Chords for Greg Koch On His Top 5 Records • Wildwood Guitars Interview
Tempo:
137.9 bpm
Chords used:
D
E
F
Eb
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[D]
Greetings, ladies and gentlemen.
We're doing a series of videos here just on some off-guitar actual playing or exampling
exampling!
Just to talk about certain musical aspects that might be interesting.
And Steven Mespley here asked me what my top five guitar records would be.
Now this is different from records, period, that I want to be stuck on an island with.
I would say records that I go back to to occasionally revitalize certain aspects of my playing that
I wish to remain consistent.
And one record I always have on cue is B.B.
King live at the Regal.
When it comes to electric blues guitar, B.B.
King and his Prime was the best.
There's just no two ways about it.
Clapton, Peter Green, Buddy Guy, Steve Ray Vaughan, whatever you want to say.
When B.B.
King was in his Prime, whatever.
He was the man.
I mean his tone, his vibrato, the fact that he had some of that swing stuff happening
that he would throw in.
[F] All the cool stuff that you can trace, especially to Clapton and to Peter Green, were all B.B.
King-isms.
Let's just be honest about it.
So live at the Regal is a pretty excellent example.
And there are others, but that's the one marquee post.
There's some stuff earlier that would even be better.
And even some stuff in the later 60s you hear like, oh, there he is!
[E]
But that's one.
Hendrix in the West is a big one for me.
There's a version of Red House on there.
It's just killer.
And they just re-released that record digitally.
So you can get it on CD now and download it.
The version of Red House in particular.
Also there's a version of Little Wing on there that he does live.
I guess it was at Winterland in late 1968.
The best version of Little Wing ever.
Including the recorded version.
Including the Stevie Ray Vaughan versions.
Whatever.
I mean, I love Stevie Ray, but let's just go to the fountain where it came from.
Big Jim.
The master.
Okay?
Thanks.
Some other ones would be, I always have the Beano Eric Clapton John Mayall record.
But also his style changed from, I mean I like to keep Fresh Cream and the Beano record,
John Mayall's Blues records with Eric Clapton handy.
His vibrato was a little different.
His phrasing was a little different.
In 68-ish when he was playing with Cream, especially on like, well Cream live volume
1 and live volume 2 I always have handy as well.
His playing changed a little bit.
He started using these Lonnie Mack-isms.
I don't even know if he researched or documented Lonnie Mack, but he'd do these little triplets
and stuff that he would throw into his playing that wasn't there earlier in the Cream era.
That is very, very cool.
And just his vibrato and his tone, it's killer.
Okay, let's just be honest about it.
Also when I was younger, I have to be honest, live at the Fillmore with the Allman Brothers,
that's always handy as well.
Whenever I want to get my slide dialed in, I listen to [D] Dwayne.
Dwayne played like a harp player.
When I was talking to Jack Pearson, who's a great guitar player from Nashville, and
we were talking about why is it that that Dwayne style of slide does it for us as opposed
to, not that I don't like Johnny Winter, and I don't like guys that play more in like
open G and open A and do a lot more where the open strings are all rolling.
I love Ry Cooder.
What's not to love about Ry Cooder?
He's a master.
But there's something about Dwayne's playing and people of that school, it sounds more
like a harmonica player.
This funky harp thing happening that does it for me.
And Dwayne was the master.
And I love Derek Trucks.
Derek Trucks is the modern master.
Dwayne's tone and just his vulnerability in his playing, there's no vulnerability in Derek's playing.
It's like an ironclad brilliance.
Whereas Dwayne, it was more, you could say it was brilliant, but there was still some
vulnerability there, which I like.
Because after all, we are mortals.
You know what I'm saying?
Other than that, how many records is that?
That's four.
I would have to say number five.
I love Jeff Beck as a guitar player.
I don't know if there's any one record that does it for me more than anything else.
There's just various different cuts on various records.
I like it when he plays more rootsy oriented stuff, just because that's where I'm coming from.
But certainly his tunes like Where Were You, as far as ballads of doom.
My favorite version of his doing Cuz We've Ended As Lovers, he actually was playing with
Eric Clapton at the Secret Policeman's Ball, I believe it was in 1982 or 81 or something like that.
He was playing one of those Seymour Duncan telegibs, where it's a telecaster with two
humbuckers that Seymour Duncan made for him.
He played a version of it on there and just annihilated it.
That's when he wasn't doing the whammy bar thing.
Obviously, he was playing a tele, he had no whammy bar on it.
I love, of course, his whammy bar work.
It's the best.
A lot of it has got that harp thing happening too.
Jeff, as much as he does these modern soundscapes and so on and so forth, the roots thing is totally there.
Not only from a kind of Les Paul, kind of jazz-tinged, rockabilly thing from the Cliff
Gallop school, but he's also got the blues thing happening as well as all this exotic flavoring.
He's very much ensconced in the roots as opposed to just somebody who is a modern shweetler.
You know what I'm saying?
Anyways, that's a good example of five records.
So take and eat.
We hope that's [Eb] helpful to you in your [E] wanderlust guitar meanderings.
[C] [Gm]
[A]
Greetings, ladies and gentlemen.
We're doing a series of videos here just on some off-guitar actual playing or exampling
exampling!
Just to talk about certain musical aspects that might be interesting.
And Steven Mespley here asked me what my top five guitar records would be.
Now this is different from records, period, that I want to be stuck on an island with.
I would say records that I go back to to occasionally revitalize certain aspects of my playing that
I wish to remain consistent.
And one record I always have on cue is B.B.
King live at the Regal.
When it comes to electric blues guitar, B.B.
King and his Prime was the best.
There's just no two ways about it.
Clapton, Peter Green, Buddy Guy, Steve Ray Vaughan, whatever you want to say.
When B.B.
King was in his Prime, whatever.
He was the man.
I mean his tone, his vibrato, the fact that he had some of that swing stuff happening
that he would throw in.
[F] All the cool stuff that you can trace, especially to Clapton and to Peter Green, were all B.B.
King-isms.
Let's just be honest about it.
So live at the Regal is a pretty excellent example.
And there are others, but that's the one marquee post.
There's some stuff earlier that would even be better.
And even some stuff in the later 60s you hear like, oh, there he is!
[E]
But that's one.
Hendrix in the West is a big one for me.
There's a version of Red House on there.
It's just killer.
And they just re-released that record digitally.
So you can get it on CD now and download it.
The version of Red House in particular.
Also there's a version of Little Wing on there that he does live.
I guess it was at Winterland in late 1968.
The best version of Little Wing ever.
Including the recorded version.
Including the Stevie Ray Vaughan versions.
Whatever.
I mean, I love Stevie Ray, but let's just go to the fountain where it came from.
Big Jim.
The master.
Okay?
Thanks.
Some other ones would be, I always have the Beano Eric Clapton John Mayall record.
But also his style changed from, I mean I like to keep Fresh Cream and the Beano record,
John Mayall's Blues records with Eric Clapton handy.
His vibrato was a little different.
His phrasing was a little different.
In 68-ish when he was playing with Cream, especially on like, well Cream live volume
1 and live volume 2 I always have handy as well.
His playing changed a little bit.
He started using these Lonnie Mack-isms.
I don't even know if he researched or documented Lonnie Mack, but he'd do these little triplets
and stuff that he would throw into his playing that wasn't there earlier in the Cream era.
That is very, very cool.
And just his vibrato and his tone, it's killer.
Okay, let's just be honest about it.
Also when I was younger, I have to be honest, live at the Fillmore with the Allman Brothers,
that's always handy as well.
Whenever I want to get my slide dialed in, I listen to [D] Dwayne.
Dwayne played like a harp player.
When I was talking to Jack Pearson, who's a great guitar player from Nashville, and
we were talking about why is it that that Dwayne style of slide does it for us as opposed
to, not that I don't like Johnny Winter, and I don't like guys that play more in like
open G and open A and do a lot more where the open strings are all rolling.
I love Ry Cooder.
What's not to love about Ry Cooder?
He's a master.
But there's something about Dwayne's playing and people of that school, it sounds more
like a harmonica player.
This funky harp thing happening that does it for me.
And Dwayne was the master.
And I love Derek Trucks.
Derek Trucks is the modern master.
Dwayne's tone and just his vulnerability in his playing, there's no vulnerability in Derek's playing.
It's like an ironclad brilliance.
Whereas Dwayne, it was more, you could say it was brilliant, but there was still some
vulnerability there, which I like.
Because after all, we are mortals.
You know what I'm saying?
Other than that, how many records is that?
That's four.
I would have to say number five.
I love Jeff Beck as a guitar player.
I don't know if there's any one record that does it for me more than anything else.
There's just various different cuts on various records.
I like it when he plays more rootsy oriented stuff, just because that's where I'm coming from.
But certainly his tunes like Where Were You, as far as ballads of doom.
My favorite version of his doing Cuz We've Ended As Lovers, he actually was playing with
Eric Clapton at the Secret Policeman's Ball, I believe it was in 1982 or 81 or something like that.
He was playing one of those Seymour Duncan telegibs, where it's a telecaster with two
humbuckers that Seymour Duncan made for him.
He played a version of it on there and just annihilated it.
That's when he wasn't doing the whammy bar thing.
Obviously, he was playing a tele, he had no whammy bar on it.
I love, of course, his whammy bar work.
It's the best.
A lot of it has got that harp thing happening too.
Jeff, as much as he does these modern soundscapes and so on and so forth, the roots thing is totally there.
Not only from a kind of Les Paul, kind of jazz-tinged, rockabilly thing from the Cliff
Gallop school, but he's also got the blues thing happening as well as all this exotic flavoring.
He's very much ensconced in the roots as opposed to just somebody who is a modern shweetler.
You know what I'm saying?
Anyways, that's a good example of five records.
So take and eat.
We hope that's [Eb] helpful to you in your [E] wanderlust guitar meanderings.
[C] [Gm]
[A]
Key:
D
E
F
Eb
C
D
E
F
_ _ _ _ _ _ _ _
_ [D] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ Greetings, ladies and gentlemen. _
We're doing a series of videos here just on some _ off-guitar actual playing or _ exampling
_ _exampling!
_ _ Just to talk about certain musical aspects _ that might be interesting.
And Steven Mespley here asked me what my top five guitar records would be.
Now this is different from records, period, that I want to be stuck on an island with.
I would say records that I go back to to _ occasionally _ _ _ revitalize certain aspects of my playing that
I wish to remain consistent.
_ And one record I always have on cue is B.B.
King live at the Regal.
_ _ When it comes to electric blues guitar, B.B.
King and his Prime was the best.
There's just _ no two ways about it.
Clapton, Peter Green, Buddy Guy, Steve Ray Vaughan, whatever you want to say.
When B.B.
King was in his Prime, _ _ whatever.
He was the man.
I mean his tone, his vibrato, the fact that he had some of that swing stuff happening
that he would throw in.
_ [F] _ All the cool stuff that you can trace, especially to Clapton and to Peter Green, were all B.B.
King-isms.
Let's just be honest about it.
So live at the Regal is a pretty excellent example.
And there are others, but that's the one _ marquee post.
There's some stuff earlier that would even be better.
And even some stuff in the later 60s you hear like, oh, there he is!
_ _ [E]
But that's one.
Hendrix in the West is a big one for me.
There's a version of Red House on there.
_ It's just killer.
And they just re-released that record digitally.
So you can get it on CD now and download it.
The version of Red House in particular.
Also there's a version of Little Wing on there that he does live.
I guess it was at Winterland in late 1968.
_ The best version of Little Wing ever.
_ Including the recorded version.
Including the Stevie Ray Vaughan versions.
Whatever.
I mean, I love Stevie Ray, but let's just go to the fountain where it came from.
Big Jim.
The master.
Okay?
Thanks. _
Some other ones would be, _ _ I always have the Beano Eric Clapton _ _ _ _ John Mayall record.
But also his style changed from, I mean I like to keep _ Fresh Cream and the Beano record,
John Mayall's Blues records with Eric Clapton handy.
His vibrato was a little different.
His phrasing was a little different.
In 68-ish when he was playing with Cream, _ especially on like, well Cream live volume
1 and live volume 2 I always have handy as well.
His playing changed a little bit.
He started using these Lonnie Mack-isms.
I don't even know if he _ researched or documented Lonnie Mack, but he'd do these little _ _ triplets
and stuff that he would throw into his playing that wasn't there earlier in the Cream era.
That is very, very cool.
And just his vibrato and his tone, it's killer.
Okay, let's just be honest about it.
Also when I was younger, I have to be honest, live at the Fillmore with the Allman Brothers,
_ _ that's always handy as well.
Whenever I want to get my slide dialed in, I listen to [D] Dwayne.
Dwayne played like a harp player.
When I was talking to Jack Pearson, who's a great guitar player from _ _ _ Nashville, and
we were talking about why is it that that Dwayne style of slide does it for us as opposed
to, not that I don't like Johnny Winter, and I don't like guys that play more in like
open G and open A and do a lot more where the open strings are all rolling.
I love Ry Cooder.
What's not to love about Ry Cooder?
He's a master.
But there's something about Dwayne's playing and people of that school, it sounds more
like a harmonica player.
This funky harp thing happening that does it for me.
And Dwayne was the master.
And I love Derek Trucks.
Derek Trucks is the modern master.
_ _ Dwayne's tone and just his vulnerability in his playing, there's no vulnerability in Derek's playing.
It's like an _ ironclad brilliance.
Whereas Dwayne, it was more, you could say it was brilliant, but there was still some
vulnerability there, which I like.
Because after all, we are mortals.
You know what I'm saying? _ _
Other than that, how many records is that?
_ _ That's four.
I would have to say number five. _
_ I love Jeff Beck as a guitar player.
_ I don't know if there's any one record that does it for me more than anything else.
_ There's just various different cuts on various records.
I like it when he plays more rootsy oriented stuff, just because that's where I'm coming from.
But certainly his tunes like Where Were You, as far as ballads of doom.
My favorite version of his doing Cuz We've Ended As Lovers, he actually was playing with
Eric Clapton at the Secret Policeman's Ball, I believe it was in 1982 or 81 or something like that.
He was playing one of those Seymour Duncan telegibs, where it's a telecaster with two
humbuckers that Seymour Duncan made for him.
He played a version of it on there and just _ annihilated it.
That's when he wasn't doing the whammy bar thing.
Obviously, he was playing a tele, he had no whammy bar on it.
I love, of course, his whammy bar work.
_ It's the best.
A lot of it has got that harp thing happening too.
Jeff, as much as he does these modern soundscapes and so on and so forth, the roots thing is totally there.
Not only from a kind of Les Paul, kind of jazz-tinged, rockabilly thing from the Cliff
Gallop school, but he's also got the blues thing happening as well as all this exotic flavoring.
He's very much ensconced in the roots as opposed to just somebody who is a modern shweetler.
You know what I'm saying?
Anyways, that's a good example of five records.
So take and eat.
We hope that's [Eb] helpful to you in your _ [E] wanderlust guitar meanderings. _ _ _
[C] _ _ [Gm] _ _ _ _ _ _
_ [A] _ _ _ _ _ _ _
_ [D] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ Greetings, ladies and gentlemen. _
We're doing a series of videos here just on some _ off-guitar actual playing or _ exampling
_ _exampling!
_ _ Just to talk about certain musical aspects _ that might be interesting.
And Steven Mespley here asked me what my top five guitar records would be.
Now this is different from records, period, that I want to be stuck on an island with.
I would say records that I go back to to _ occasionally _ _ _ revitalize certain aspects of my playing that
I wish to remain consistent.
_ And one record I always have on cue is B.B.
King live at the Regal.
_ _ When it comes to electric blues guitar, B.B.
King and his Prime was the best.
There's just _ no two ways about it.
Clapton, Peter Green, Buddy Guy, Steve Ray Vaughan, whatever you want to say.
When B.B.
King was in his Prime, _ _ whatever.
He was the man.
I mean his tone, his vibrato, the fact that he had some of that swing stuff happening
that he would throw in.
_ [F] _ All the cool stuff that you can trace, especially to Clapton and to Peter Green, were all B.B.
King-isms.
Let's just be honest about it.
So live at the Regal is a pretty excellent example.
And there are others, but that's the one _ marquee post.
There's some stuff earlier that would even be better.
And even some stuff in the later 60s you hear like, oh, there he is!
_ _ [E]
But that's one.
Hendrix in the West is a big one for me.
There's a version of Red House on there.
_ It's just killer.
And they just re-released that record digitally.
So you can get it on CD now and download it.
The version of Red House in particular.
Also there's a version of Little Wing on there that he does live.
I guess it was at Winterland in late 1968.
_ The best version of Little Wing ever.
_ Including the recorded version.
Including the Stevie Ray Vaughan versions.
Whatever.
I mean, I love Stevie Ray, but let's just go to the fountain where it came from.
Big Jim.
The master.
Okay?
Thanks. _
Some other ones would be, _ _ I always have the Beano Eric Clapton _ _ _ _ John Mayall record.
But also his style changed from, I mean I like to keep _ Fresh Cream and the Beano record,
John Mayall's Blues records with Eric Clapton handy.
His vibrato was a little different.
His phrasing was a little different.
In 68-ish when he was playing with Cream, _ especially on like, well Cream live volume
1 and live volume 2 I always have handy as well.
His playing changed a little bit.
He started using these Lonnie Mack-isms.
I don't even know if he _ researched or documented Lonnie Mack, but he'd do these little _ _ triplets
and stuff that he would throw into his playing that wasn't there earlier in the Cream era.
That is very, very cool.
And just his vibrato and his tone, it's killer.
Okay, let's just be honest about it.
Also when I was younger, I have to be honest, live at the Fillmore with the Allman Brothers,
_ _ that's always handy as well.
Whenever I want to get my slide dialed in, I listen to [D] Dwayne.
Dwayne played like a harp player.
When I was talking to Jack Pearson, who's a great guitar player from _ _ _ Nashville, and
we were talking about why is it that that Dwayne style of slide does it for us as opposed
to, not that I don't like Johnny Winter, and I don't like guys that play more in like
open G and open A and do a lot more where the open strings are all rolling.
I love Ry Cooder.
What's not to love about Ry Cooder?
He's a master.
But there's something about Dwayne's playing and people of that school, it sounds more
like a harmonica player.
This funky harp thing happening that does it for me.
And Dwayne was the master.
And I love Derek Trucks.
Derek Trucks is the modern master.
_ _ Dwayne's tone and just his vulnerability in his playing, there's no vulnerability in Derek's playing.
It's like an _ ironclad brilliance.
Whereas Dwayne, it was more, you could say it was brilliant, but there was still some
vulnerability there, which I like.
Because after all, we are mortals.
You know what I'm saying? _ _
Other than that, how many records is that?
_ _ That's four.
I would have to say number five. _
_ I love Jeff Beck as a guitar player.
_ I don't know if there's any one record that does it for me more than anything else.
_ There's just various different cuts on various records.
I like it when he plays more rootsy oriented stuff, just because that's where I'm coming from.
But certainly his tunes like Where Were You, as far as ballads of doom.
My favorite version of his doing Cuz We've Ended As Lovers, he actually was playing with
Eric Clapton at the Secret Policeman's Ball, I believe it was in 1982 or 81 or something like that.
He was playing one of those Seymour Duncan telegibs, where it's a telecaster with two
humbuckers that Seymour Duncan made for him.
He played a version of it on there and just _ annihilated it.
That's when he wasn't doing the whammy bar thing.
Obviously, he was playing a tele, he had no whammy bar on it.
I love, of course, his whammy bar work.
_ It's the best.
A lot of it has got that harp thing happening too.
Jeff, as much as he does these modern soundscapes and so on and so forth, the roots thing is totally there.
Not only from a kind of Les Paul, kind of jazz-tinged, rockabilly thing from the Cliff
Gallop school, but he's also got the blues thing happening as well as all this exotic flavoring.
He's very much ensconced in the roots as opposed to just somebody who is a modern shweetler.
You know what I'm saying?
Anyways, that's a good example of five records.
So take and eat.
We hope that's [Eb] helpful to you in your _ [E] wanderlust guitar meanderings. _ _ _
[C] _ _ [Gm] _ _ _ _ _ _
_ [A] _ _ _ _ _ _ _