it ended. partly supported by Northern Irish guitarist Gary Moore, with whom King had previously toured and recorded, including the song "Since I Met You Baby". It started in the UK, and continued with performances in the Montreux Jazz Festival and in Zürich at the Blues at Sunset. During his show in Montreux at the Stravinski Hall he jammed with Joe Sample, Randy Crawford, David Sanborn, Gladys Knight, Lella James, Andre Beeka, Earl Thomas, Stanley Clarke, John McLaughlin, Barbara Hendricks and George Duke. The European leg of the Farewell Tour ended in Luxembourg on September 19, 2006, at the D'Coque Arena (support act: Todd Sharpville). In November and December, King played six times in Brazil.
In June 2006, King was present at a memorial of his first radio broadcast at the Three Deuces Building in Greenwood, Mississippi, where an official marker of the Mississippi Blues Trail was erected. The same month, a groundbreaking was held for a new museum, dedicated to King.[21] in Indianola, Mississippi.[22] The B.B. King Museum and Delta Interpretive Center opened on September 13, 2008. In late October 2006, he recorded a concert CD and DVD entitled B.B. King: Live at his B.B. King Blues Clubs in Nashville and Memphis. The four-night production featured his regular B.B. King Blues Band and captured his show as he performs it nightly around the world. It was his first live performance recording in 14 years.
B.B. King at Roy Thomson Hall, Toronto, Ontario (May 2007)
On 2007, King played at Eric Clapton's second Crossroads Guitar Festival (Parts of this performance were subsequently aired in a PBS broadcast and released on the Crossroads II DVD.), contributed the song "Goin' Home", to Goin' Home: A Tribute to Fats Domino (with Ivan Neville's DumpstaPhunk), and "One Shoe Blues" to Sandra Boynton's children's album Blue Moo, accompanied by a pair of sock puppets in the video.
In the summer of 2008, King played at the Bonnaroo Music and Arts Festival in Manchester, Tennessee, the Chicago Blues Festival, and at the Monterey Blues Festival. On the winter, King was the closing act at the 51st Grammy Nomination Concert, and played at The Kennedy Center Honors Awards Show; his performance was in honor of actor Morgan Freeman. Also in 2008 he was inducted into the Hollywood Bowl Hall of Fame alongside Liza Minnelli and Sir James Galway, and Sirius XM Radio's Bluesville channel was renamed B.B. King's Bluesville.
European Tour 2009, Vienna, July 2009
In Summer 2009, King started a European Tour with concerts in France, Germany, Belgium, Finland and Denmark.
King performed at the Mawazine festival in Rabat, Morocco, on May 27, 2010.[23] In June 2010, King performed at 2010 Crossroads Guitar Festival with The Robert Cray Band, Jimmie Vaughan and Eric Clapton. In March 2010, King contributed to Cyndi Lauper's album Memphis Blues, which was released on June 22, 2010.
On 2011 King played at the Glastonbury Music Festival, and in The Royal Albert Hall, London, supported by Derek Trucks and Susan Tedeschi, Ronnie Wood, Mick Hucknall and Slash.
Barack Obama and B.B. King singing "Sweet Home Chicago" on February 21, 2012
On February 21, 2012, King was among the performers of "In Performance at the White House: Red, White and Blues", during which Obama sang part of "Sweet Home Chicago".[24] King recorded for the debut album of rapper and producer Big K.R.I.T., who also hails from Mississippi.[25] On July 5, 2012, King performed a concert at the Byblos Festival, Lebanon.
On May 26, 2013, King appeared at New Orleans Jazz Festival[26]
Over a period of 64 years, King has played in excess of 15,000 performances.
A feature documentary about B.B. King narrated by Morgan Freeman, and directed by Jon Brewer was released on October 15, 2012.
Equipment
For more information about King's guitar, see Lucille (guitar).
B.B. King uses simple equipment. He played guitars made by different manufacturers early in his career: he played a Fender Telecaster on most of his recordings with RPM Records (USA).[29] However, he is best known for playing variants of the Gibson ES-355. In 1980 Gibson Guitar Corporation launched the B.B. King Lucille model. In 2005 Gibson made a special run of 80 Gibson Lucilles, referred to as the "80th Birthday Lucille", the first prototype of which was given as a birthday gift to King, and which he has been using ever since.
King uses Lab Series L5 2x12" combo amp and has been using this amp for a long time. The amp was made by Norlin Industries for Gibson in the 1970s and '80s. Other popular L5 users are Allan Holdsworth and Ty Tabor of King's X. The L5 has an onboard compressor, parametric EQ, and four inputs. King has also used a Fender Twin Reverb.
He uses his signature model strings "Gibson SEG-BBS B.B. King Signature Electric Guitar Strings" with gauges: 10-13-17p-32w-45w-54w and D'Andrea 351 MD SHL CX (Medium .71mm, Tortoise Shell, Celluloid) Picks.
B.B. King's Blues Club[edit]
Sign outside B.B. King's Blues Club on Beale Street, Memphis
In 1991, B.B. King's Blues Club opened on Beale Street in Memphis, and in 1994, a second club was launched at Universal City Walk in Los Angeles. A third club in New York City's Times Square opened in June 2000. Two further clubs opened at Foxwoods Casino in Connecticut in January 2002 and another in Nashville in 2003. A club in West Palm Beach opened in the fall of 2009 and an additional one, based in the Mirage Hotel, Las Vegas, opened in the winter of 2009. In 2007, a B.B. King's Blues Club in Orlando opened on International Drive. The Memphis, Nashville, Orlando, West Palm Beach and Las Vegas clubs are all the same company.
Legacy
King is widely regarded as one of the most influential blues guitarists of all time, inspiring countless other electric blues and blues-rock guitarists.
Philanthropy
In 2001, King signed on as an official supporter of Little Kids Rock, a non-profit organization that provides free musical instruments and instruction to children in underprivileged public schools throughout the US. He sits on LKR's Honorary Board of Directors.
TV appearances
B.B. King has made guest appearances in numerous popular television shows, including The Cosby Show, The Young and the Restless, General Hospital, The Fresh Prince of Bel-Air, Sesame Street, Married... with Children, Sanford and Son, and Touched by an Angel. He has also made a cameo in the movie Spies Like Us. He voiced in the last episode of Cow and Chicken.
Personal life
King has been married twice, to Martha Lee Denton, 1946 to 1952, and to Sue Carol Hall, 1958 to 1966. Both marriages ended because of the heavy demands made on the marriage by King's 250 performances a year.It is reported that he has fathered 15 children and, as of 2004, had 50 grandchildren.He has lived with Type II diabetes for over 20 years and is a high-profile spokesman in the fight against the disease, appearing in advertisements for diabetes-management products along with American Idol season 9 contestant Crystal Bowersox.
King is an FAA licensed Private Pilot and learned to fly in 1963 at Chicago Hammond Airport in Lansing, IL (now Lansing Municipal Airport – KIGQ).He frequently flew to gigs, but under the advice of his insurance company and manager in 1995, King was asked to fly only with another licensed pilot; and as a result, King stopped flying around the age of 70.
External video
Oral History, B.B. King reflects on his greatest musical influences. interview date August 3, 2005, NAMM (National Association of Music Merchants) Oral History Library
His favorite singer is Frank Sinatra. In his autobiography King speaks about how he was, and is, a "Sinatra nut" and how he went to bed every night listening to Sinatra's classic album In the Wee Small Hours. King has credited Sinatra for opening doors to black entertainers who were not given the chance to play in "white-dominated" venues; Sinatra got B.B. King into the main clubs in Las Vegas during the 1960s.
Finale
B.B. King Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Đã lâu tao không chia sẻ lời nào
Bởi vì sau finale tao cảm thấy đã vô tình mở cuộc sống riêng và mời vào
Well đã mấy tháng qua tao không thể ngủ
Bao nhiêu cần sa cũng không thể đủ
Đầu vẫn vọng những lời thoại của chính tao và một vài khuất mắt mà tao đã để cũ
Lúc mà tao còn bé
Hát bản tình ca về những tình yêu mà đến khi họ sống chết nhất quyết phải gần nhau
Ai biết chuyện về sau ai biết được lần đầu
Khi tao cầm vào cây microphone và biến thành sân đấu
Và xé xác kẻ địch một cách hăm dọa và tàn bạo như khẳng định sẽ không có lần sau
Man tụi nó thích khi tao ngạo mạn
Thích con quỷ trên vai tao mang
Cùng một con quỷ điều khiển cái tôi của tao một lằn ranh nhỏ giữa sự chảnh chó và hảo hán
Hôm nay tao sẽ kể tất cả bí mật mà tao có
Không quan tâm lời đánh giá của mọi người sau đó
Hào nhoáng nên mày đâu thấy sự âu lo
Tao vẫn làm trò dù hằng ngày gương mặt vẫn cau có
Âm nhạc rồi phải tính sao tốt
Mấy thằng ở dưới thì ganh ghét còn trên đỉnh cao dốt
Nếu một ngày làm tro tàn thì phải chính tao đốt
Nên những thành hai mang nó không thích tao tốt
Man tao biết mày muốn thấy tao chết
Nhưng đáng tiếc không thằng nào có thể giết tao
Đời tao còn đẹp biết bao
Có những câu chuyện chưa đến lúc tao phải cất lại để viết sau
Và ba tao nói coi như mất thằng con
Bởi vì tao quá lớn để ông có thể quất bằng đòn
Đời ai cũng giống nhau khác ở hình thức mình chọn
Tất cả đều sinh ra và chết trên quả đất hình tròn
Tao nói con tao biết là là lỗi chẳng ở ai
Đôi khi cách bên cạnh là không thể ở lại
Đôi khi không thể sống đời họ không thể giống
Bởi vì nhìn hợp lí họ coi không thể thống
Quan trọng nhất tao vẫn phải là chính tao
Vẫn ở đây nếu như mày còn tin tao
Vẫn làm việc và dự tính cho đam mê
Dù biết trong tương lai sẽ phải chết một mình tao
Đâu ai biết những giọng nói trong đầu tao
Từ khi mười bốn kêu tao gặt cầu dao
Nghe những đứa bạn xung quanh tao cầu giàu
Khiến tao cẩn thận giữ chặt lấy hầu bao
Nhưng mà tao hiểu là vì nó cực khổ
Sẽ không ai đưa miếng ăn cho mày khi đói
Đế chế lớn nhất sẽ chỉ có sụp đổ nếu từng cá nhân ở bên trong bị chi phối
Hoặc khi cái tôi quá lớn đã nổi lên
Nên xin hãy để cái tôi qua một bên
Xin những tự ái bản thân sẽ không đến
Và xin đừng bỏ khi thuyền gặp gồng ghềnh
Tao bắt máy gọi cho mẹ
Mẹ vẫn nói tao nên suy nghĩ kĩ
Mẹ vẫn khuyên tao phán xét tỉ mỉ
Vì đời này ít có ai là tri kỷ
Nói tao nhìn ba tao và anh hai
Từng thế hệ tất cả đều rất giống
Có trong tay những người con gái tốt
Nhưng luôn phá hỏng và đem về thất vọng
Tao
Hai giờ sáng
Không còn ai để gọi
Và bao nhiêu tâm sự
Cũng không còn lại để nói
Tao đã quá mệt mỏi
Với muôn vàn công việc
Tao muốn được thấu hiểu
Nhưng chính tao cũng không biết
Là tao muốn gì với mục đích chi
Tao chỉ tự nhủ phải tập thích nghi
Và Hiếu Nhỏ nói tao cố gắng ông nói rằng tao là thiên tài
Và hiện tại sẽ còn khó khăn nhưng tương lai tên mày hiện mãi
Bước tiếp đi chàng trai trẻ sẽ không có gì có thể cản mày lại
Finale
The lyrics to "Finale" by B.B. King reflect on the artist's life and career, as he reveals some personal secrets to his fans. The song starts with B.B. King acknowledging his fans' curiosity about his life and expressing his reluctance to share anything with them until now. The lyrics portray his struggle to sleep, even after using drugs, as his mind is still occupied with his own dialogue and some blurred memories from his childhood. He reminisces about his childhood dreams of becoming a musician, standing on stage, and singing love songs that bring people together. He talks about how his persona and attitude on stage, with a demon on his shoulder, representing his internal struggle between ego and humility, has made him popular among his fans. The lyrics convey a sense of pride in his success, but also a feeling of loneliness and maybe a sense of insincerity.
The later part of the song takes a darker turn as B.B. King talks about the pressures of fame, the judgments of others, and the realization that he is all alone in the end. He talks about his struggles with his own demons, past traumas, and the constant pressure to be successful. He emphasizes the importance of staying true to oneself and being resilient in times of adversity. He urges his listeners not to let their egos get the best of them, and not to let material wealth take over their lives. In essence, the song is an introspection of B.B. King's life, his work, his fame, and his struggle with mental health.
Line by Line Meaning
Fans muốn biết thêm về đời tao
Fans want to know more about my life
Đã lâu tao không chia sẻ lời nào
It's been a long time since I shared any words
Bởi vì sau finale tao cảm thấy đã vô tình mở cuộc sống riêng và mời vào
Because after the finale, I felt unintentionally opening up my private life and inviting it in
Well đã mấy tháng qua tao không thể ngủ
Well, I haven't been able to sleep for months
Bao nhiêu cần sa cũng không thể đủ
No amount of marijuana can be enough
Đầu vẫn vọng những lời thoại của chính tao và một vài khuất mắt mà tao đã để cũ
My mind still echoes the dialogue of myself and some forgotten glances I've left behind
Lúc mà tao còn bé
Back when I was still a child
Tao vẫn hay mơ được đứng trên sân khấu
I used to dream of standing on stage
Hát bản tình ca về những tình yêu mà đến khi họ sống chết nhất quyết phải gần nhau
Singing love songs about the relationships that insist on being together until death
Ai biết chuyện về sau ai biết được lần đầu
Who knows what happens next, who knows the first time
Khi tao cầm vào cây microphone và biến thành sân đấu
When I hold the microphone and turn into an arena
Và xé xác kẻ địch một cách hăm dọa và tàn bạo như khẳng định sẽ không có lần sau
And tear down the enemy with menace and brutality, as if affirming that there will be no next time
Man tụi nó thích khi tao ngạo mạn
Those guys like it when I'm arrogant
Thích con quỷ trên vai tao mang
They like the demon I carry on my shoulders
Cùng một con quỷ điều khiển cái tôi của tao một lằn ranh nhỏ giữa sự chảnh chó và hảo hán
Controlled by the same demon, my self rests on a fine line between arrogance and virtuousness
Hôm nay tao sẽ kể tất cả bí mật mà tao có
Today, I will reveal all the secrets I possess
Không quan tâm lời đánh giá của mọi người sau đó
Not caring about people's judgments afterwards
Hào nhoáng nên mày đâu thấy sự âu lo
It's dazzling, so where do you see worry
Tao vẫn làm trò dù hằng ngày gương mặt vẫn cau có
I still play tricks even though my face is worried every day
Âm nhạc rồi phải tính sao tốt
Music is then measured for its goodness
Mấy thằng ở dưới thì ganh ghét còn trên đỉnh cao dốt
The guys below envy while those at the top are foolish
Nếu một ngày làm tro tàn thì phải chính tao đốt
If one day turns to ashes, then I must be the one to burn
Nên những thành hai mang nó không thích tao tốt
So those raised in prosperity don't like me
Man tao biết mày muốn thấy tao chết
Man, I know you want to see me dead
Nhưng đáng tiếc không thằng nào có thể giết tao
But unfortunately, no one can kill me
Đời tao còn đẹp biết bao
My life is still so beautiful
Có những câu chuyện chưa đến lúc tao phải cất lại để viết sau
There are stories that I haven't yet stored to write later
Và ba tao nói coi như mất thằng con
And my father says to consider it as losing a son
Bởi vì tao quá lớn để ông có thể quất bằng đòn
Because I'm too big for him to punish with a single blow
Đời ai cũng giống nhau khác ở hình thức mình chọn
Everyone's life is the same, just different in the form we choose
Tất cả đều sinh ra và chết trên quả đất hình tròn
We all are born and die on this round earth
Tao nói con tao biết là là lỗi chẳng ở ai
I say it's my fault and no one else's
Đôi khi cách bên cạnh là không thể ở lại
Sometimes the way beside you can't stay
Đôi khi không thể sống đời họ không thể giống
Sometimes can't live a life that can't resemble theirs
Bởi vì nhìn hợp lí họ coi không thể thống
Because looking reasonable they see it can't be achieved
Quan trọng nhất tao vẫn phải là chính tao
Most importantly, I still have to be myself
Vẫn ở đây nếu như mày còn tin tao
Still here if you still believe in me
Vẫn làm việc và dự tính cho đam mê
Still working and planning for passion
Dù biết trong tương lai sẽ phải chết một mình tao
Even knowing that in the future I will have to die alone
Đâu ai biết những giọng nói trong đầu tao
No one knows the voices inside my head
Từ khi mười bốn kêu tao gặt cầu dao
Since fourteen, they've been calling me a fortune teller
Nghe những đứa bạn xung quanh tao cầu giàu
Hearing my friends around me wishing for wealth
Khiến tao cẩn thận giữ chặt lấy hầu bao
Causing me to cautiously hold tight to my wallet
Nhưng mà tao hiểu là vì nó cực khổ
But I understand it's because they're in misery
Sẽ không ai đưa miếng ăn cho mày khi đói
No one will give you a bite to eat when you're hungry
Đế chế lớn nhất sẽ chỉ có sụp đổ nếu từng cá nhân ở bên trong bị chi phối
The greatest empire will only collapse if each individual inside is dominated
Hoặc khi cái tôi quá lớn đã nổi lên
Or when the ego becomes too big and rises
Nên xin hãy để cái tôi qua một bên
So please let the ego aside
Xin những tự ái bản thân sẽ không đến
Please self-esteem, don't come
Và xin đừng bỏ khi thuyền gặp gồng ghềnh
And please don't abandon when the boat encounters rough seas
Tao bắt máy gọi cho mẹ
I pick up the phone and call my mother
Mẹ vẫn nói tao nên suy nghĩ kĩ
My mother still tells me to think carefully
Mẹ vẫn khuyên tao phán xét tỉ mỉ
My mother still advises me to judge meticulously
Vì đời này ít có ai là tri kỷ
Because in this life, there are few true friends
Nói tao nhìn ba tao và anh hai
They say look at my father and older brother
Từng thế hệ tất cả đều rất giống
Each generation, they all look alike
Có trong tay những người con gái tốt
Having in their hands good daughters
Nhưng luôn phá hỏng và đem về thất vọng
But always ruining and bringing disappointment
Tao
Me
Hai giờ sáng
Two o'clock in the morning
Không còn ai để gọi
No one left to call
Và bao nhiêu tâm sự
And all the confessions
Cũng không còn lại để nói
There's nothing left to say
Tao đã quá mệt mỏi
I am too tired
Với muôn vàn công việc
With countless tasks
Tao muốn được thấu hiểu
I want to be understood
Nhưng chính tao cũng không biết
But even I don't know
Là tao muốn gì với mục đích chi
What I want and for what purpose
Tao chỉ tự nhủ phải tập thích nghi
I only remind myself to adapt
Và Hiếu Nhỏ nói tao cố gắng ông nói rằng tao là thiên tài
And Hiếu Nhỏ tells me to try, he says I'm a genius
Và hiện tại sẽ còn khó khăn nhưng tương lai tên mày hiện mãi
And the present will be difficult, but your name will always be in the future
Bước tiếp đi chàng trai trẻ sẽ không có gì có thể cản mày lại
Keep stepping forward, young man, there's nothing that can hold you back
Finale
Finale
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
Morning GloryHole
I swear to God, I'd buy a ticket to listen to Derek Trucks tune up.
R Johnson
saw Trucks in a bar in 2006. NO ONE but I stood before him. everyone else was just chillin at their tables. one of the coolest evenings of my life.
adpothesis
Do it, just experiencing the natural distortion coming from his amp hits totally different than you've experienced.
Ben Fellows
Many people feel that way about the English guitarist Martin Simpson. Check him out!
flamshiz
I wonder if Derek ever comes back to this video to hear bb king compliment him so profoundly
TabbzMania Gaming
he does i promise
Pit Pride
I would
Empty Promises
Who wouldn't? 😄
Eric O'Brien
Man, talk about a compliment.
Sriyansh K
I wonder if he saw this comment