b b king anthology part 1 of 2
DESCRIPTION
B B King Anthology Part 1 of 2TRANSCRIPT
Front and back cover photography by Luciano Viti/Rema Ltd. Page 2 photograph by Luciano Viti/Retna Ltd.
Page 6 photograph by David Redfern/Retna Ltd. Guitar transcriptions by Hemme Luttjeboer and John McCrea
lntroduction by Walter Lindley
Copyright © 1992 by Amsco Publications, A Division of Music Sales Corporation, New York, NY.
All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means
including information storage and retrieval systems, without permission in writing from the publisher
except by a reviewer who may quote brief passages in a review.
Order No. AM 85572 US lnternational Standard Book Number: 0.8256.1317.5 UK lnternational Standard Book Number: 0.7119.2734.0
Exdusive Distributors: Music Sales Corporation
257 Park Avenue South, New York, NY 10010 USA Music Sales Limited
8/9 Frith Street, London W 1 V STZ England Music Sales Pty. Limited
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Printed in the United States of America by Vicks Lithograph and Printing Corporation
CONTENTS
lntroduction 7 Legend of Musical Symbols 9
Ain't Nobody's Business 66 AH Over Again 56
Darlin'You Know 1 Love You 76 Don'tAnswerThe Door 106
Every Day 1 Have The Blues 1 O LetThe GoodTimes Roll 94
Night Life 70 PayingThe CostTo Be The Boss 34
Please Love Me 50 Rock Me Baby 62
Sweet Little Angel 31 Sweet Sixteen 1 15
Three O'Clock Blues 42 The Thrill Is Gone 14
When Love ComesToTown 22 Why 1 SingThe Blues 136
Woke Up This Moming 104 You Done LostYour GoodThing Now 89
You Upset Me Baby 132
·nk of blues guitar, one name comes to mind: B.B. King. He is arguably the most influencertainly the most visible blues guitarist in history. Players such as Eric Clapton, Carlos
Richard, Billy Gibbons, and Mike Bloomfield have all acknowledged their debts to B.B B.B.'s playing today remains as fresh and alive as ever.
· ey King was born in Mississippi in 1925, and by the age of fifteen was already playing on ers. He had discovered that he could make more money in tips in one day of playing music d for a whole week's work picking cotton. Soon he was doing singing commercials on
- ra io station WDIA, and from that he moved on to getting his own show. lt was at this e picked up the nickname 'B.B.', short for "Blues Boy." His popularity grew, and eventually ed to the RPM record label. His first hit, "Three O'Clock Blues," went to number one on and Blues charts and heralded the arrival of a superstar. B.B. continued touring and
...,,.. rg roughout the fifties, but it wasn't until the sixties that his name became familiar to white es. Guitar players started picking up on B.B's unique voice, especially after hearing landmark
:..-.~""--= such as l 964's Uve at the Regai. ln 1970, he won a Grammy award for his monumental hit - .: -,.. · Is Gone." To this day he continues to tour over 250 days a year, and to record with his
with artists as diverse as Larry Carlton and U2. His numerous television and film appear-g with countless awards, continue to affirm his stature as an all-time blues great.
"ng's Guitar Style s style may seem simple, yet upon analysis it discloses a sophisticated awareness of melody, , and rhythm. He always hits the "right" notes, phrases like no one else, and has a vibrato iversally recognized. B.B. approaches the guitar as another voice, not justas an instrument as if he were singing through it. When he has to take a breath, his guitar does as well. He
:ar::s that his sound is not something that he learned, it's just the way that he expresses himself as a ·--""""""·"' and as a musician.
Stylistically, what separates B.B. King from his peers is his firm rooting in the jazz, as well as es, idiom. One of B.B.'s major influences was jazz guitarist Lonnie Johnson, who was one of the
·"-guitarists to visualize the guitar as a single-line solo instrument. B.B. also listened extensively to e Christian, Django Reinhardt, and to horn players such as Lester Young, Johnny Hodges, and Hackett. His blues influence comes primarily from T-Bone Walker. B.B. softened Walker's
....,ewhat strident style, adding a vibrato that he developed while trying to copy the bottleneck slide of his cousin Bukka White. The rest is pure B.B.-a combination of elements that has pro-
ed one of the most distinct blues voices ever. B.B. draws from a large palette of harmonic and melodie devices. He is primarily known as a
e-line player, though he does play chords-specifically triads and double stops, which he uses to ate his solos. Check out his chord intro to "Please Love Me" and his comping during the
52'.Xophone solo in "You Upset Me Baby." Here are a few voicings that B.B. commonly uses.
G G G G6 G7 G7 -----~Ir
X X imr ....-----.... X
a~r .IOír. . Jfr . • 8rr '1) 3 4 2 1 1 4 3 1 2 1 (1) J 3 ) ) 2 4 1 1 3 1 2 (4) 1 (3) 3 2 4 1
G9 G9 Gl3 Gm Gm Gm7
mm tmr ttr ..---..
~ar XX
li'" li 1 3 2 4 (2)2 1 333 (2) 2 1 3 J 4 1 3 3 1 1 1 3 2 4 1 1 1 1 (1)
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What gives B.B. his unique slant on the blues, however, is his favorite scale pattern--a varia·on on the minor pentatonic scale that also includes a natural sixth and a natural ninth.
(07) b~ ~ r:- ~ " - - #
@.)
R b3 4 5 6 R 9 b3 4 5 b7
B ,..-... .... ;; - ·- ,_, . ·-- -n ;; :;; -- :;; D
'
From this pattern, B.B. can bend the ninth to the flatted or natural third, the fifth to the sixth or flatted seventh, and the flatted seventh to the root. You can find examples of this pattern in both of the solos from "When Love Comes to T own."
Here is a variation on the previous pattern. ln this one, B.B. plays a minor pentatonic scale with a natural sixth instead of a flatted seventh, then finishes it with a six-nine arpeggio.
(G7)
B.B.'s knowledge of jazz harmony allows him to introduce harmonic concepts into his soloing that are more sophisticated than the typical pentatonic ideas used by most blues guitarists. He plays off chord forms, often arpeggiating dominant ideas (such as the Eb7 run in measures 7 and 8 of the solo from "Please Love Me") or substituting other arpeggios over a dominant tonality (see measure 9 in the solo from "Sweet Little Angel" where he plays an Ebm9 arpeggio over an Ab7 chord, thus producing all of the tones found in an Ab 13 chord). B.B. also uses chromaticism in his soloing (an obvious Charlie Christian influence). Check out measure 4 in the solo from " Please Love Me" to see how effective this approach can be.
The unique quality of B.B. King's style is his ability to combine jazzier elements w ith a rocksolid blues sensibility. As you play through the songs in this book, you'll find a wealth of information, emotion, and nuance which truly attest to B.B.'s title: "King of the Blues."
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2., 3., . See additional lyrics
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Additional lyrics
2. Nobody laves me, Nobody seems to care, Yes, nobody !oves me, Nobody seems to care. Speakin' of worries and troubles, darlin', You know, I've had my share.
3. Every day, every day, Every day, every day, Every day, Every day I have the blues. When you see me worryin', woman, Honey, it's you I bate to lose.
4. Every day, Every day I have the blues, Every day, Every day I have the blues. When you see me worryin', woman, Babe, it' s you I bate to lose.
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Additional lyrics
3. The thrill is gone, It's gone away for good, Oh, the thrill is gone, Baby, it's gone away for good. Someday I know I'll be over it all, baby, Just like I know a good man should.
4. You know I'm free, free now, baby, I'm free from your spell, Oh I' m free, free, free now, I' m free from your spell. And now that it's all over, All I can do is wish you well.
5. The thrill is gone, It's gone away for good, Oh, the thrill is gone, Baby, it's gone away for good. Someday I know I'll be over it ali, baby, Just like I know a good man should.
6. You know I'm free, free now, baby, I' m free from your spell, Oh I' m free, free, free now, I' m free from your spell. And now that it's ali over, Ali I can do is wish you well.
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Words by Bono Music by U2
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(B.B. King:) 4. See additional lyrics
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1. I' ve got a sweet lit - tle an gel,
2.,3. See additional lyrics
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r E E r 1 !ove the way _____ _ she spread her wings, Yes, go _
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sweet lit - tle an gel,_
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J -· -· _ her wings __ a - round me,
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-· You know, I asked my baby for a nickel, And she gave me a twenty-dollar bili, Oh yes, I asked my baby for a nickel, And she gave me a twenty-dollar bill. Well, you know, 1 asked her for a little drink of liquor, And she gave me a whiskey still.
3. Oh yeah, if my baby was to quit me, Well, 1 do believe 1 would die, Oh yeah, if my baby was to quit me, Well, 1 do believe I would die. Yes, if you don't !ove me, little angel, Please tell me the reason why.
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Additional lyrics
3. Now that you got me, You act Iike you ' re ashamed, You don ' t act like my woman, You 're just usin' my name.
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I' li tell you I' m gonna handle ali the money, And I don't want no back tallc, 'Cause if you don't Iike the way I'm doin' , Just pick up your things and walk.
You gotta be crazy, baby, Oh, you must be out of your mind. As long as I' m payin ' the bills, I'm payin ' the cost to be boss.
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Slow blues J. = 52
B7 lead guitar
Vocal ad lib (guitar tacet)
12
in the mom - ing,
B7
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by B.B. King & les Ta b
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Copyright © 1952 by POWERFORCE MUSIC & SOU OS OF L CJLLE lnternational Copyright Secured. All Rights Reserve<i.. se<! Permission.
! : : L " • .:.· -..::.o•..J•
It's three o 'clock in the morn ing, ba - by,
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ou know I can' t find __ _ my ba - by, Keep on loo ·- - •• _
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Additional lyrics
2. I've looked around me, people, Hey, and my baby she knows she can't be found, Looked ali around me, people, Oh, my baby, she can't be found. Well, you know if I don' t find my baby, People, I'm goin' down to the Golden Ground. That's where the fellows hang out down there, They shoot pool, you know?
3. Goodbye, everybody, Oh, I do believe this is the end, Oh, oh, goodbye, everybody, Oh, I do believe that this is the end. Oh, I want you to tell my baby, Oh, to forgive me for my sins.
5. It's my own fault, baby, Treat me the way you wanna do, Oh, yes, my own fault, baby, Treat me the way you wanna do. Because when you would !ove me, baby, Oh, a good time looked down, That wouldn't be true.
6. I go up on my feet an' I had a lot of friends, Now bad luck has hit me people, And now I'm down again. Oh, I wonder why? Why does everything happen to me? I'm blue an' I'm lonesome, people, My heart is filled with misery.
7. Once I had a lotta money, They say the greatest man until, But bad luck has hit me now, Pain has got me down. Yes, I wonder why, people, Why does everything have to happen to me? I say I'm blue an' I'm lonesome, people, My heart is filled with misery.
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from Live At The Rega NO T006
Please Love Me by B.B. King & Jules Taub
Fastshuffie
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2. , 3., 4., 5. See additional lyrics
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Additional lyrics
2. You know I lave you, baby, Do anything you tell me to, You know I !ove you, baby, Do anything you tell me to . Nothing in this world, baby, Honey, that I wouldn't do for you.
3., 4. So if you !ove me, babe, Honey, do everything I say, Yes, if you !ove me, baby, Honey do everything I say. If you don ' t do what I tell you, baby, Better fali on your knees and pray.
5. Hey, be my girlfriend, (everybody) And I' m gonna be your boy, Want you to be my girlfriend, baby, Baby, I'm gonna be your boy. Gonna buy me a Cadillac car, baby, 'Cause by me forever you are.
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All Over Again by B.B. King & Ju les Taub
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62 from Live "Now Appea .... "g : O e iss MCA 80 16
Rock Me Baby by B.B. King & Joe Josea
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2 5 See additional lyrics ~
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Hon - ey, rock me ali nigb long. _
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- --------Guitar solo 1 - . .4.,5. F#9 to Cada-$- B9 ~ # ( last time through)
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Additional lyrics
2. Rock me, baby, Honey, rock me slow, Rock me, baby, Honey, rock me slow. Rock me, baby, 'Til I want no more. No!
3. Rock me! (8x) Rock me, babe, rock me, Rock me ali night long, One more time.
4. Rock me, go ahead an' say it. I can't hear you! Rock me! (5x) Rock me ali night long, One more time.
5. Rock me! (12x)
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from Live At The Apollo GRP 9637
Ain't Nobody's Business Words and Music by Porter Grainger and Everett Robbins
Moderately slow blues J .. = 84
B~7 D7 lead guitar
If
at - tend church ali day Sun- day, _ Come back _ home and raise . ..
(Spoken:) I think I feel hurt ar shall I go a lit-tlefur-ther, do a lit-tle more?
Cm7 F7 Bb7 G7 Cm7 F7 Bb7
1-· 1 4
Ain't no-bod-y'sbiz-ness what I do. If one day _ Ihave haman::
D7
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b Bb7 G7 Cm7 F7 Bb7 G7 Cm7 F7 -ain't, ain'tno-bod-y's biz-ness _ what I do.
·tar solo
B B B R
l•~•I~ B R
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(17)(17) 17
4
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from Live At The Apolo GRP 9637
Moderately slow blues J .=76
Bb7
Night Life by Willie Nelson
G7
Lead guitar +
mf
Crn7
-
F7
Verse Bb7 Bb7/D Eb F9 Bb7 ,... 1 1
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Ebm6 Bb7 G7
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Cm7 F7 Bb7 G7
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Cm7 F7 Bb7/D
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Bb7 Eb9
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Eb9 E0 7 Bb7 G7
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stand - in' and _ peace of mind, If they start ask - in' - too much,
Cm7 F7 F#7
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Please send me some-one to !ove,
F7 B9 Bb9 B9
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Bb7
long, Peace will en - ter when the hate is gone, _ _ So if it's