Chords for DION DiMucci LRBC January 2010 "Ruby Baby"
Tempo:
127.05 bpm
Chords used:
G
E
B
F
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
You know, there's nothing going on, you know.
I don't know what you're talking about.
You [E] [A] know what it is, I don't play with the guitar.
[N] I have a band, go out and do rock and roll shows.
I don't play songs that I play in the house too much, I'm on the [E] stage.
[G] [D] [E] But I was the first rock and roll artist to sign to Columbia Records.
[Db] And John Hammond [Eb] [G] Sr.,
kind of, you know, was right across [Em] the hall.
I was with this [G] producer, Tom Wilson.
He later on, he produced Dylan when he came to Columbia.
But [Dm] it was, [G] you know, so many [B] now.
He brought me [N] in a room there and he had all these, this is like 1960.
He put me in a room and [F] he played me this new album by Robert [G] Johnson,
the king of the Delta Blues singers.
And he had this big [B] smile on his face for years and years.
And he said, this sold 25,000 albums.
I word him out.
[Em] [Db] [B] And, you know, [G] I had sold about, I had about 12 gold records.
But, [F] you know, it amazes me the person I was back then.
That's when I [Gm] look back on it, I went, [B] yeah.
[F] And I took it home and I played it and I was playing it for everybody.
And they [G] thought it was like Chinese music.
[N]
I knew the thing [Gb] was, I'll say something I heard from him [Am] later on.
[Bb] But, man, [F] I knew something was going [E] on with that way back.
People say, you know, [G] it's just a stretch, you know, doing this kind [Db] of stuff.
I said, no, [N] Teenage Mutant Monkey was a stretch.
[E] [G]
[Dm] You know, but when I listened [N] to it, it was like this stuff that kind of
burned the lies that soon, you know, the stuff that I learned from Jimmy Reed and Hank [G] Lillian.
[D] [C]
[G] But Bob Porter was [N] talking about Howlin' Wolf today.
Man, Howlin' Wolf.
He scared the hell [Bb] out of me.
[G]
I was at the Brooklyn Fox with Little Richard and [N] Bo Diddley and Chuck Durny.
And Howlin' Wolf came by.
Man, [G] he had his feet were like two feet [Ab] long.
[F] I thought he was going to kill me.
[Em] Because he wanted to [Abm] know, you know, why I was singing this [G] or singing that.
I was like, I listen to records.
And the funny thing happened, you know, he listens to records too.
To [N] know him, he was a great guy.
It was easy to get along with, but to look at him, I thought he was going to kill me.
[Em] But in the same day, [Dm] when I was walking in there, and I told the story last year,
[Fm] I got a [N] Calpas face.
It's just, the [G] kid, yo.
I walk into [N] the Brooklyn Fox, Little Richard's mother is in his dressing room,
sitting there in the door, and she says, young man, [Bbm]
come over here.
[A] You [E] know, because I'm singing, you're the one, you know, but at that time I had.
And Ruby is a lady.
Little Roger.
What?
[A]
Has no kisses [E] to.
Don't give him all the [B] youths.
And now, Ruby, [A] Ruby, what will [E] you be?
And she said, [G] come over here.
Young man, come over here.
I walked in, I said, yes [B] ma'am.
Whoever may.
[Abm]
His mother, [N] whoever may.
Come over here, young man.
I got down, she said, son, [G] are you the boy who sings that Ruby baby?
I said, yes ma'am.
She says, [E] honey, [N] you got soul.
Come over here.
I don't know what you're talking about.
You [E] [A] know what it is, I don't play with the guitar.
[N] I have a band, go out and do rock and roll shows.
I don't play songs that I play in the house too much, I'm on the [E] stage.
[G] [D] [E] But I was the first rock and roll artist to sign to Columbia Records.
[Db] And John Hammond [Eb] [G] Sr.,
kind of, you know, was right across [Em] the hall.
I was with this [G] producer, Tom Wilson.
He later on, he produced Dylan when he came to Columbia.
But [Dm] it was, [G] you know, so many [B] now.
He brought me [N] in a room there and he had all these, this is like 1960.
He put me in a room and [F] he played me this new album by Robert [G] Johnson,
the king of the Delta Blues singers.
And he had this big [B] smile on his face for years and years.
And he said, this sold 25,000 albums.
I word him out.
[Em] [Db] [B] And, you know, [G] I had sold about, I had about 12 gold records.
But, [F] you know, it amazes me the person I was back then.
That's when I [Gm] look back on it, I went, [B] yeah.
[F] And I took it home and I played it and I was playing it for everybody.
And they [G] thought it was like Chinese music.
[N]
I knew the thing [Gb] was, I'll say something I heard from him [Am] later on.
[Bb] But, man, [F] I knew something was going [E] on with that way back.
People say, you know, [G] it's just a stretch, you know, doing this kind [Db] of stuff.
I said, no, [N] Teenage Mutant Monkey was a stretch.
[E] [G]
[Dm] You know, but when I listened [N] to it, it was like this stuff that kind of
burned the lies that soon, you know, the stuff that I learned from Jimmy Reed and Hank [G] Lillian.
[D] [C]
[G] But Bob Porter was [N] talking about Howlin' Wolf today.
Man, Howlin' Wolf.
He scared the hell [Bb] out of me.
[G]
I was at the Brooklyn Fox with Little Richard and [N] Bo Diddley and Chuck Durny.
And Howlin' Wolf came by.
Man, [G] he had his feet were like two feet [Ab] long.
[F] I thought he was going to kill me.
[Em] Because he wanted to [Abm] know, you know, why I was singing this [G] or singing that.
I was like, I listen to records.
And the funny thing happened, you know, he listens to records too.
To [N] know him, he was a great guy.
It was easy to get along with, but to look at him, I thought he was going to kill me.
[Em] But in the same day, [Dm] when I was walking in there, and I told the story last year,
[Fm] I got a [N] Calpas face.
It's just, the [G] kid, yo.
I walk into [N] the Brooklyn Fox, Little Richard's mother is in his dressing room,
sitting there in the door, and she says, young man, [Bbm]
come over here.
[A] You [E] know, because I'm singing, you're the one, you know, but at that time I had.
And Ruby is a lady.
Little Roger.
What?
[A]
Has no kisses [E] to.
Don't give him all the [B] youths.
And now, Ruby, [A] Ruby, what will [E] you be?
And she said, [G] come over here.
Young man, come over here.
I walked in, I said, yes [B] ma'am.
Whoever may.
[Abm]
His mother, [N] whoever may.
Come over here, young man.
I got down, she said, son, [G] are you the boy who sings that Ruby baby?
I said, yes ma'am.
She says, [E] honey, [N] you got soul.
Come over here.
Key:
G
E
B
F
A
G
E
B
_ _ You know, there's nothing going on, you know. _
_ I don't know what you're talking about. _ _
You [E] _ _ _ [A] know what it is, I don't play with the guitar.
[N] I have a band, go out and do rock and roll shows.
I don't play songs that I play in the house too much, I'm on the [E] stage.
[G] _ _ _ [D] [E] But I was the first rock and roll artist to sign to Columbia Records.
[Db] And John Hammond [Eb] _ [G] Sr.,
kind of, you know, was right across [Em] the hall.
I was with this [G] _ producer, Tom Wilson.
He later on, he produced Dylan when he came to Columbia.
But [Dm] it was, [G] you know, so many [B] now.
_ He brought me [N] in a room there and he had all these, this is like 1960. _
_ He put me in a room and [F] he played me this new album by Robert [G] Johnson,
the king of the Delta Blues singers.
And he had this big [B] smile on his face for years and years.
And he said, this sold 25,000 albums.
I word him out.
[Em] _ _ [Db] [B] And, you know, [G] I had sold about, I had about 12 gold records. _ _
_ _ But, [F] you know, it amazes me the person I was back then.
That's when I [Gm] look back on it, I went, [B] yeah.
[F] And I took it home and I played it and I was playing it for everybody.
And they [G] thought it was like Chinese music.
[N] _ _ _
I knew the thing [Gb] was, I'll say something I heard from him [Am] later on.
_ _ [Bb] But, man, [F] I knew something was going [E] on with that way back. _ _ _ _
_ _ _ People say, you know, [G] it's just a stretch, you know, doing this kind [Db] of stuff.
I said, no, [N] Teenage Mutant Monkey was a stretch.
[E] _ _ _ [G] _ _ _
[Dm] _ _ You know, but when I listened [N] to it, it was like this stuff that kind of
burned the lies that soon, you know, the stuff that I learned from Jimmy Reed and Hank [G] Lillian.
_ [D] _ _ _ [C]
[G] But Bob Porter was _ [N] _ talking about _ Howlin' Wolf today.
Man, Howlin' Wolf.
_ _ _ _ He _ _ _ _ _ _ _
scared the hell [Bb] out of me.
_ _ [G] _ _
I was at the Brooklyn Fox with _ _ Little Richard and [N] Bo Diddley and Chuck Durny.
And Howlin' Wolf came by.
_ Man, [G] he had his feet were like two feet [Ab] long.
_ [F] I thought he was going to kill me.
[Em] _ _ _ Because he wanted to [Abm] know, you know, why I was singing this [G] or singing that.
I was like, I listen to records.
_ And the funny thing happened, you know, he listens to records too.
To [N] know him, he was a great guy.
It was easy to get along with, but to look at him, I thought he was going to kill me.
[Em] _ But in the same day, _ [Dm] when I was walking in there, and I told the story last year,
[Fm] I got a [N] Calpas face.
_ It's just, the [G] _ _ _ kid, _ yo.
_ _ _ _ I walk into [N] the Brooklyn Fox, Little Richard's mother is in his dressing room,
sitting there in the door, and she says, young man, [Bbm]
come over here.
[A] You [E] know, because I'm singing, you're the one, you know, but at that time I had. _ _ _ _
_ And Ruby is a lady. _ _
_ _ _ Little _ _ _ _ _ _ Roger. _ _ _
What?
_ _ _ _ [A] _ _
Has no _ kisses [E] to.
_ Don't give him all the [B] youths.
And now, Ruby, [A] Ruby, _ what will [E] you be?
And she said, [G] come over here.
Young man, come over here.
I walked in, I said, yes [B] ma'am.
Whoever may.
[Abm]
His mother, [N] whoever may.
_ Come over here, young man.
_ I got down, she said, son, _ [G] are you the boy who sings that Ruby baby?
I said, yes ma'am.
She says, [E] honey, _ [N] you got soul.
_ Come _ _ over here. _ _ _ _ _
_ I don't know what you're talking about. _ _
You [E] _ _ _ [A] know what it is, I don't play with the guitar.
[N] I have a band, go out and do rock and roll shows.
I don't play songs that I play in the house too much, I'm on the [E] stage.
[G] _ _ _ [D] [E] But I was the first rock and roll artist to sign to Columbia Records.
[Db] And John Hammond [Eb] _ [G] Sr.,
kind of, you know, was right across [Em] the hall.
I was with this [G] _ producer, Tom Wilson.
He later on, he produced Dylan when he came to Columbia.
But [Dm] it was, [G] you know, so many [B] now.
_ He brought me [N] in a room there and he had all these, this is like 1960. _
_ He put me in a room and [F] he played me this new album by Robert [G] Johnson,
the king of the Delta Blues singers.
And he had this big [B] smile on his face for years and years.
And he said, this sold 25,000 albums.
I word him out.
[Em] _ _ [Db] [B] And, you know, [G] I had sold about, I had about 12 gold records. _ _
_ _ But, [F] you know, it amazes me the person I was back then.
That's when I [Gm] look back on it, I went, [B] yeah.
[F] And I took it home and I played it and I was playing it for everybody.
And they [G] thought it was like Chinese music.
[N] _ _ _
I knew the thing [Gb] was, I'll say something I heard from him [Am] later on.
_ _ [Bb] But, man, [F] I knew something was going [E] on with that way back. _ _ _ _
_ _ _ People say, you know, [G] it's just a stretch, you know, doing this kind [Db] of stuff.
I said, no, [N] Teenage Mutant Monkey was a stretch.
[E] _ _ _ [G] _ _ _
[Dm] _ _ You know, but when I listened [N] to it, it was like this stuff that kind of
burned the lies that soon, you know, the stuff that I learned from Jimmy Reed and Hank [G] Lillian.
_ [D] _ _ _ [C]
[G] But Bob Porter was _ [N] _ talking about _ Howlin' Wolf today.
Man, Howlin' Wolf.
_ _ _ _ He _ _ _ _ _ _ _
scared the hell [Bb] out of me.
_ _ [G] _ _
I was at the Brooklyn Fox with _ _ Little Richard and [N] Bo Diddley and Chuck Durny.
And Howlin' Wolf came by.
_ Man, [G] he had his feet were like two feet [Ab] long.
_ [F] I thought he was going to kill me.
[Em] _ _ _ Because he wanted to [Abm] know, you know, why I was singing this [G] or singing that.
I was like, I listen to records.
_ And the funny thing happened, you know, he listens to records too.
To [N] know him, he was a great guy.
It was easy to get along with, but to look at him, I thought he was going to kill me.
[Em] _ But in the same day, _ [Dm] when I was walking in there, and I told the story last year,
[Fm] I got a [N] Calpas face.
_ It's just, the [G] _ _ _ kid, _ yo.
_ _ _ _ I walk into [N] the Brooklyn Fox, Little Richard's mother is in his dressing room,
sitting there in the door, and she says, young man, [Bbm]
come over here.
[A] You [E] know, because I'm singing, you're the one, you know, but at that time I had. _ _ _ _
_ And Ruby is a lady. _ _
_ _ _ Little _ _ _ _ _ _ Roger. _ _ _
What?
_ _ _ _ [A] _ _
Has no _ kisses [E] to.
_ Don't give him all the [B] youths.
And now, Ruby, [A] Ruby, _ what will [E] you be?
And she said, [G] come over here.
Young man, come over here.
I walked in, I said, yes [B] ma'am.
Whoever may.
[Abm]
His mother, [N] whoever may.
_ Come over here, young man.
_ I got down, she said, son, _ [G] are you the boy who sings that Ruby baby?
I said, yes ma'am.
She says, [E] honey, _ [N] you got soul.
_ Come _ _ over here. _ _ _ _ _