Chords for Buddy Guy On The Legacy Of The Rolling Stones, White Audience
Tempo:
84.575 bpm
Chords used:
Eb
F
Dm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
When I interviewed both Bobby Rush and Honey Boy Edwards, Honey Boy Edwards, just the year
before he passed, [Eb] or a couple years before, they had said that what they noticed was that
when they started playing blues it was for a predominantly African American audience
and somewhere along the line that changed.
And that they said that the black population in America stopped buying the blues.
And he didn't know, Bobby didn't know why, Honey Boy didn't know why, just all of a sudden
white guys got into the blues, absolutely.
Did you notice a shift?
Well, let me get to that when I ask you this question.
This is the funny part.
Yeah, we were playing for 99.9 or 100% blacks, I would say.
And all of a sudden this late 50s you would look out in the audience and there was a white
face out there.
And all the time you saw a white face in a blues club back then he was a policeman.
And I'd say, well we got enough money to get the bottle of wine, which was $.35..40. I said, don't pull up the wine because there's a cop out there sitting at the table. And it was Paul Butterfield, or Michael Bloomfield, you know, some of the other. And finally it was Eric Clapton that some of them said, and I'm like saying, there's a lot of white cops coming in now, man. Speaking of the British guys, what's the legacy of the Rolling Stones? Forever and ever. Because they let America know who we were. A lot of Americans didn't know who we was until the Stones and all those British guys just came back and said, matter of fact, they were saying when they was getting famous, it's a British invasion. They would say, wait a minute, wait a minute now, this is Howlin' Wolf, T-Bone Walker, some of the music like that. And that's when people have come to me personally and say, I didn't know who you was until the Stones showed up. And then I went back and found out who B.B. King and Robert Johnson, because Eric Clapton was doing a lot of Robert Johnson and those people's music. And they were saying, this is not mine. Matter of fact, they went back down there, some of those guys were living and gave them the royalties checks for the songs they wrote. Pretty amazing, right? It was. So, as you know, music comes in our language a lot. And I hate the question and I guess it's a lot. Do you have to be a black or came up through the cotton field to be a good [F] blues player? No. Just watch people today who was losing the best job they ever had. And you said it have to look back and worry about what we sing about. I lost my job in the steel mill five years ago and can't go back. Ain't no more steel mill. So that's not only happening to blacks, that's happening to whites too. You know, I read somewhere lately why some airline pilot is a painter now because the airlines laid him off. You know, so this is what we sing about everyday life. Everybody's got the blues, right? Everybody got the blues. Whether you realize it or not, you got it. [Dm]
before he passed, [Eb] or a couple years before, they had said that what they noticed was that
when they started playing blues it was for a predominantly African American audience
and somewhere along the line that changed.
And that they said that the black population in America stopped buying the blues.
And he didn't know, Bobby didn't know why, Honey Boy didn't know why, just all of a sudden
white guys got into the blues, absolutely.
Did you notice a shift?
Well, let me get to that when I ask you this question.
This is the funny part.
Yeah, we were playing for 99.9 or 100% blacks, I would say.
And all of a sudden this late 50s you would look out in the audience and there was a white
face out there.
And all the time you saw a white face in a blues club back then he was a policeman.
And I'd say, well we got enough money to get the bottle of wine, which was $.35..40. I said, don't pull up the wine because there's a cop out there sitting at the table. And it was Paul Butterfield, or Michael Bloomfield, you know, some of the other. And finally it was Eric Clapton that some of them said, and I'm like saying, there's a lot of white cops coming in now, man. Speaking of the British guys, what's the legacy of the Rolling Stones? Forever and ever. Because they let America know who we were. A lot of Americans didn't know who we was until the Stones and all those British guys just came back and said, matter of fact, they were saying when they was getting famous, it's a British invasion. They would say, wait a minute, wait a minute now, this is Howlin' Wolf, T-Bone Walker, some of the music like that. And that's when people have come to me personally and say, I didn't know who you was until the Stones showed up. And then I went back and found out who B.B. King and Robert Johnson, because Eric Clapton was doing a lot of Robert Johnson and those people's music. And they were saying, this is not mine. Matter of fact, they went back down there, some of those guys were living and gave them the royalties checks for the songs they wrote. Pretty amazing, right? It was. So, as you know, music comes in our language a lot. And I hate the question and I guess it's a lot. Do you have to be a black or came up through the cotton field to be a good [F] blues player? No. Just watch people today who was losing the best job they ever had. And you said it have to look back and worry about what we sing about. I lost my job in the steel mill five years ago and can't go back. Ain't no more steel mill. So that's not only happening to blacks, that's happening to whites too. You know, I read somewhere lately why some airline pilot is a painter now because the airlines laid him off. You know, so this is what we sing about everyday life. Everybody's got the blues, right? Everybody got the blues. Whether you realize it or not, you got it. [Dm]
Key:
Eb
F
Dm
Eb
F
Dm
Eb
F
_ _ When I interviewed both Bobby Rush and Honey Boy Edwards, Honey Boy Edwards, just the year
before he passed, [Eb] or a couple years before, they had said that what they noticed was that
when they started playing blues it was for a predominantly African American audience
and somewhere along the line that changed.
And that they said that the black population in America stopped buying the blues.
And he didn't know, Bobby didn't know why, Honey Boy didn't know why, just all of a sudden
white guys got into the blues, absolutely.
Did you notice a shift?
Well, let me get to that when I ask you this question.
This is the funny part.
Yeah, we were playing for 99.9 or 100% blacks, I would say.
And all of a sudden this late 50s you would look out in the audience and there was a white
face out there.
And all the time you saw a white face in a blues club back then he was a policeman.
_ And I'd say, well we got enough money to get the bottle of wine, which was $.35..40. I said, don't pull up the wine because there's a cop out there sitting at the table. And it was Paul Butterfield, _ or Michael Bloomfield, you know, _ some of the other. And finally it was Eric Clapton that some of them said, and I'm like saying, there's a lot of white cops coming in now, man. _ _ Speaking of the British guys, what's the legacy of the Rolling Stones? _ _ Forever and ever. Because they let America know who we were. A lot of Americans didn't know who we was until the Stones and all those British guys just came back and said, matter of fact, they were saying when they was getting famous, it's a British invasion. They would say, wait a minute, wait a minute now, this is Howlin' Wolf, T-Bone Walker, some of the music like that. And that's when people have come to me personally and say, I didn't know who you was until the Stones showed up. And then I went back and found out who B.B. King and Robert Johnson, because Eric Clapton was doing a lot of Robert Johnson and those people's music. And they were saying, this is not mine. Matter of fact, they went back down there, some of those guys were living and gave them the royalties checks for the songs they wrote. Pretty amazing, right? It was. So, as you know, music comes in our language a lot. And I hate the question and I guess it's a lot. Do you have to be a black or came up through the cotton field to be a good [F] blues player? No. Just watch people today who was losing the best job they ever had. And you said it have to look back and worry about what we sing about. I lost my job in the steel mill five years ago and can't go back. Ain't no more steel mill. So that's not only happening to blacks, that's happening to whites too. You know, I read somewhere lately why some airline pilot is a painter now because the airlines laid him off. You know, so this is what we sing about everyday life. Everybody's got the blues, right? Everybody got the blues. Whether you realize it or not, you got it. [Dm] _
before he passed, [Eb] or a couple years before, they had said that what they noticed was that
when they started playing blues it was for a predominantly African American audience
and somewhere along the line that changed.
And that they said that the black population in America stopped buying the blues.
And he didn't know, Bobby didn't know why, Honey Boy didn't know why, just all of a sudden
white guys got into the blues, absolutely.
Did you notice a shift?
Well, let me get to that when I ask you this question.
This is the funny part.
Yeah, we were playing for 99.9 or 100% blacks, I would say.
And all of a sudden this late 50s you would look out in the audience and there was a white
face out there.
And all the time you saw a white face in a blues club back then he was a policeman.
_ And I'd say, well we got enough money to get the bottle of wine, which was $.35..40. I said, don't pull up the wine because there's a cop out there sitting at the table. And it was Paul Butterfield, _ or Michael Bloomfield, you know, _ some of the other. And finally it was Eric Clapton that some of them said, and I'm like saying, there's a lot of white cops coming in now, man. _ _ Speaking of the British guys, what's the legacy of the Rolling Stones? _ _ Forever and ever. Because they let America know who we were. A lot of Americans didn't know who we was until the Stones and all those British guys just came back and said, matter of fact, they were saying when they was getting famous, it's a British invasion. They would say, wait a minute, wait a minute now, this is Howlin' Wolf, T-Bone Walker, some of the music like that. And that's when people have come to me personally and say, I didn't know who you was until the Stones showed up. And then I went back and found out who B.B. King and Robert Johnson, because Eric Clapton was doing a lot of Robert Johnson and those people's music. And they were saying, this is not mine. Matter of fact, they went back down there, some of those guys were living and gave them the royalties checks for the songs they wrote. Pretty amazing, right? It was. So, as you know, music comes in our language a lot. And I hate the question and I guess it's a lot. Do you have to be a black or came up through the cotton field to be a good [F] blues player? No. Just watch people today who was losing the best job they ever had. And you said it have to look back and worry about what we sing about. I lost my job in the steel mill five years ago and can't go back. Ain't no more steel mill. So that's not only happening to blacks, that's happening to whites too. You know, I read somewhere lately why some airline pilot is a painter now because the airlines laid him off. You know, so this is what we sing about everyday life. Everybody's got the blues, right? Everybody got the blues. Whether you realize it or not, you got it. [Dm] _