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Chapter 12: The Birth and Growth of Classic Electric Blues<br />

225<br />

connection to the Delta performers and trod the early club circuit in the<br />

southern United States.<br />

Track 84<br />

Shuffle (qr=qce)<br />

A7<br />

1 1<br />

1<br />

T<br />

A<br />

B<br />

10 8 8 8 10<br />

10<br />

1<br />

1 1 grad. bend<br />

1<br />

10 8 8 8 10<br />

10<br />

10 8<br />

Figure 12-7:<br />

A stringbending<br />

passage in<br />

the style of<br />

Albert King.<br />

D7<br />

8 10<br />

10 8<br />

A7<br />

13<br />

1<br />

2 1/2<br />

Born Riley B. King in 1925 in Indianola, Mississippi, B.B. King began to gain<br />

success in his early 20s in his adopted town of Memphis, playing clubs and<br />

appearing on radio. His on-air persona was “the Beale Street Blues Boy,” eventually<br />

foreshortened to “B.B.”, and he started recording in earnest in 1949 (only<br />

one year after Muddy Waters — who was ten years older — made his first<br />

recording in Chicago). B.B. soon had his first national R&B hit with “Three<br />

O’clock Blues” in 1951 and was widely recorded in the next decade.<br />

B.B. King has it all: a soulful delivery, chops to burn, a vast vocabulary of<br />

blues licks in a variety of genres, and an inexhaustible reservoir of expressive<br />

techniques. He’s perhaps most often cited for his vibrato, which is effortless<br />

and heart rending.<br />

TEAM LinG

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