Chords for Billy Gibbons of ZZ Top Plays the Blues with Sammy Hagar | Rock & Roll Road Trip
Tempo:
86.75 bpm
Chords used:
G
C
E
Eb
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
The real Billy Gibbons, see that's who I want to get to know today folks.
I want to get to know that guy.
Because see, you've got to be like, have turned into this persona, this other character that's,
I mean I know you're honest in your music and your sound and this, what comes out.
But your
image is like, what do you like to do like on the side?
I mean, like you know what I mean when
you're not playing music, what do you do?
What do you like to do?
Well I can throw that question
back at you, having worked with you now for going on over three decades.
I'm sure you get the same
question, is well we know kind of what you do up there on the deck.
But what happens backstage and
after the show's over.
At home, I'm on vacation.
Pajamas.
I've heard this, oh my god it's true.
Well we get asked quite often, pajamas can also be referred [E] to as your fine French leisure suit.
[D] When you need that kind of cover.
[Em] Derek Rose of London [A] or Walmart, you take your pick,
either way to go.
I saw back in 65, my first [G] good blues concert was Buddy Guy
[Dbm] and the harmonica player.
Junior Wells.
Junior Wells.
I remember [F] the team.
So good.
See [G] look,
he got [N] goosebumps.
Yeah.
And Buddy Guy played loud man.
I mean I was influenced by the blues too,
but I came from a poor background.
[Abm] So I was relating to it.
But you've mastered it.
You know it turned the corner when Muddy jumped from acoustic [N] to electric.
Things became just
that, electrified.
And as you point out, seeing when you're right in front of it face to face,
and when it gets good and when it gets loud, [Am] it gets real good.
It starts [C] sweating.
It just starts
sweating.
So [Em] who do you think is the greatest blues guy of all time?
[B] Gosh, I know it's a tough
question.
Folks, [F] if you'll tune in [Ebm] next week, we'll still be on this one.
[F] Oh no, [N] you've got to
just give me a couple.
Well the list is somewhat predictable, as we mentioned Jimmy Reed of course.
Greatest singer, that voice and harmonica.
For the guitar freaks out there, the [E] Kings,
Freddie King, Albert King, B.B. King, Albert Collins, another Texas gunslinger.
And then of course you've got [Gb] modern guys, Jimmy [B] Vaughn, our good [D] buddy Jimmy Vaughn,
[Eb] the late [C] brother of Jimmy, Stevie Ray Vaughn [Db] was just a tremendous [D] interpreter of that great [Eb] art
form.
I think we all owe a little bit of something to [Ab] these guys that paved the way.
[C] I know when I
listen to [Eb] your records, [Ab] every so often you [D] can't help it, some of that bluesy influence.
As a guitar
player, every guitar player I know [Db] worships you.
Ronnie Montrose, I mean he thought you were the
[B] guy.
Not Jimmy Page, not Jeff Beck, not Eric Clapton, Billy F Gibbons.
And what does that F
stand for again?
Oh never mind.
Okay, we're gonna get to that.
That guy.
Okay, but I mean I just
wondered how you feel about it.
Do you feel frustrated when you play guitar?
Do you feel
like, yeah I can play anything I'm thinking?
Or you know, you're a sound guy, you got such a unique sound.
Well, [F] let's face it, ZZ Top is, [Gb] the name of the group is not too far removed from B.B. King.
He's got that end of the alphabet, [Bb] we got the other end of the alphabet.
I [Gb] gotcha.
King is kind of like on top.
But if we could get to [C] the point to emulate B.B.'s. style, you know, [Db] he was, very often he he had the luxury of throwing the guitar to the side and grabbing the mic stand and just [C] delivering the vocals. He didn't [N] have to worry too much. He had a little bit bigger band on most occasions, [Bm] which helps out. [Eb] [Em] There's an [Gm] unusual [G] street in Paris, France. It's [Em] three blocks of guitar [Bb] shop, guitar shop. There must be 50 guitar shops [C] on this one stretch of three, four blocks long. On the wall was a [F] 1961 Les Paul [Gb] in the SG shape. [G] We started playing it shortly thereafter. We went back on tour and it was causing such [Db] a stir. People go, man, [Fm] now he's playing this SG. So to do something different, I got with John Bolin, our favorite guitar maker out of Boise, [E] Idaho. Been with him for [Bb] 35 years. [Eb] We sat and came up with, we [E] took this beautiful French [F] curve, flipped it upside down, angled it slightly [Eb] and came up with this nice bevel. And believe it or not. Wow, wait a minute. So this is a new guitar? Yeah. Oh, this thing is gorgeous, Billy. Yeah. This mother with the flying V head on it. Get out of here, man. This is a shit, [Gb] man. Wow, boy, those are little strings. Man, you couldn't tune them down. I threw a half step, a full step. It'd fall off. That'd swing down like this. It's going to be close. I think we got this. [Eb] Wow. [G] Oh yeah. Seven. Billy, you can bend that sum, it's clear up to here. You don't have to go up into any part of the, you can play everything in one position. You can just bend it back up to here. But this thing is gorgeous. I'm a Les Paul. I [E] mean, I'm a Gibson guy, period. But SG is what I used to play. The Les, my first guitar was an SG Les Paul. Yeah. This thickness matches the figure eight Les Paul. And then it cascades down to, you got SG. This is [Db] beautiful, man. [A] Beautiful. We ought to plug it in and maybe I can get you to sing one with me. This one might be ready to go. Yeah, a little bit louder, [E]
[A]
[D]
[E] [Gb]
[A]
[D]
a little bit louder. That must be packed up [A] tight. What's this line here? Well, I'm [E] glad just to get [Gb] on and hold you. [C] [A] Ah, [E] get the man a hand out. Come [Ab] on, man. What about Jesus? What about Jesus? Just give me that, just give me [A] that lick going in. [G] [C] Jesus [G] doesn't left Chicago, and he's bound for New Orleans. [G] Yeah, give it to her. [C] Well, now Jesus doesn't left Chicago, and he's bound for New Orleans. [Em] Yeah, man. [G] This next [C] one. [G] Hey, [Em] [A] I'm working from one end to the [C] other, and [G] all points in [E] between. [Eb] [G] I [Eb] want to do another one with [G] you. Yeah. Took a jump through [Eb] Mississippi. [G] Took a jump through [C] Mississippi. [G] [Em] Muddy water turned to [G] wine. Well, [C] [G] [C]
I took a jump through [F] Mississippi. [C] [F] Muddy water turned [Gm] to wine. [C] [G] Oh, next one. [C] Hey, [G] [C] [A] I'm off to California. To see [Em] that sweet little baby of mine. [Bb] [Ab] Billy, that's living. My day, [Gb] okay, listen. My life is complete. My life [N] is complete.
I want to get to know that guy.
Because see, you've got to be like, have turned into this persona, this other character that's,
I mean I know you're honest in your music and your sound and this, what comes out.
But your
image is like, what do you like to do like on the side?
I mean, like you know what I mean when
you're not playing music, what do you do?
What do you like to do?
Well I can throw that question
back at you, having worked with you now for going on over three decades.
I'm sure you get the same
question, is well we know kind of what you do up there on the deck.
But what happens backstage and
after the show's over.
At home, I'm on vacation.
Pajamas.
I've heard this, oh my god it's true.
Well we get asked quite often, pajamas can also be referred [E] to as your fine French leisure suit.
[D] When you need that kind of cover.
[Em] Derek Rose of London [A] or Walmart, you take your pick,
either way to go.
I saw back in 65, my first [G] good blues concert was Buddy Guy
[Dbm] and the harmonica player.
Junior Wells.
Junior Wells.
I remember [F] the team.
So good.
See [G] look,
he got [N] goosebumps.
Yeah.
And Buddy Guy played loud man.
I mean I was influenced by the blues too,
but I came from a poor background.
[Abm] So I was relating to it.
But you've mastered it.
You know it turned the corner when Muddy jumped from acoustic [N] to electric.
Things became just
that, electrified.
And as you point out, seeing when you're right in front of it face to face,
and when it gets good and when it gets loud, [Am] it gets real good.
It starts [C] sweating.
It just starts
sweating.
So [Em] who do you think is the greatest blues guy of all time?
[B] Gosh, I know it's a tough
question.
Folks, [F] if you'll tune in [Ebm] next week, we'll still be on this one.
[F] Oh no, [N] you've got to
just give me a couple.
Well the list is somewhat predictable, as we mentioned Jimmy Reed of course.
Greatest singer, that voice and harmonica.
For the guitar freaks out there, the [E] Kings,
Freddie King, Albert King, B.B. King, Albert Collins, another Texas gunslinger.
And then of course you've got [Gb] modern guys, Jimmy [B] Vaughn, our good [D] buddy Jimmy Vaughn,
[Eb] the late [C] brother of Jimmy, Stevie Ray Vaughn [Db] was just a tremendous [D] interpreter of that great [Eb] art
form.
I think we all owe a little bit of something to [Ab] these guys that paved the way.
[C] I know when I
listen to [Eb] your records, [Ab] every so often you [D] can't help it, some of that bluesy influence.
As a guitar
player, every guitar player I know [Db] worships you.
Ronnie Montrose, I mean he thought you were the
[B] guy.
Not Jimmy Page, not Jeff Beck, not Eric Clapton, Billy F Gibbons.
And what does that F
stand for again?
Oh never mind.
Okay, we're gonna get to that.
That guy.
Okay, but I mean I just
wondered how you feel about it.
Do you feel frustrated when you play guitar?
Do you feel
like, yeah I can play anything I'm thinking?
Or you know, you're a sound guy, you got such a unique sound.
Well, [F] let's face it, ZZ Top is, [Gb] the name of the group is not too far removed from B.B. King.
He's got that end of the alphabet, [Bb] we got the other end of the alphabet.
I [Gb] gotcha.
King is kind of like on top.
But if we could get to [C] the point to emulate B.B.'s. style, you know, [Db] he was, very often he he had the luxury of throwing the guitar to the side and grabbing the mic stand and just [C] delivering the vocals. He didn't [N] have to worry too much. He had a little bit bigger band on most occasions, [Bm] which helps out. [Eb] [Em] There's an [Gm] unusual [G] street in Paris, France. It's [Em] three blocks of guitar [Bb] shop, guitar shop. There must be 50 guitar shops [C] on this one stretch of three, four blocks long. On the wall was a [F] 1961 Les Paul [Gb] in the SG shape. [G] We started playing it shortly thereafter. We went back on tour and it was causing such [Db] a stir. People go, man, [Fm] now he's playing this SG. So to do something different, I got with John Bolin, our favorite guitar maker out of Boise, [E] Idaho. Been with him for [Bb] 35 years. [Eb] We sat and came up with, we [E] took this beautiful French [F] curve, flipped it upside down, angled it slightly [Eb] and came up with this nice bevel. And believe it or not. Wow, wait a minute. So this is a new guitar? Yeah. Oh, this thing is gorgeous, Billy. Yeah. This mother with the flying V head on it. Get out of here, man. This is a shit, [Gb] man. Wow, boy, those are little strings. Man, you couldn't tune them down. I threw a half step, a full step. It'd fall off. That'd swing down like this. It's going to be close. I think we got this. [Eb] Wow. [G] Oh yeah. Seven. Billy, you can bend that sum, it's clear up to here. You don't have to go up into any part of the, you can play everything in one position. You can just bend it back up to here. But this thing is gorgeous. I'm a Les Paul. I [E] mean, I'm a Gibson guy, period. But SG is what I used to play. The Les, my first guitar was an SG Les Paul. Yeah. This thickness matches the figure eight Les Paul. And then it cascades down to, you got SG. This is [Db] beautiful, man. [A] Beautiful. We ought to plug it in and maybe I can get you to sing one with me. This one might be ready to go. Yeah, a little bit louder, [E]
[A]
[D]
[E] [Gb]
[A]
[D]
a little bit louder. That must be packed up [A] tight. What's this line here? Well, I'm [E] glad just to get [Gb] on and hold you. [C] [A] Ah, [E] get the man a hand out. Come [Ab] on, man. What about Jesus? What about Jesus? Just give me that, just give me [A] that lick going in. [G] [C] Jesus [G] doesn't left Chicago, and he's bound for New Orleans. [G] Yeah, give it to her. [C] Well, now Jesus doesn't left Chicago, and he's bound for New Orleans. [Em] Yeah, man. [G] This next [C] one. [G] Hey, [Em] [A] I'm working from one end to the [C] other, and [G] all points in [E] between. [Eb] [G] I [Eb] want to do another one with [G] you. Yeah. Took a jump through [Eb] Mississippi. [G] Took a jump through [C] Mississippi. [G] [Em] Muddy water turned to [G] wine. Well, [C] [G] [C]
I took a jump through [F] Mississippi. [C] [F] Muddy water turned [Gm] to wine. [C] [G] Oh, next one. [C] Hey, [G] [C] [A] I'm off to California. To see [Em] that sweet little baby of mine. [Bb] [Ab] Billy, that's living. My day, [Gb] okay, listen. My life is complete. My life [N] is complete.
Key:
G
C
E
Eb
A
G
C
E
The real Billy Gibbons, see that's who I want to get to know today folks.
I want to get to know that guy.
Because see, you've got to be like, have turned into this persona, this other character that's,
I mean I know you're honest in your music and your sound and this, what comes out.
But your
image is like, what do you like to do like on the side?
I mean, like you know what I mean when
you're not playing music, what do you do?
What do you like to do?
Well I can throw that question
back at you, having worked with you now for going on over three decades.
I'm sure you get the same
question, is well we know kind of what you do up there on the deck.
But what happens backstage and
after the show's over.
At home, I'm on vacation.
Pajamas.
I've heard this, oh my god it's true.
Well we get asked quite often, _ pajamas can also be referred [E] to as your fine French leisure suit.
[D] When you need that kind of cover.
[Em] Derek Rose of London [A] or Walmart, you take your pick,
either way to go.
I saw back in 65, my first [G] good blues concert was Buddy Guy
[Dbm] and the harmonica player.
Junior Wells.
Junior Wells.
I remember [F] the team.
So good.
See [G] look,
he got [N] goosebumps.
Yeah.
And Buddy Guy played loud man.
I mean I was influenced by the blues too,
but I came from a poor background.
[Abm] So I was relating to it.
But you've mastered it.
You know it turned the corner when Muddy jumped from acoustic [N] to electric.
Things became just
that, electrified.
And as you point out, seeing when you're right in front of it face to face,
and when it gets good and when it gets loud, [Am] it gets real good.
It starts [C] sweating.
It just starts
sweating.
So [Em] _ who do you think is the greatest blues guy of all time?
[B] Gosh, I know it's a tough
question.
Folks, [F] if you'll tune in [Ebm] next week, we'll still be on this one.
[F] Oh no, [N] you've got to
just give me a couple.
Well the list is somewhat predictable, as we mentioned Jimmy Reed of course.
Greatest singer, that voice and harmonica.
For the guitar freaks out there, the [E] Kings,
Freddie King, Albert King, B.B. King, Albert Collins, another Texas gunslinger.
And then of course you've got [Gb] modern guys, Jimmy [B] Vaughn, our good [D] buddy Jimmy Vaughn,
[Eb] the late [C] brother of Jimmy, Stevie Ray Vaughn [Db] was just a tremendous [D] interpreter of that great [Eb] art
form.
I think we all owe a little bit of something to [Ab] these guys that paved the way.
[C] I know when I
listen to [Eb] your records, [Ab] every so often you [D] can't help it, some of that bluesy influence.
As a guitar
player, every guitar player I know [Db] worships you.
Ronnie Montrose, I mean he thought you were the
[B] guy.
Not Jimmy Page, not Jeff Beck, not Eric Clapton, Billy F Gibbons.
And what does that F
stand for again?
Oh never mind.
Okay, we're gonna get to that.
That guy.
Okay, but I mean I just
wondered how you feel about it.
Do you feel frustrated when you play guitar?
Do you feel
like, yeah I can play anything I'm thinking?
Or you know, you're a sound guy, you got such a unique sound.
Well, [F] let's face it, ZZ Top is, [Gb] the name of the group is not too far removed from B.B. King.
He's got that end of the alphabet, [Bb] we got the other end of the alphabet.
I [Gb] gotcha.
King is kind of like on top.
But if we could get to [C] the point to emulate B.B.'s. style, you know, [Db] he was, very often he he had the luxury of throwing the guitar to the side and grabbing the mic stand and just [C] delivering the vocals. He didn't [N] have to worry too much. He had a little bit bigger band on most occasions, [Bm] which helps out. [Eb] _ [Em] _ There's an [Gm] unusual _ _ [G] street in Paris, France. It's [Em] three blocks of guitar [Bb] shop, guitar shop. There must be 50 guitar shops [C] on this one stretch of three, four blocks long. On the wall was a [F] 1961 Les Paul [Gb] in the SG shape. [G] We started playing it shortly thereafter. We went back on tour and it was causing such [Db] a stir. People go, man, [Fm] now he's playing this SG. So to do something different, I got with John Bolin, our favorite guitar maker out of Boise, [E] Idaho. Been with him for [Bb] 35 years. [Eb] We sat and came up with, we [E] took this beautiful French [F] curve, flipped it upside down, angled it slightly [Eb] and came up with this nice bevel. _ And believe it or not. Wow, wait a minute. So this is a new guitar? Yeah. Oh, this thing is gorgeous, Billy. Yeah. This mother with the flying V head on it. Get out of here, man. This is a shit, [Gb] man. _ Wow, boy, those are little strings. Man, you couldn't tune them down. I threw a half step, a full step. It'd fall off. That'd swing down like this. It's going to be close. I think we got this. [Eb] Wow. _ [G] Oh yeah. Seven. Billy, you can bend that sum, it's clear up to here. You don't have to go up into any part of the, you can play everything in one position. You can just bend it back up to here. But this thing is gorgeous. I'm a Les Paul. I [E] mean, I'm a Gibson guy, period. But SG is what I used to play. The Les, my first guitar was an SG Les Paul. Yeah. This thickness matches the figure eight Les Paul. And then it cascades down to, you got SG. This is [Db] beautiful, man. [A] Beautiful. We ought to plug it in and maybe I can get you to sing one with me. This one might be ready to go. _ _ _ Yeah, a little bit louder, _ _ _ _ _ _ _ _
_ _ _ _ _ [E] _ _ _
[A] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ [D] _ _ _
_ _ _ _ _ _ _ _
_ _ _ [E] _ _ _ [Gb] _ _
_ [A] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [D] _
a little bit louder. _ That must be packed up [A] tight. What's this line here? _ Well, I'm [E] glad just to get [Gb] on and hold you. [C] _ [A] Ah, [E] _ _ get the man a hand out. Come [Ab] on, man. _ What about Jesus? What about Jesus? Just give me that, just give me [A] that lick going in. [G] _ [C] Jesus _ [G] _ _ _ _ _ _ doesn't left Chicago, _ and he's bound for New Orleans. _ _ [G] _ Yeah, give it to her. [C] Well, now Jesus doesn't left Chicago, _ _ and he's bound for New Orleans. [Em] Yeah, man. _ [G] _ This next [C] one. _ [G] _ Hey, [Em] _ _ [A] I'm working from one end to the [C] other, and [G] all points in [E] between. [Eb] _ _ _ _ _ _ _ [G] I [Eb] want to do another one with [G] you. Yeah. Took a jump through [Eb] Mississippi. [G] Took a jump through [C] Mississippi. _ _ [G] _ [Em] Muddy water turned to [G] wine. Well, _ [C] _ _ _ [G] _ _ _ [C] _
I took a jump through [F] Mississippi. _ [C] _ _ [F] Muddy water turned [Gm] to wine. _ _ [C] _ _ [G] Oh, next one. [C] _ Hey, [G] _ _ [C] _ _ _ [A] I'm off to California. To see [Em] that sweet little baby of mine. _ [Bb] _ _ _ [Ab] Billy, that's living. My day, [Gb] okay, listen. My life is complete. My life [N] is complete. _
I want to get to know that guy.
Because see, you've got to be like, have turned into this persona, this other character that's,
I mean I know you're honest in your music and your sound and this, what comes out.
But your
image is like, what do you like to do like on the side?
I mean, like you know what I mean when
you're not playing music, what do you do?
What do you like to do?
Well I can throw that question
back at you, having worked with you now for going on over three decades.
I'm sure you get the same
question, is well we know kind of what you do up there on the deck.
But what happens backstage and
after the show's over.
At home, I'm on vacation.
Pajamas.
I've heard this, oh my god it's true.
Well we get asked quite often, _ pajamas can also be referred [E] to as your fine French leisure suit.
[D] When you need that kind of cover.
[Em] Derek Rose of London [A] or Walmart, you take your pick,
either way to go.
I saw back in 65, my first [G] good blues concert was Buddy Guy
[Dbm] and the harmonica player.
Junior Wells.
Junior Wells.
I remember [F] the team.
So good.
See [G] look,
he got [N] goosebumps.
Yeah.
And Buddy Guy played loud man.
I mean I was influenced by the blues too,
but I came from a poor background.
[Abm] So I was relating to it.
But you've mastered it.
You know it turned the corner when Muddy jumped from acoustic [N] to electric.
Things became just
that, electrified.
And as you point out, seeing when you're right in front of it face to face,
and when it gets good and when it gets loud, [Am] it gets real good.
It starts [C] sweating.
It just starts
sweating.
So [Em] _ who do you think is the greatest blues guy of all time?
[B] Gosh, I know it's a tough
question.
Folks, [F] if you'll tune in [Ebm] next week, we'll still be on this one.
[F] Oh no, [N] you've got to
just give me a couple.
Well the list is somewhat predictable, as we mentioned Jimmy Reed of course.
Greatest singer, that voice and harmonica.
For the guitar freaks out there, the [E] Kings,
Freddie King, Albert King, B.B. King, Albert Collins, another Texas gunslinger.
And then of course you've got [Gb] modern guys, Jimmy [B] Vaughn, our good [D] buddy Jimmy Vaughn,
[Eb] the late [C] brother of Jimmy, Stevie Ray Vaughn [Db] was just a tremendous [D] interpreter of that great [Eb] art
form.
I think we all owe a little bit of something to [Ab] these guys that paved the way.
[C] I know when I
listen to [Eb] your records, [Ab] every so often you [D] can't help it, some of that bluesy influence.
As a guitar
player, every guitar player I know [Db] worships you.
Ronnie Montrose, I mean he thought you were the
[B] guy.
Not Jimmy Page, not Jeff Beck, not Eric Clapton, Billy F Gibbons.
And what does that F
stand for again?
Oh never mind.
Okay, we're gonna get to that.
That guy.
Okay, but I mean I just
wondered how you feel about it.
Do you feel frustrated when you play guitar?
Do you feel
like, yeah I can play anything I'm thinking?
Or you know, you're a sound guy, you got such a unique sound.
Well, [F] let's face it, ZZ Top is, [Gb] the name of the group is not too far removed from B.B. King.
He's got that end of the alphabet, [Bb] we got the other end of the alphabet.
I [Gb] gotcha.
King is kind of like on top.
But if we could get to [C] the point to emulate B.B.'s. style, you know, [Db] he was, very often he he had the luxury of throwing the guitar to the side and grabbing the mic stand and just [C] delivering the vocals. He didn't [N] have to worry too much. He had a little bit bigger band on most occasions, [Bm] which helps out. [Eb] _ [Em] _ There's an [Gm] unusual _ _ [G] street in Paris, France. It's [Em] three blocks of guitar [Bb] shop, guitar shop. There must be 50 guitar shops [C] on this one stretch of three, four blocks long. On the wall was a [F] 1961 Les Paul [Gb] in the SG shape. [G] We started playing it shortly thereafter. We went back on tour and it was causing such [Db] a stir. People go, man, [Fm] now he's playing this SG. So to do something different, I got with John Bolin, our favorite guitar maker out of Boise, [E] Idaho. Been with him for [Bb] 35 years. [Eb] We sat and came up with, we [E] took this beautiful French [F] curve, flipped it upside down, angled it slightly [Eb] and came up with this nice bevel. _ And believe it or not. Wow, wait a minute. So this is a new guitar? Yeah. Oh, this thing is gorgeous, Billy. Yeah. This mother with the flying V head on it. Get out of here, man. This is a shit, [Gb] man. _ Wow, boy, those are little strings. Man, you couldn't tune them down. I threw a half step, a full step. It'd fall off. That'd swing down like this. It's going to be close. I think we got this. [Eb] Wow. _ [G] Oh yeah. Seven. Billy, you can bend that sum, it's clear up to here. You don't have to go up into any part of the, you can play everything in one position. You can just bend it back up to here. But this thing is gorgeous. I'm a Les Paul. I [E] mean, I'm a Gibson guy, period. But SG is what I used to play. The Les, my first guitar was an SG Les Paul. Yeah. This thickness matches the figure eight Les Paul. And then it cascades down to, you got SG. This is [Db] beautiful, man. [A] Beautiful. We ought to plug it in and maybe I can get you to sing one with me. This one might be ready to go. _ _ _ Yeah, a little bit louder, _ _ _ _ _ _ _ _
_ _ _ _ _ [E] _ _ _
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a little bit louder. _ That must be packed up [A] tight. What's this line here? _ Well, I'm [E] glad just to get [Gb] on and hold you. [C] _ [A] Ah, [E] _ _ get the man a hand out. Come [Ab] on, man. _ What about Jesus? What about Jesus? Just give me that, just give me [A] that lick going in. [G] _ [C] Jesus _ [G] _ _ _ _ _ _ doesn't left Chicago, _ and he's bound for New Orleans. _ _ [G] _ Yeah, give it to her. [C] Well, now Jesus doesn't left Chicago, _ _ and he's bound for New Orleans. [Em] Yeah, man. _ [G] _ This next [C] one. _ [G] _ Hey, [Em] _ _ [A] I'm working from one end to the [C] other, and [G] all points in [E] between. [Eb] _ _ _ _ _ _ _ [G] I [Eb] want to do another one with [G] you. Yeah. Took a jump through [Eb] Mississippi. [G] Took a jump through [C] Mississippi. _ _ [G] _ [Em] Muddy water turned to [G] wine. Well, _ [C] _ _ _ [G] _ _ _ [C] _
I took a jump through [F] Mississippi. _ [C] _ _ [F] Muddy water turned [Gm] to wine. _ _ [C] _ _ [G] Oh, next one. [C] _ Hey, [G] _ _ [C] _ _ _ [A] I'm off to California. To see [Em] that sweet little baby of mine. _ [Bb] _ _ _ [Ab] Billy, that's living. My day, [Gb] okay, listen. My life is complete. My life [N] is complete. _