When Riley B. King first arrived in Memphis in the summer on 1946, he searched on Beale Street for his cousin Bukka White. After looking for Bukka for a few days, Riley finally found him and Bukka took young Riley in. For the next ten months, Bukka schooled Riley in the art of the blues. Although Riley and Bukka jammed together in private, they never played in public. Riley's talents were improving and he profited from impromptu jam sessions with other blues musicians he had met in and around the Memphis area. Bukka had prepared Riley for his life as a bluesman by teaching him everything from how to hold his guitar to phrasing lyrics. Bukka's most important trait which he impressed upon Riley was his durability, and without it, B.B. King would not be who he is today.
After ten months in Memphis with Bukka, Riley decided that his music career was getting nowhere. Besides that, he missed his wife and had left other responsibilities back in Indianola. Riley returned to Indianola, and in 1947, he and his wife Martha raised a crop on the Johnson Barrett plantation. By end of the crop season in 1948, Riley had earned enough money to pay off all of his debts by sharecropping, driving a tractor for $22.50 per week, loading trucks and playing guitar on street corners. In late 1948 he headed back to Memphis, this time bound and determined to make it in the music business.When Riley returned to Memphis, he went to look for Sonny Boy Williamson who had a blues music radio show on station KWEM. Sonny Boy was actually Aleck "Rice" Miller, who has been commonly referred to as Sonny Boy Williamson #2. Riley had met Sonny Boy earlier in Indianola and was friends with his guitarist Robert "Junior" Lockwood. Once Riley had found Sonny Boy, he asked him if he could play a song on his blues radio show. When Riley had convinced Sonny Boy to let him play, Sonny Boy touted Riley as a new talent and the radio station was flooded with calls. Sonny Boy then set up Riley with a gig for which he himself had overbooked as a backup for his preferred show. Sonny Boy was in a bind, and Riley now had his big chance to play in front of a live crowd at Miss Annie's Saloon in West Memphis. Riley couldn't have picked a better time to return to Memphis. Miss Annie told Riley that if he was to become a regular performer at the saloon, he would have to promote the business on the radio. On June 7, 1947, a new radio station, WDIA, went on the air. By 1948, the station was turned into one of the first all black staffed and managed radio stations. Riley went to WDIA and asked the popular DJ, Nat Williams, if he could make a record. Surprised by Riley's request, one of the station's two owners, Bert Ferguson, had an idea. The station had just secured an advertising contract for a health tonic named Pepticon, the competitor for the tonic Hadacol, which was promoted by Sonny Boy Williamson on KWEM. Ferguson set Riley up with a ten minute spot in which he could play his guitar and sing anything he liked, as long as he promoted Pepticon. Riley's advertising jingle was: "Pepticon, Pepticon, sure is good - You can get it anywhere in your neighborhood" *

Riley became known as the Pepticon boy. Because of his popularity, the radio station expanded his program and promoted him to a DJ. Riley's show was called the "Sepia Swing Club." He played recordings by black artists, played his guitar and also sang requests from listeners. Now that he was a DJ, Riley needed a catchy name. He started out as the "Beale Street Blues Boy," later he changed it to "Blues Boy King," and finally shortened it to the now famous "B.B. King."
B.B. King's popularity was spreading and he made his first recordings in 1949 for the Bullet Recording and Transcription Company. Jim Bulleit had recently expanded Bullet Records into the race record market with a series of blues recordings called the "Sepia" series. It was these early recordings which caught the attention of the Bihari brothers, Jules, Saul and Joe, who controlled Modern Records. Modern issued three labels: Kent, Crown and RPM. In the summer of 1949, B.B. signed a recording contract with Modern Records which lasted for 10 years.During the last six months of 1949, RPM released six B.B. King singles.

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