Chords for Fender Custom Eric Clapton "Brownie" Tribute Stratocaster | Fender

_ [D#m] _ _ _ _ [A#] _ _ _
[D#m] _ _ _ [B] _ _ [C#] _ _ [D#m] _
_ _ _ _ _ [C#] _ _ [D#m] _
_ _ _ _ [C#] _ _ _ [D#m] _
_ _ [B] _ _ _ _ [D#m] _ _
_ _ _ [Dm] _ _ _ _ _
_ [A] _ _ _ _ _ [E] _ _
_ _ _ _ _ _ _ [D] _
_ _ _ _ _ _ [A] _ _
_ _ [F#] This probably would have pretty much been what it was like when I bought it.
_ And to go back to _ why that would be is that I saw _ _ Buddy Holly holding one, Buddy Holly played one.
And all those records that he made, it sounded like it was really, really quiet.
He played it like an acoustic guitar a lot of the time.
So it had that initial appeal to me when I was a kid.
_ But then somewhere down the road I went to the marquee and saw Buddy Guy.
_ And I heard Buddy Guy on an album called Folk Festival of the Blues, where he was the new
kid on the block playing with Muddy and Howlin' Wolf and they were all singing and he just
launched into this solo _ that killed everybody dead.
And then I went to see him at play.
_ Man, I thought, this is the sound.
And funnily enough, Wynwood I saw using one around the same time, just after he was about
to leave Spencer Davis.
He was playing a Strat and then Hendrix.
The problem was trying to find the _ _ Maple Necks.
They weren't there.
_ _ _ All the models that were current at that time had rosewood fingerboards.
So they had kind of gone out of circulation.
This ended the _ scene anyway.
It wasn't until I went through the States on tour that I started picking them up in
pawn shops and record shops for a song.
And I'd buy four or five at a time. _ _ _ _
_ _ _ [G] Anytime we do a tribute model, there's always this sense of reverence when you approach the instrument.
I remember being at EMP when we were doing the Hendrix Woodstock guitar.
And I remember going through the exhibit and seeing, Browning was on display at that time,
and seeing the guitar there with the case and everything and just kind of going, wow,
that's one that would be really cool to do.
Whenever you do something like this, you have to respect it.
This is an artifact.
It's not just somebody's guitar now.
It's actually a rock and roll artifact.
And so you have to approach it like that.
You wear white gloves, [F] and you're very, very careful with the guitar.
We feel it's important to go through each guitar or instrument, whatever it's a bass
or a guitar.
_ Todd and I went through everything, and _ the pickups are shielded.
That changes the tone quite a bit when you do that.
The electronics inside, the capacitors, how the wire is wound up and things like that.
_ With Blackie, it was a similar thing.
_ _ And with Browning, how the spread was laid out was really different.
And we had no idea that the spread was laid out like that.
So we had to go through and mark everything, because it's an off-center seam.
But it's three pieces of wood.
As Blackie is, too.
It's three pieces of wood.
_ I think Browning was the _ sort of prototype for Blackie, in terms of what I was looking
for in the idea of working guitar.
_ And it was really that that was the criteria.
Could I go on the road hard with this guitar?
Every night of the week, playing _ flat out.
_ _ Doing little bits of repair on it as I was going, and refining it.
What I would always look for on a strap was a maple neck that had been worn out.
It was like a restaurant.
If there's lots of people in there, it's got to be good food.
So _ I just thought if it had all those worn out patches, it meant that it had been well-favored.
I think I'd played a rosewood on _ _ a Jaguar or a Jazzmaster in the Arbors, and I didn't
like the feel of it.
It felt resistant to bending.
It felt like the grain was quite prominent on a rose.
There was a definite _ feel to it, where you felt like you were going across the grain
if you tried to bend the strings.
I never got that.
It [G#] was just like almost marble or something.
It was so smooth.
_ _ _ [C] _ [G#] _ [G] Probably the most important part of [N] the guitar is the neck.
That's where your hand's always on.
That's the first thing.
When you pick it up, you pick it up by the neck.
When you are playing, that's the main focus point.
You've just got to make sure every little thing is right, from the edges being rolled
just right to the radius on the fingerboard, how the finish has been worn away, not only
on the back but on the fingerboard, because you feel it, especially with an instrument
like this guitar.
One of the other big things about Brownie is the finish and the sunburst, and it's a thicker sunburst.
Jesus Andrade, who's our painter, he runs our paint department in the custom shop.
When he saw the guitar, he wanted to make sure that the sunburst was correct, so he
actually sprayed a body and then went back and tweaked it.
We had a great opportunity to have both guitars right there where you can kind of put them
side by side, and it was really nice to see that happen.
The repro and Brownie takes me back to a state of mind and a state of capability that was
markedly different from what it is now.
There's a lot involved.
There is a nostalgic thing about my own journey, _ _ let alone the journey of the guitar.
The two things combine.
And there was a meeting point, you know, [A] where I was taking whatever it was I wanted to do
and sort of cross-fertilizing that with the history of the guitar.
I mean, we were doing those songs like It's Too Late, _ which I heard on the Buddy Holly
album when he was playing that guitar, and there's the Chuck Willis R&B.
But all these things were quite a powerful _ mixture.
_ _ So that comes back to me, you know, when I pick up these guitars.
_ That all comes back to me.
[Dm] _
_ _ [A] _ _ When I watched Eric play the guitar, I [G] was so happy [D] because this guy knows.
I mean, he knows.
And to [Am] have him pick it up and go, [D] yeah, that's it.
That really makes us all feel good.
That's a real _ [F] honor for somebody [E] like Eric to [C] pick up an instrument that we've made and
go, yeah, we've knocked it [E] out of the park.
_ [A] _ _ _ _ _ _
_ [G] _ _ [E] _ _ _ _ _
_ _ _ [A] _ _ [E] _ _ _
_ _ _ [F#] _ _ [F#m] _ Yeah, that'll do.
_ _ _ [C#] _ _ _ _
_ _ Very nice. _ _ _ _
_ _ _ _ [F#] _ _ _ _
_ _ _ _ [B] _ _ _ _
_ _ _ _ [C#] _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [F#] _ _ _ _
_ _ _ [B] _ _ _ _ _
_ _ _ _ [C#] _ _ _ _