Chords for eTown On-Stage Interview - Doyle Bramhall II
Tempo:
93.55 bpm
Chords used:
F#
F
G
C
G#m
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G]
[C] Doyle Bramall II, [N] welcome to E-Town.
Thank you for joining us.
Thanks for having us.
Thank you so much.
So I described earlier your growing up in Austin.
Do you have an earliest memory of living in a house in Austin
with a bunch of musicians hanging around?
I do have a lot of memories.
Actually, not all that are good for children to hang out in.
But yeah, definitely colorful moments until I was about five or six.
My mom finally pulled me away and said,
we've got to get out of here and get you in school.
Get you away from this crazy party all the time.
Like a wolf in here.
A little wolf pup.
I should tell our radio audience that you play the guitar
in a far stronger conventional way, but upside down,
kind of like Libba Cotton or Albert King.
Yeah, that's a good reference.
Growing up in a house full of guitar players,
didn't anybody see you getting started and try to straighten you out?
No, I started playing drums when I was six
and I switched to the bass when I was 11.
And then when I was 14, just by default,
because I had a bunch of family members that were all drummers.
And we were going to go nowhere with that band.
So I just said, all right, I'll play guitar.
And I started learning and within three or four months,
I was playing pretty well.
Yeah.
Well, [G#m] what's cool about it is that it's disconcerting for guys like me
to look at you playing guitar because it just doesn't make any sense.
Neither hand makes any sense, the right or left hand.
But what's cool is [F#] when you think about what any musician tries to [F] accomplish
in their lifetime is to achieve a level of excellence
and then beyond that to sound like themselves.
And you've done that.
You sound like you.
Right.
Sometimes I don't.
Thank you.
Sometimes I don't know if it's my left-handed upside-down brain
that actually sounds different than the guitar style.
But I'm pretty confused.
No, it's a beautiful thing when [E] music arrives in our life,
however it comes, and we make the best of it.
But it actually got me the gig with Eric Clapton
because he got so frustrated watching me play this
because he wanted me to come teach him how to play a couple of songs
that he was going to record on an album called
Writing With The King with B.B. King.
And he said, will you come over and show me how to play these songs?
And so we were playing and he was like, how do you do that?
And I started playing and he was
It doesn't compute.
Yeah, he just looked at me and he was like, I can't tell what you're doing.
Just come play it yourself.
That's how you got the gig.
Yeah, it came in handy.
Only God knew that, I guess.
[N] That's a good story, good recommendation.
When Eric Clapton called me up to ask me to teach him some stuff
It was actually, it was God.
Clapton is in fact God.
He really is.
And George Burns.
[F] That's comforting, I like that.
Hey, before we
[A] let's go back a little bit
because I'm just trying to imagine what it was like [G#] for you
being an 18-year-old kid [Gm] playing in the fabulous Thunderbirds
or being 20 in the Archangels.
And I was talking with Colin about being in his 20s
and having the kind of success that Men at Work had.
But I can't imagine what that must have been like for you as a kid
just sort of probably like being a wolf pup living in a house full of musicians.
Yeah, I mean it actually didn't seem that weird to me
because I grew up with Stevie Vaughn and Jimmy Vaughn
and Stevie's the one that got me the gig in the fabulous Thunderbirds.
He called Jimmy and basically told him to hire me.
So when I was 17 I got [F#] the call
and I guess I'd been playing for 3 years then.
And he said he wanted to take me out and tour with the Thunderbirds around the world.
And so I started and I remember I flew down to
[C] Doyle Bramall II, [N] welcome to E-Town.
Thank you for joining us.
Thanks for having us.
Thank you so much.
So I described earlier your growing up in Austin.
Do you have an earliest memory of living in a house in Austin
with a bunch of musicians hanging around?
I do have a lot of memories.
Actually, not all that are good for children to hang out in.
But yeah, definitely colorful moments until I was about five or six.
My mom finally pulled me away and said,
we've got to get out of here and get you in school.
Get you away from this crazy party all the time.
Like a wolf in here.
A little wolf pup.
I should tell our radio audience that you play the guitar
in a far stronger conventional way, but upside down,
kind of like Libba Cotton or Albert King.
Yeah, that's a good reference.
Growing up in a house full of guitar players,
didn't anybody see you getting started and try to straighten you out?
No, I started playing drums when I was six
and I switched to the bass when I was 11.
And then when I was 14, just by default,
because I had a bunch of family members that were all drummers.
And we were going to go nowhere with that band.
So I just said, all right, I'll play guitar.
And I started learning and within three or four months,
I was playing pretty well.
Yeah.
Well, [G#m] what's cool about it is that it's disconcerting for guys like me
to look at you playing guitar because it just doesn't make any sense.
Neither hand makes any sense, the right or left hand.
But what's cool is [F#] when you think about what any musician tries to [F] accomplish
in their lifetime is to achieve a level of excellence
and then beyond that to sound like themselves.
And you've done that.
You sound like you.
Right.
Sometimes I don't.
Thank you.
Sometimes I don't know if it's my left-handed upside-down brain
that actually sounds different than the guitar style.
But I'm pretty confused.
No, it's a beautiful thing when [E] music arrives in our life,
however it comes, and we make the best of it.
But it actually got me the gig with Eric Clapton
because he got so frustrated watching me play this
because he wanted me to come teach him how to play a couple of songs
that he was going to record on an album called
Writing With The King with B.B. King.
And he said, will you come over and show me how to play these songs?
And so we were playing and he was like, how do you do that?
And I started playing and he was
It doesn't compute.
Yeah, he just looked at me and he was like, I can't tell what you're doing.
Just come play it yourself.
That's how you got the gig.
Yeah, it came in handy.
Only God knew that, I guess.
[N] That's a good story, good recommendation.
When Eric Clapton called me up to ask me to teach him some stuff
It was actually, it was God.
Clapton is in fact God.
He really is.
And George Burns.
[F] That's comforting, I like that.
Hey, before we
[A] let's go back a little bit
because I'm just trying to imagine what it was like [G#] for you
being an 18-year-old kid [Gm] playing in the fabulous Thunderbirds
or being 20 in the Archangels.
And I was talking with Colin about being in his 20s
and having the kind of success that Men at Work had.
But I can't imagine what that must have been like for you as a kid
just sort of probably like being a wolf pup living in a house full of musicians.
Yeah, I mean it actually didn't seem that weird to me
because I grew up with Stevie Vaughn and Jimmy Vaughn
and Stevie's the one that got me the gig in the fabulous Thunderbirds.
He called Jimmy and basically told him to hire me.
So when I was 17 I got [F#] the call
and I guess I'd been playing for 3 years then.
And he said he wanted to take me out and tour with the Thunderbirds around the world.
And so I started and I remember I flew down to
Key:
F#
F
G
C
G#m
F#
F
G
_ _ _ _ _ [G] _ _ _
_ [C] _ _ _ _ Doyle Bramall II, [N] welcome to E-Town.
Thank you for joining us.
Thanks for having us.
Thank you so much.
_ _ So I described earlier your growing up in Austin.
Do you have an earliest memory of living in a house in Austin
with a bunch of musicians hanging around?
_ I do have a lot of memories. _ _
Actually, not all that are good for children to hang out in.
But _ _ yeah, definitely colorful moments until I was about five or six.
My mom finally pulled me away and said,
we've got to get out of here and get you in school. _
Get you away from this crazy party all the time.
Like a wolf in here. _
A little wolf pup.
_ _ I should tell our radio audience that you play the guitar
in a far stronger conventional way, but upside down,
kind of like Libba Cotton or Albert King.
Yeah, that's a good reference.
Growing up in a house full of guitar players,
didn't anybody see you getting started and try to straighten you out?
No, I started playing drums when I was six
and I switched to the bass when I was 11.
And then when I was 14, just by default,
because I had a bunch of family members that were all drummers.
And we were going to go nowhere with that band.
_ So I just said, all right, I'll play guitar.
And I started learning and within three or four months,
I was playing pretty well.
_ Yeah.
Well, [G#m] what's cool about it is that _ it's disconcerting for guys like me
to look at you playing guitar because it just doesn't make any sense.
_ Neither hand makes any sense, the right or left hand.
But what's cool is [F#] when you think about what any musician tries to [F] accomplish
in their lifetime is to achieve a level of excellence
and then beyond that to sound like themselves.
And you've done that.
You sound like you.
Right.
Sometimes I don't.
Thank you.
_ _ _ Sometimes I don't know if it's my left-handed upside-down brain
that actually sounds different than the guitar style.
But I'm pretty confused.
No, it's a beautiful thing when [E] music arrives in our life,
however it comes, and we make the best of it.
But it actually got me the gig with Eric Clapton
because he got so frustrated watching me _ play this
because he wanted me to come teach him how to play a couple of songs
that he was going to record on an album called
Writing With The King with B.B. King.
And he said, will you come over and show me how to play these songs?
And so we were playing and he was like, how do you do that?
And I started playing and he was_
It doesn't compute.
Yeah, he just looked at me and he was like, I can't tell what you're doing.
Just come play it yourself. _
That's how you got the gig.
Yeah, it came in handy. _
Only God knew that, I guess.
[N] _ _ That's a good story, good recommendation.
When Eric Clapton called me up to ask me to teach him some stuff_
It was actually, it was God. _ _
Clapton is in fact God.
He really is.
And George Burns.
_ _ _ _ _ _ _ _
[F] _ That's comforting, I like that.
Hey, before we_
[A] let's go back a little bit
because I'm just trying to imagine what it was like [G#] for you
being an 18-year-old kid [Gm] playing in the fabulous Thunderbirds
or being 20 in the Archangels.
And I was talking with Colin about being in his 20s
and having the kind of success that Men at Work had.
But I can't imagine what that must have been like for you as a kid
just sort of probably like being a wolf pup living in a house full of musicians.
Yeah, I mean it actually didn't seem that weird to me
because I grew up with Stevie Vaughn and Jimmy Vaughn
and Stevie's the one that got me the gig in the fabulous Thunderbirds.
He called Jimmy and basically told him to hire me.
So when I was 17 I got [F#] the call
and I guess I'd been playing for 3 years then.
And _ he said he wanted to take me out and tour with the Thunderbirds around the world.
And so I started and I remember I flew down to
_ [C] _ _ _ _ Doyle Bramall II, [N] welcome to E-Town.
Thank you for joining us.
Thanks for having us.
Thank you so much.
_ _ So I described earlier your growing up in Austin.
Do you have an earliest memory of living in a house in Austin
with a bunch of musicians hanging around?
_ I do have a lot of memories. _ _
Actually, not all that are good for children to hang out in.
But _ _ yeah, definitely colorful moments until I was about five or six.
My mom finally pulled me away and said,
we've got to get out of here and get you in school. _
Get you away from this crazy party all the time.
Like a wolf in here. _
A little wolf pup.
_ _ I should tell our radio audience that you play the guitar
in a far stronger conventional way, but upside down,
kind of like Libba Cotton or Albert King.
Yeah, that's a good reference.
Growing up in a house full of guitar players,
didn't anybody see you getting started and try to straighten you out?
No, I started playing drums when I was six
and I switched to the bass when I was 11.
And then when I was 14, just by default,
because I had a bunch of family members that were all drummers.
And we were going to go nowhere with that band.
_ So I just said, all right, I'll play guitar.
And I started learning and within three or four months,
I was playing pretty well.
_ Yeah.
Well, [G#m] what's cool about it is that _ it's disconcerting for guys like me
to look at you playing guitar because it just doesn't make any sense.
_ Neither hand makes any sense, the right or left hand.
But what's cool is [F#] when you think about what any musician tries to [F] accomplish
in their lifetime is to achieve a level of excellence
and then beyond that to sound like themselves.
And you've done that.
You sound like you.
Right.
Sometimes I don't.
Thank you.
_ _ _ Sometimes I don't know if it's my left-handed upside-down brain
that actually sounds different than the guitar style.
But I'm pretty confused.
No, it's a beautiful thing when [E] music arrives in our life,
however it comes, and we make the best of it.
But it actually got me the gig with Eric Clapton
because he got so frustrated watching me _ play this
because he wanted me to come teach him how to play a couple of songs
that he was going to record on an album called
Writing With The King with B.B. King.
And he said, will you come over and show me how to play these songs?
And so we were playing and he was like, how do you do that?
And I started playing and he was_
It doesn't compute.
Yeah, he just looked at me and he was like, I can't tell what you're doing.
Just come play it yourself. _
That's how you got the gig.
Yeah, it came in handy. _
Only God knew that, I guess.
[N] _ _ That's a good story, good recommendation.
When Eric Clapton called me up to ask me to teach him some stuff_
It was actually, it was God. _ _
Clapton is in fact God.
He really is.
And George Burns.
_ _ _ _ _ _ _ _
[F] _ That's comforting, I like that.
Hey, before we_
[A] let's go back a little bit
because I'm just trying to imagine what it was like [G#] for you
being an 18-year-old kid [Gm] playing in the fabulous Thunderbirds
or being 20 in the Archangels.
And I was talking with Colin about being in his 20s
and having the kind of success that Men at Work had.
But I can't imagine what that must have been like for you as a kid
just sort of probably like being a wolf pup living in a house full of musicians.
Yeah, I mean it actually didn't seem that weird to me
because I grew up with Stevie Vaughn and Jimmy Vaughn
and Stevie's the one that got me the gig in the fabulous Thunderbirds.
He called Jimmy and basically told him to hire me.
So when I was 17 I got [F#] the call
and I guess I'd been playing for 3 years then.
And _ he said he wanted to take me out and tour with the Thunderbirds around the world.
And so I started and I remember I flew down to