How to Play “Sweet Home Chicago” as Recorded by Freddie King on Guitar

Who else wants to add a great blues standard perfect for jams to their repertoire? 

Today I want to share with you how to play Freddie King’s version of “Sweet Home Chicago.”

This song is so fun to play with friends or call at a blues jam. In this post, I’ll walk you through Freddie King’s version. We’ll cover how to play the chord progression, rhythm patterns, licks, plus we’ll even dive into soloing and a classic King-style blues turnaround. So get tuned up and let’s play!

Who Wrote Sweet Home Chicago?

"Sweet Home Chicago" is a blues standard that has been recorded by a lot of artists over the years. The song is originally credited to Robert Johnson. Johnson was one of the most influential blues musicians of all time from the Mississippi Delta. He first recorded "Sweet Home Chicago" in 1936 during his legendary recording sessions in San Antonio, Texas.

The origins of the song can be traced back to earlier blues compositions. The melody and structure of "Sweet Home Chicago" bear similarities to other blues songs of the time, such as "Kokomo Blues" by Scrapper Blackwell and "Honey Dripper Blues" by Roosevelt Sykes. 

These songs, along with many others, contributed to the development of the classic 12-bar blues form, which "Sweet Home Chicago" follows.

The lyrics of "Sweet Home Chicago" express a longing to return to the city of Chicago, which was a major hub for blues musicians during the Great Migration of African Americans from the rural South to urban areas in the early 20th century.  

Over the years, "Sweet Home Chicago" has become an anthem for the city of Chicago and an iconic blues standard. Its timeless appeal and memorable guitar riffs have made it a favorite among blues enthusiasts and musicians alike. Artists such as Freddie King, Eric Clapton, and The Blues Brothers have recorded their own renditions, each adding their unique style and interpretation to this beloved blues classic. 

Sweet Home Chicago Chords

To play “Sweet Home Chicago” you’ll need to know 3 chords E7, A7, and B7. Here is how I would play each of these shapes:

The song is in the key of E. These 3 chords are often referred to as the I, IV, and V chords. 

I chord = E7

IV chord = A7

V chord = B7 

The chord progression for "Sweet Home Chicago" is as follows:

E7 (1 bar) 

A7 (1 bar)

E7 (2 bars)

A7 (2 bars)

E7 (2 bars)

B7 (1 bar)

A7 (1 bar)

E7 (1 bar)

B7 (1 bar)

Tip: note the use of the “quick IV” progression in bar 2.

Strumming and Rhythm:

To capture the essence of the blues, it's crucial to nail the correct amount of time spent on each chord. To start try just strumming once per bar and counting out loud.

After that feels comfortable next try to use a blues shuffle rhythm for each chord.

So for example, instead of strumming the E7 chord King would often play a pattern like this:

To play this rhythm I use my index and third finger in the fretting hand. I also use all downstrums in the strumhand and keep those eighth-note rhythms swinging. (See the video at the top of this page for an example)

1 + 2 + 3 + 4 +

DDDDDDDD

This same rhythm can then be applied to the A chord or the IV chord like this:

King would also add little rhythm licks when he would stay on one chord to break up the sound. For example, in bars 3 and 4 where he plays E for both of those bars. Here King would often do a little lick like this:

This embellishes the E7 chord and can be repeated again in bars 7-8 as well. 

In bar 9, when we get to the B7 King would often break up the bass notes from the rest of the chord like this:

These subtle changes can help bring your rhythm to life.

Freddie King’s Turnaround Lick 

In blues music, a turnaround is a musical phrase or chord progression that typically comes in at the end of a section or verse, leading back to the top of the form or next section.  

The purpose of a turnaround is to create a musical "turnaround" or resolution, often signaling the end of a phrase or section and preparing the listener for a new musical idea or the repetition of the previous section. In this example, it takes us back to the top of the 12-bar blues. Turnarounds are commonly used in blues, jazz, and other related genres.

 King plays a very common one in his version of “Sweet Home Chicago” that goes like this:

Here we are using a triple-stop. 2 fretted notes and then the open 1st string rings throughout. The 2 fretted notes that we start on are B (4th fret, 3rd string) and D (3rd fret, 2nd string). These are just two notes from an E7 chord. Then from there, those 2 notes move down one fret at a time. This goes all the way to the open strings and then finishes with a hammer-on intro the 1st fret, 3rd string. These last 3 notes make an E triad.

In a typical 12-bar blues progression, the turnaround usually occurs in the final two bars of the progression, just before returning to the beginning. It often involves a series of chords or a specific chord progression that creates a sense of resolution and closure. This is exactly what we see here.

Turnarounds can vary in complexity and can include additional chords, embellishments, or melodic phrases. They offer an opportunity for musicians to showcase their improvisational skills and add their personal touch to the song. Many blues guitarists, such as B.B. King and Eric Clapton, have developed their signature turnaround patterns, which have become synonymous with their playing styles.

King’s Guitar Style:

King had a very unique approach. He incorporated the use of a thumbpick and a metal fingerpick, which contributed to his distinctive sound and allowed him to achieve his signature tone.

The thumbpick, typically made of plastic, was worn on his thumb and used to pluck the bass strings, providing a strong and rhythmic foundation to his playing. It allowed him to execute complex bass lines and percussive rhythms, creating a driving groove.

On the other hand, the metal fingerpick, worn on his index finger, was used for picking individual notes and playing melodic lines on the higher strings. The metal fingerpick produced a bright and cutting sound, adding a biting quality to his lead guitar work. With this combination, King was able to achieve a distinctive blend of bass-driven rhythm and soaring lead lines that became his trademark sound.

Conclusion:

Learning how to play "Sweet Home Chicago" as recorded by Freddie King is a great way to expand your blues guitar skills. Freddie King's guitar style, characterized by his use of a thumbpick and metal fingerpick, along with his powerful vibrato and expressive bends, created a unique and emotional blues sound that set him apart from other artists.

By understanding the chords, rhythm patterns, and turnaround licks used by Freddie King in this rendition, guitarists can gain valuable insights into the intricacies of blues guitar playing.

Remember to take it slow and when you're ready try playing along with the recording. Happy playing! And for more great blues guitar lessons check out this blog on the 101 best blues songs to learn on guitar next!