Chords for Buddy Guy Recounts the 60s | SiriusXM
Tempo:
110 bpm
Chords used:
Abm
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
He said the club was 100% blacks, unless you saw a white cop, the owner of the club, 708
Club was a white, white owner, but only time he'd come in there to pick up his receipts
and the black people running it.
So when we would be on stage there, Junior Weld and myself, or any of our mother, you
see two white faces come in and sit at a table, a stand, and I'm like, we couldn't afford
nothing but a bottle of wine, so a little water, if they get it, they'd drink it up
before you get it, so we'd have to hurry up and say, well, [Abm] man, we can't even pull that
bottle out now, because you weren't supposed to bring your bottle in the club, you know,
you can't pull the bottle out, because I knew that's a cop owner, and that's why, and this
is like Paul Butterfield or Michael Bloomfield, or Charlie [G] Musselwhite or someone like that,
and I'm like saying, oh man, they done messed us up now, we can't even drink our stuff now,
and that went on for, what, six months or eight months before they started identifying
themselves as that, they wanted to hear the play.
I think the first time I realized Michael Bloomfield was at one of Wolf's concerts.
Michael was a guitarist.
And he asked Wolf to sit in, and then he came up and sat in and played with Howlin' Wolf,
which was hard to play with, but then I said, wait a minute, you know, this is a white guy
playing blues like this, you know, because I didn't think they would even think about
listening to it, you know, and so on, and from then on, yeah, and the next thing I saw
was like Eric Clapton and them coming in one by one, not letting you know anything, they
just found these blues clubs and come in and say, a white face and a black joint like this,
because see, a lot of black people used to just, if it's B.B. or Muddy, anyway, if you
hit a good tune, they'd jump up and start dancing and screaming, you know, they didn't
just sit there and say, wait a minute, I got to hear, they'd let you know I'm here, and
I come to boogie, you know, I'm going to shake this thing tonight, and they were just
sitting there quiet looking, and I'm saying, wait a minute, what is this, you know, and
then I finally went to England in February of 1965, and I'm like him, I'm like saying,
now maybe I should learn, maybe I should play a country and western, I don't know how to
do that, what am I going to play here, you know, and the guy did me the same thing, he
just come up and the keyboard player started playing a boogie woogie before I got on stage,
I said, wait a minute, this is it, yeah, if they playing this, I'm like a rabbit, I'm
like a rabbit, you done told me about that now.
Club was a white, white owner, but only time he'd come in there to pick up his receipts
and the black people running it.
So when we would be on stage there, Junior Weld and myself, or any of our mother, you
see two white faces come in and sit at a table, a stand, and I'm like, we couldn't afford
nothing but a bottle of wine, so a little water, if they get it, they'd drink it up
before you get it, so we'd have to hurry up and say, well, [Abm] man, we can't even pull that
bottle out now, because you weren't supposed to bring your bottle in the club, you know,
you can't pull the bottle out, because I knew that's a cop owner, and that's why, and this
is like Paul Butterfield or Michael Bloomfield, or Charlie [G] Musselwhite or someone like that,
and I'm like saying, oh man, they done messed us up now, we can't even drink our stuff now,
and that went on for, what, six months or eight months before they started identifying
themselves as that, they wanted to hear the play.
I think the first time I realized Michael Bloomfield was at one of Wolf's concerts.
Michael was a guitarist.
And he asked Wolf to sit in, and then he came up and sat in and played with Howlin' Wolf,
which was hard to play with, but then I said, wait a minute, you know, this is a white guy
playing blues like this, you know, because I didn't think they would even think about
listening to it, you know, and so on, and from then on, yeah, and the next thing I saw
was like Eric Clapton and them coming in one by one, not letting you know anything, they
just found these blues clubs and come in and say, a white face and a black joint like this,
because see, a lot of black people used to just, if it's B.B. or Muddy, anyway, if you
hit a good tune, they'd jump up and start dancing and screaming, you know, they didn't
just sit there and say, wait a minute, I got to hear, they'd let you know I'm here, and
I come to boogie, you know, I'm going to shake this thing tonight, and they were just
sitting there quiet looking, and I'm saying, wait a minute, what is this, you know, and
then I finally went to England in February of 1965, and I'm like him, I'm like saying,
now maybe I should learn, maybe I should play a country and western, I don't know how to
do that, what am I going to play here, you know, and the guy did me the same thing, he
just come up and the keyboard player started playing a boogie woogie before I got on stage,
I said, wait a minute, this is it, yeah, if they playing this, I'm like a rabbit, I'm
like a rabbit, you done told me about that now.
Key:
Abm
G
Abm
G
Abm
G
Abm
G
_ _ _ _ _ _ He said the club was 100% blacks, unless you saw a white cop, the owner of the club, _ 708
Club was a white, white owner, but only time he'd come in there to pick up his receipts
and the black people running it.
So when we would be on stage there, Junior Weld and myself, or any of our mother, you
see two white faces come in and sit at a table, a stand, and I'm like, we couldn't afford
nothing but a bottle of wine, so a little water, if they get it, they'd drink it up
before you get it, so we'd have to hurry up and say, well, _ [Abm] man, we can't even pull that
bottle out now, because you weren't supposed to bring your bottle in the club, you know,
you can't pull the bottle out, because I knew that's a cop owner, and that's why, and this
is like Paul Butterfield or Michael Bloomfield, or Charlie [G] Musselwhite or someone like that,
and I'm like saying, oh man, they done messed us up now, we can't even drink our stuff now,
and that went on for, what, _ six months or eight months before they started identifying
themselves as that, they wanted to hear the play.
I think the first time I realized _ Michael Bloomfield was at one of Wolf's concerts.
Michael was a guitarist. _
And he asked Wolf to sit in, and then he came up and sat in and played with Howlin' Wolf,
which was hard to play with, but then I said, wait a minute, you know, this is a white guy
playing blues like this, you know, because I didn't think they would even think about
listening to it, you know, and so on, and from then on, yeah, and the next thing I saw
was like Eric Clapton and them coming in one by one, not letting you know anything, they
just found these blues clubs and come in and say, a white face and a black joint like this,
because see, a lot of black people used to just, if it's B.B. or Muddy, anyway, if you
hit a good tune, they'd jump up and start dancing and screaming, you know, they didn't
just sit there and say, wait a minute, I got to hear, they'd let you know I'm here, and
I come to boogie, you know, I'm going to shake this thing tonight, and they were just
sitting there quiet looking, and I'm saying, wait a minute, what is this, you know, and
then I finally went to _ _ England in February of 1965, and I'm like him, I'm like saying,
now maybe I should learn, maybe I should play a country and western, I don't know how to
do that, what am I going to play here, you know, and the guy did me the same thing, he
just come up and the keyboard player started playing a boogie woogie before I got on stage,
I said, wait a minute, this is it, yeah, if they playing this, I'm like a rabbit, I'm
like a rabbit, you done told me about that now. _ _ _ _ _ _
_ _ _ _ _ _ _ _
Club was a white, white owner, but only time he'd come in there to pick up his receipts
and the black people running it.
So when we would be on stage there, Junior Weld and myself, or any of our mother, you
see two white faces come in and sit at a table, a stand, and I'm like, we couldn't afford
nothing but a bottle of wine, so a little water, if they get it, they'd drink it up
before you get it, so we'd have to hurry up and say, well, _ [Abm] man, we can't even pull that
bottle out now, because you weren't supposed to bring your bottle in the club, you know,
you can't pull the bottle out, because I knew that's a cop owner, and that's why, and this
is like Paul Butterfield or Michael Bloomfield, or Charlie [G] Musselwhite or someone like that,
and I'm like saying, oh man, they done messed us up now, we can't even drink our stuff now,
and that went on for, what, _ six months or eight months before they started identifying
themselves as that, they wanted to hear the play.
I think the first time I realized _ Michael Bloomfield was at one of Wolf's concerts.
Michael was a guitarist. _
And he asked Wolf to sit in, and then he came up and sat in and played with Howlin' Wolf,
which was hard to play with, but then I said, wait a minute, you know, this is a white guy
playing blues like this, you know, because I didn't think they would even think about
listening to it, you know, and so on, and from then on, yeah, and the next thing I saw
was like Eric Clapton and them coming in one by one, not letting you know anything, they
just found these blues clubs and come in and say, a white face and a black joint like this,
because see, a lot of black people used to just, if it's B.B. or Muddy, anyway, if you
hit a good tune, they'd jump up and start dancing and screaming, you know, they didn't
just sit there and say, wait a minute, I got to hear, they'd let you know I'm here, and
I come to boogie, you know, I'm going to shake this thing tonight, and they were just
sitting there quiet looking, and I'm saying, wait a minute, what is this, you know, and
then I finally went to _ _ England in February of 1965, and I'm like him, I'm like saying,
now maybe I should learn, maybe I should play a country and western, I don't know how to
do that, what am I going to play here, you know, and the guy did me the same thing, he
just come up and the keyboard player started playing a boogie woogie before I got on stage,
I said, wait a minute, this is it, yeah, if they playing this, I'm like a rabbit, I'm
like a rabbit, you done told me about that now. _ _ _ _ _ _
_ _ _ _ _ _ _ _