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.
PG Contributor Tom Butwin dives into three standout baritone guitars, each with its own approach to low-end power and playability. From PRS, Reverend, and Airline, these guitars offer different scale lengths, pickup configurations, and unique tonal options. Which one fits your style best? Watch and find out!
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Available individually or as matched sets, these pickups effortlessly respond to your playing touch, delivering delicate cleans to aggressive distortion. You’ll get P-90 soul in a humbucker size: the BH-90 seamlessly replaces existing humbuckers with no modifications required. They drop right in where your existing humbuckers live.
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Neil Young announces the love earth world tour, kicking off this summer.
Starting on June 18 in Rättvik, Sweden, the first leg of the tour travels through the EU and UK. The North American leg begins in Charlotte on August 8 before concluding in Los Angeles on September 15.
Tickets are available beginning tomorrow, February 25 via an exclusive, 48-hour presale for Neil Young Archives members. General on-sale begins Friday, February 28. Click HERE for tickets and see the full list of dates below. More dates will be added shortly.
With his band, the chrome hearts—Spooner Oldham (Farfisa organ), Micah Nelson (guitar and vocal), Corey McCormick (bass and vocal), Anthony LoGerfo (drums)—Neil Young (guitar and vocal) is bringing his music and songs, new and old, to you. Their recent single “big change” is the first introduction of what’s to come on the love earth tour.
Neil Young is proud to partner with Farm Aid (co-founded by Neil Young in 1985) to bring HOMEGROWN Concessions to this tour, leading the way to change the live music food system. HOMEGROWN Concessions brings family farm food — produced sustainably with a fair price paid to the farmer and served on compostable serviceware — to music venues.
love earth world tour dates:
Jun 18 — Rättvik, Sweden — Dalhalla
Jun 20 — Bergen, Norway — Bergenhus Fortress
Jun 22 — Copenhagen, Denmark — Tiøren
Jun 26 — Dublin, Ireland — Malahide Castle
Jun 30 — Brussels, Belgium — Brussels Palace Open Air, Palace Square
Jul 01 — Groningen, Netherlands — Drafbaan Stedpark
Jul 03 — Berlin, Germany — Waldbühne
Jul 04 — Mönchengladbach, Germany — Sparkassenpark
Jul 08 — Stuttgart, Germany — Cannstatter Wasen
Aug 8 — Charlotte, NC — PNC Music Pavilion
Aug 10 — Richmond, VA — Allianz Amphitheater at Riverfront
Aug 13 — Detroit, MI — Pine Knob Music Theatre
Aug 15 — Cleveland, OH — Blossom Music Center
Aug 17 — Toronto, ON — Budweiser Stage
Aug 21 — Gilford, NH — BankNH Pavilion
Aug 23 — New York, NY — Jones Beach
Aug 24 — Bethel, NY — Bethel Woods
Aug 27 — Chicago, IL — Northerly Island
Sep 01 — Denver, CO — Fiddler’s Green Amphitheatre
Sep 05 — George, WA — The Gorge
Sep 06 — Vancouver, BC — Deer Lake Park
Sep 10 — Bend, OR — Hayden Homes Amphitheater
Sep 12 — Mountain View, CA — Shoreline Amphitheater
Sep 15 — Los Angeles, CA — Hollywood Bowl
A digital pedal designed by Andrew Barta to replicate the dynamics and responsiveness of analog tube amplifiers. This stompbox offers preset clean, dirty, and lead tones, MIDI interface, and rugged all-metal housing.
As a staunch proponent of analog, Andrew Barta has never had the desire to venture into digital designs. The inventor of the SansAmp tube amplifier emulation technology, which debuted in 1989, Barta has remained loyal to the analog domain. That is, until now.
According to Barta, “To me, the main drawback of a digital modeler is the feel and the sound quality. It lacks dynamics and responsiveness. It sounds one-dimensional and it isn’t touch-sensitive, so the nuances of your playing style get lost. It limits your ability to change the tone by using your volume knob, picking lighter or harder. No matter how hard you hit the strings, the result is mostly the same. There’s no headroom and it doesn’t breathe. You are forced go to a different patch for a different tone. Ultimately, you have to conform to the device and play in a different way. So your artistic expression suffers. Artists have told me it’s like being in a cage. You have to wrestle harder to squeeze out the results and their fingers get really tired.
“Whatever device you’re using, be it an amp or SansAmp or modeler, it’s really a part of your instrument. Your instrument actually consists of the entire signal chain, not just the guitar. Digital is just a numeric translation and isn’t capable of preserving the individual personality of the guitar you use. The output is pretty much the same whether it’s a Fender or Gibson or Ric.”
Just as the original SansAmp was a personal mission to encapsulate tube amplifier sounds in a compact, portable pedal, Barta has long been on a quest to do the same in the digital domain. Never one to jump on a bandwagon, Barta wouldn’t “go digital” until he found a way to replicate the dynamics, responsiveness, and fluidity of its analog counterpart.
After many years, Barta “cracked the code.” This happened to coincide with the opportunity to collaborate with Marty Friedman. The result is the Marty Friedman Signature SansAmp.
An iconic guitarist who eloquently serves up enchanting and tearful melodies, as well as complicated notes that make your head spin, Marty Friedman surprisingly likes to keep his arsenal quite simple. The goal for Tech 21 was to embody his tone in a neat, compact, plug-and-play footprint. Marty’s focus is always on the music taking the spotlight rather than complex gear with distracting bells and whistles or requiring a cumbersome learning curve.
The Marty Friedman programmable Signature SansAmp comes preset with his main clean, dirty, and lead tones. Operationally similar to the SansAmp PSA 2.0, there are two modes: Performance mode to have your 3 main presets at the ready and Studio mode for up to 128 locations for custom presets.
Says Marty, “This is it! This pedal has been in the works for a long time and only an exceptional design engineer like Andrew Barta could make something with these beautiful tones so incredibly simple to use. Such bonehead easy-to-use effects haven’t been known to have world class sounds in them until now. I’m proud to put my name on the first one."
Controls include Reverb, 3-band active EQ, Drive, and Level. There’s also an adjustable Gate that dynamically and smoothly cleans up the signal, rather than cutting it off abruptly. Filteralters the tonality by manipulating the mid-range and is specifically voiced for Marty’s unique sound.
Other features include a MIDI interface to control the SansAmp externally, a chromatic tuner, an effect loop, 1/4-inch and XLR Outputs, and rugged all-metal housing and knobs. Utilizes included 9V DC auto-switching power supply with interchangeable international plugs for use anywhere in the world. Measures 7.5”l x 5.25”w x 2.0”h.
For more information, please visit tech21nyc.com.