Unleashing the Power of the Blues Avengers: B.B., Albert, and Freddie King

Intermediate
Beginner
- Explore the approaches and techniques which set the styles of B.B., Albert, and Freddie King apart.
- Discover how to learn from your heroes without knowing their actual licks.
- Learn how to turn up the heat to boost your playing’s emotional intensity.
In the world of Marvel Comics, the Avengers comprise the likes of Iron Man, Black Panther, and Thor, superheroes joining forces to wield a power even greater than the sum of its parts. What if we could incorporate this same idea into the world of blues guitar?
Today we’re going to find out, as we seek to combine the singular styles of three of the greatest blues guitarists of all time, all named King—B.B., Albert, and Freddie. While the surname remains the same, all three of their styles are distinct and instantly recognizable, with each legend bringing his own unique brand of blues justice (so to speak). B.B.’s Gibson ES-355-based “Lucille” allows him to seamlessly weave his understated but devastating magic; Albert bends the strings of his lefty-strung-righty, detuned Gibson Flying V seemingly without limit; Freddie unleashes cascades of relentless, stinging bends from “Lucy,” his trademark Gibson ES-345.
How Our Heroes Get Their Power
Each King generally draws their ideas from the tried and true blues scale (1–b3–4–b5–5–b7), essentially the minor pentatonic scale with the flatted fifth added, at times including phrases born out of the major pentatonic scale (1–2–3–5–6). So, it’s not as much their choice of notes that clearly distinguishes their styles, as it is how they execute these notes with their picking hand. B.B. used a standard pick, digging in when needed.
Albert wielded his blues power by primarily plucking with his thumb.
Freddie played exclusively with his thumb and index finger, often employing metal fingerpicks to create his signature sting.
Ex. 1 illustrates how B.B. might approach playing over an up-tempo blues shuffle.
B.B. would often use his first finger to bend notes on the 1st string, as in beat 1 of measure three. Moreover, try to capture his signature “butterfly” vibrato by quickly rotating your fretting-hand wrist.
Ex. 2 employs an Albert-style approach to the same groove.
Albert achieved his legendary wide bends, like those in measure one, mainly by detuning his guitar (low to high: C–F–C–F–A–D) while playing it upside-down. He would bend strings by pulling them down towards the floor, giving him additional leverage. Albert would have surely played Ex. 2’s bends on the first string, but using standard tuning, we can approximate by choosing a position which better work for us. Here’s a terrific view of Albert’s bends, as his disciple, Stevie Ray Vaughan, handles rhythm duties.
Ex. 3 shows how Freddie might approach this situation.
More than anything else, we’ve got to ratchet up the intensity here. So, don’t be afraid to dig in with your pick or fingers, whichever method you use. But be careful when turning up the intensity not to rush things, which is a common tendency. Watch as Freddie takes his time, milking one bend for all it’s got, then turning up the heat even more. They didn’t call him the “Texas Cannonball” for nothing.
Combining the Trio’s Strengths
Now, could we simply string a few of each of the Kings’ licks together to create a cohesive solo? Sure, but that would almost certainly limit our creativity. So, instead, let’s focus on incorporating their general approaches into our playing, rather than simply making off with a few of their licks (though we can absolutely use elements of those as well). Just keep in mind that each of these legends has a distinct attitude in their playing, which we can tap into to boost our own spiciness.
Next, let’s change things up with more of a mid-tempo blues groove. Here’s B.B., a master of using space, starting off by taking time to breathe between each of his languid phrases, creating tension using short silences, before moving on.
Ex. 4, exploits B.B.’s use of space, while incorporating Albert’s compound bends (those which are wider than a whole-step). Measure three also incorporates a wide Albert-style vibrato, which can be executed by pulling down to more closely emulate his sound. Here, SRV does just that, in front of the man himself.
Next let’s add some of Freddie’s intensity into the mix for Ex. 5 (measure two), while our final phrase pairs a descending B.B.-style lick with a wide bend reminiscent of Albert. For the initial nasty ghost bend, where only the release is heard, catch both the 2nd and 3rd strings with your fretting-hand ring finger before striking. This was an Albert favorite that SRV later adopted.
We can also incorporate some of the Kings’ favorite melodic approaches. For example, Albert would very often move the classic blues box up two frets in order to play over the V chord. Here he is to demonstrate:
So, for the G blues excerpt in Ex. 6, Albert would use almost certainly use A minor pentatonic (A–C–D–E–G) over the V chord, D9 (D–F#–A–C–E). This would enable him to target some of D7’s chord tones, notably the 5 (A), b7 (C) and 9 (E), which we do in the example.
In measure one, we’re simultaneously employing this melodic approach, melding Albert’s and Freddie’s bending styles, and simulating both of their sharp picking-hand attacks. Regardless if you’re using a pick or not, pluck all the notes in measure one, up to the rest on beat 4, with your middle finger, pulling the string slightly outward so it snaps sharply against the frets when released. There’s plenty of space a là B.B in measures three and four, plus we’ve included his signature high root-note (G) punctuation at the end. He often let it hang in the air, but here we’ve kept it short.
Another melodic approach we can incorporate is B.B.’s penchant for subtly mixing and matching notes of the major and minor pentatonic scales. Here’s he is doing just that.
For Ex. 7, we’re going to stay in one of B.B.’s favorite pentatonic scale positions (the one he uses in the previous video, albeit in the key of Ab). We’ll sneakily mash up the major and minor pentatonic scales, while injecting a classic Freddie-style bend with wide vibrato. Note the presence of both F#, the 6, from the major pentatonic scale and G, the b7, from the minor pentatonic (or blues) scale.
Regardless of style, you can harness the attitudes and approaches of your favorite guitarists without actually learning their licks. Taking this macro view of playing allows you to use their greatness as a springboard for your own creativity.
Jason Isbell's first entirely solo acoustic album, Foxes in the Snow is set for release March 7. The first single, “Bury Me” is out now.
Foxes in the Snow was recorded in New York City at the famed Electric Lady Studios in October, 2024. Recorded entirely on the same all-mahogany 1940 Martin 0-17 acoustic guitar, and in the span of just five days, the album captures an artist at the peak of their powers; the virtuosic guitar playing and commanding vocal delivery on this collection is some of the most impressive of an already remarkable recording career. Isbell is one of the most highly lauded songwriters of his generation, and this stripped back, bare-bones format puts his immense talent for evocative storytelling and the complete mastery of his craft on full display.
This release marks Isbell’s first new music since the award-winning Weathervanes, with his band The 400 Unit, in 2023. Isbell’s breakthrough solo album, Southeastern, was released in 2013 and spawned a modern classic in “Cover Me Up”. Since then, he has gone on to win six GRAMMY Awards and broken records as the first artist to ever take home the trophy for Best Americana Album three times. He recently added ‘actor’ to his skillset with a formidable performance opposite Leonardo DiCaprio in Martin Scorsese's Killers Of The Flower Moon. He will next be seen in RZA's upcoming One Spoon Of Chocolate.
The album announcement follows news of an entirely solo US tour; An Intimate Evening With Jason Isbell kicks off on February 15th in Chicago. All dates below.
Foxes in the Snow
Foxes in the Snow Tracklist
1. Bury Me
2. Ride to Robert's
3. Eileen
4. Gravelweed
5. Don’t Be Tough
6. Open and Close
7. Foxes in the Snow
8. Crimson and Clay
9. Good While It Lasted
10. True Believer
11. Wind Behind the Rain
ALL TOUR DATES
Jan 16–20: Mexico City, Mexico - Súper Ocho
Jan 18: Mexico City, Mexico - Lunario del Auditorio Nacional
Feb 2: Berlin, DE - Columbia Theatre +
Feb 4: Cologne, DE - Kulturkirche Köln +
Feb 6: Amsterdam, NL - Paradiso +
Feb 10: London, UK - Barbican +
Feb 12: Dublin, IE - Vicar Street +
Feb 15: Chicago, IL - Auditorium Theatre +
Feb 16: Ithaca, NY - State Theatre of Ithaca +
Feb 17: Portsmouth, NH - The Music Hall +
Feb 18: Providence, RI - Providence Performing Arts Center +
Feb 20: Port Chester, NY - Capitol Theatre +
Feb 21: New York, NY - Beacon Theatre +
Feb 22: New York, NY - Beacon Theatre +
Feb 23: Princeton, NJ - McCarter Theatre +
Feb 27: Washington DC - Warner Theatre +
Feb 28: Washington DC - Warner Theatre +
March 1: Washington DC - Warner Theatre +
March 12: Oakland, CA - Calvin Simmons Theatre +
March 13: Oakland, CA - Calvin Simmons Theatre +
March 14: Los Angeles, CA - Walt Disney Concert Hall +
March 15: Santa Barbara, CA - Arlington Theatre +
March 20: Nashville, TN - The Pinnacle +
March 21: Nashville, TN - The Pinnacle +
March 22: Nashville, TN - The Pinnacle +
March 28: Nashville, TN - The Pinnacle +
March 29: Atlanta, GA - Fox Theatre +
April 3: Austin, TX - ACL Live at The Moody Theater
April 4: Austin, TX - ACL Live at The Moody Theater
April 5: Austin, TX - ACL Live at The Moody Theater
April 6: Durant, OK - Choctaw Grand Theater
April 8: Houston, TX - 713 Music Hall
April 10: Clearwater, FL - Ruth Eckerd Hall
April 11: St. Augustine, FL - St. Augustine Amphitheatre
April 12: Savannah, GA - Savannah Music Festival
April 13: Greenville, SC - Peace Concert Hall
April 15: Greensboro, NC - Steven Tanger Center for the Performing Arts
April 16: Columbia, SC - Township Auditorium
April 17: Nashville, IN - Brown County Music Center
April 30: Colorado Springs, CO - Sunset Amphitheater *
May 1: Denver, CO - Mission Ballroom
May 2: Denver, CO - Mission Ballroom
May 3: Morrison, CO - Red Rocks Amphitheatre *
May 5: Sandy, UT - Sandy Amphitheater
May 6: Sandy, UT - Sandy Amphitheater
May 7: Billings, MT - Alberta Bair Theater
May 9: Saskatoon, SK - TCU Place – Sid Buckwold Theatre
May 11: Edmonton, AB - Winspear Centre
May 12: Kelowna, BC - Prospera Place
May 13: Vancouver, BC - Orpheum
May 15: Walla Walla, WA - Wine Country Amphitheater
May 16: Spokane, WA - First Interstate Center for the Arts
May 17: Boise, ID - Outlaw Field at the Idaho Botanical Garden
May 19: Eugene, OR - Silva Hall
May 20: Portland, OR - Keller Auditorium
June 19: Telluride, CO - Telluride Bluegrass Festival
June 21: Cincinnati, OH - The Andrew J Brady Music Center
June 22: Cincinnati, OH - The Andrew J Brady Music Center
June 25: Milwaukee, WI - The Riverside Theater
June 26: Detroit, MI - Fox Theatre
June 27: Evansville, IN - Victory Theatre
June 28: Birmingham, AL - Coca-Cola Amphitheater @
July 4–5: Missoula, MT - Zootown Festival
July 9: Regina, SK - Conexus Arts Centre
July 11: Sioux City, IA - Orpheum Theatre
July 12: Rockford, IL - Coronado Theatre
July 14: Fort Wayne, IN - Embassy Theatre
July 15: Baltimore, MD - Pier Six Pavilion
July 16: Red Bank, NJ - Count Basie Center for the Arts =
July 18: Beech Mountain, NC - Beech Mountain Ski Resort
July 19: Richmond, VA - Allianz Amphitheater at Riverfront =
July 20: Charleston, SC - Charleston Gaillard Center
July 21: Wilmington, NC - Wilson Center at Cape Fear Community College
Aug 26: Perth, WA - RAC Arena ~
Aug 29: Brisbane, QLD - Brisbane Entertainment Centre ~
Aug 30: Sydney, NSW - QUDOS Bank Arena ~
Sept 2: Hobart, TAS - MyState Bank Arena ~
Sept 4: Adelaide, SA - Adelaide Entertainment Centre Arena ~
Sept 6: Melbourne, VIC - Rod Laver Arena ~
Sept 7: Melbourne, VIC - Rod Laver Arena ~
+ Jason Isbell Solo
* w/ Molly Tuttle & Golden Highway
@ w/ Band of Horses
= w/ Garrison Starr
~ supporting Paul Kelly
Tickets available HERE.
Adding to the line of vintage fuzzboxes, Ananashead unleashes a new stompbox, the Spirit Fuzz, their take on the '60s plug-in fuzz.
The Spirit Fuzz is a mix of the two first California versions of the plug-in fuzz used by Randy California from Spirit, Big Brother & The Holding Company or ZZ TOP among others, also maybe was used in the "Spirit in the Sky" song.
A handmade pedal-shaped version with less hiss and more low-end with modern fatures like filtered and protected 9V DC input and true bypass. Only two controls for Volume and Attack that goes from clean to buzzy fuzz with some fuzzy overdrive in-between, also it cleans well with the guitar's volume.
The pedal offers the following features:
- Two knobs to control Volume and Attack
- Shielded inputs/outputs to avoid RF
- Filtered and protected 9VDC input
- Daisy-chain friendly
- Popless True Bypass switching
- Low current draw, 1mA
Each of the Hornet 15 Li amplifiers is designed to leverage Mooer's digital modeling technology to provide 9 preamp tones based on world-renowned amplifiers.
This modeling amplifier comes in two colors (White, Black), each of which is paired with its own carefully curated selection of preamp models.
The modulation dial can be adjusted to choose between chorus, phaser, and vibrato effects, whereas the delay dial facilitates analog, tape echo, and digital delay. Also, the reverb unit includes room, hall, and church emulations, making sure that there is an atmosphere and effect chain that works for any practice scenario.
A unique feature of this amplifier is how it can be used in two modes: “Live” and “Preset” mode. When using Live mode, guitarists will be able to browse the device's built-in preamp tones, which they can then enhance if they wish to throw the effect units. In contrast, the "Preset" mode allows users to save these effects and dynamic parameter changes into each preset, enabling them to customize them without overwriting the originals.
As any good amplifier should, the Hornet 15 Li is complete with industry-standard features, such as three-band EQ adjustment dials, volume and gain dials, a 1/4" guitar input, and both an auxiliary input and headphone output. However, MOOER has gone above and beyond to pack the amplifier with several special features; for example, this modeling amp boasts separate tap-tempo buttons for both the modulation and delay units, in addition to a dedicated tuner button and function, allowing guitarists to use the device's screen to ensure their guitar tuning is precise. What's more, the Hornet 15 Li also supports Bluetooth input, meaning that any guitarist can stream their favorite songs and backing tracks directly to the amplifier, making practice sessions and rehearsals easier than ever.
Arguably, the most impressive feature of the Hornet 15 Li is the fact that, in addition to being powered by a mains supply, it can also operate on battery. The device is built with an integrated 4000mA.h lithium battery, empowering guitarists to practice guitar on the go for hours–even when there’s no power source nearby. Combining this with how the amp weighs just 2.9kg and comes with a built-in handle, it’s clear that MOOER had portability and convenience in mind when designing this product.
Features:
- Available in 2 colors (White, Black), each with its own selection of classic preamps
- 9 high-quality preamp models, each captured through MOOER’s MNRS technology (controllable through the 9-way tone rotary switch)
- Modulation effects unit (chorus, phaser, vibrato) and dial
- Delay effects unit (analog, tape echo, digital) and dial
- Reverb effects unit (room, hall, church) and dial
- Three dials for three-band EQ adjustment (treble, mid, bass)
- Gain and master volume dials
- Live/Preset mode toggle switch
- Tap tempo buttons and features for modulation and delay effects
- 15 watts of rated power, ideal for practicing
- Digital screen for displaying functional and tuning information
- Built-in digital tuner
- ¼” guitar input
- 3.5mm auxiliary input
- 3.5mm headphone output
- Bluetooth support for high-quality audio input playback, perfect for backing tracks
- Convenient handle for easy transportation
- Rechargeable 4000mA.h lithium battery for portable play
- Power switch for easy on/off control
The Hornet 15 Li is available from distributors and retailers worldwide now.
Did Holdsworth's fretboard wizardry make him the Coltrane of the guitar? And more questions that emerged as we did our deep dives.
Here at 100 Guitarists, we thought we knew a lot about Allan Holdsworth. But after we did our deepest of dives, we only emerged with more questions: Was Holdsworth the John Coltrane of the guitar? Was he the quintessential fusion guitarist? Why isn’t there a Holdsworth signature Synthaxe? And how do you read his weird chord charts?
We might not have all the answers—and when it comes to his chord charts, we definitely do not—but we’re taking some big swings. We also share our top picks, which includes Tony Williams rippers, slick Ted Templeman-production, and a Beatles cover.
In our current listening segment, we’re talking about a Wayne Horvitz/Bill Frisell archival release and Jersey Boys.