Chords for Greg Koch On Meeting Albert King • Wildwood Guitars Story
Tempo:
101.05 bpm
Chords used:
E
C
D
B
F
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[D]
[C]
[B] [F] [E]
Hey!
Hey now!
Greg Koch here, Wildwood Guitars, playing a little Albert King-ish stuff.
We
were just kind of talking off camera about some fun stories and Stephen Mesplay asked
me if I'd ever met Albert King and indeed, [N] I was very much into Albert as a youngster.
That's why when I first heard Stevie Ray Vaughan, I thought to myself, who is this youngster
playing those Albert King licks with such aplomb and vehemence?
And I immediately wanted
to seek him out and kick him right in the shin and say, no, don't do it.
But he is,
of course, the one that took the Albert King into the mainstream of American and international
consciousness with his savagery.
Stevie Ray Vaughan, that is.
But I met Albert King, I
was actually playing with a friend of mine at Milwaukee's Summerfest, a glorious event
on the lakefront with pungent, acrid scents of the lakefront of dead fish and various
septic systems are breathing into the Wisconsin moor in the night.
We were playing, it was
a band called Big Bob and the Ballroom, no, actually it was the Blue Torpedoes featuring
Big Bob, or as I like to call him, L'Arge Robert.
And with my friend Alec, who was playing
guitar and harp as well.
And we were doing some blues, it was basically just an excuse
to jam, if you know what I'm saying.
So I get done doing the solo and I got my eyes
closed and I'm going, shwittle it, shwittle, shwittle, shwittle, shwittle.
And I knew Albert
King was playing at the tent next door in the evening, but this is, I don't know, four
o'clock in the afternoon or something.
So I get done doing the solo, my eyes are closed
and I open up my eyes and the crowd is clapping.
Fooled him again, says I.
And so I turn to
my left and there's Albert King hanging on this fence watching me like this and he goes,
gives me the thumbs up.
And I was like, oh my God.
Because Albert, I don't know if you're
aware of this, had kind of a reputation for being a little salty, a little, shall we say,
cantankerous.
And so much so that when we got done, I didn't want to meet him because
I didn't want him to ruin my whole thing.
I did see him, I just want to shake hands.
He's like, all right.
And he shakes my hand.
But the other two guys went onto his bus and
tried to get him to sit in with us.
And he told them some things that are not camera
friendly, ladies and gentlemen.
It involved permutations on the reproductive act.
Okay.
That's all I'm going to say.
But anyways, Albert King, if you're not familiar with the ways of
Albert King, I suggest you go on the international super highway called the internet and explore
some Albert King renderings and you will feel the power of [C] the glorious.
[E] [Am] [E]
Woo!
He does that all the time.
Woo!
See you later.
[F#m]
[Gm] [A]
[C]
[B] [F] [E]
Hey!
Hey now!
Greg Koch here, Wildwood Guitars, playing a little Albert King-ish stuff.
We
were just kind of talking off camera about some fun stories and Stephen Mesplay asked
me if I'd ever met Albert King and indeed, [N] I was very much into Albert as a youngster.
That's why when I first heard Stevie Ray Vaughan, I thought to myself, who is this youngster
playing those Albert King licks with such aplomb and vehemence?
And I immediately wanted
to seek him out and kick him right in the shin and say, no, don't do it.
But he is,
of course, the one that took the Albert King into the mainstream of American and international
consciousness with his savagery.
Stevie Ray Vaughan, that is.
But I met Albert King, I
was actually playing with a friend of mine at Milwaukee's Summerfest, a glorious event
on the lakefront with pungent, acrid scents of the lakefront of dead fish and various
septic systems are breathing into the Wisconsin moor in the night.
We were playing, it was
a band called Big Bob and the Ballroom, no, actually it was the Blue Torpedoes featuring
Big Bob, or as I like to call him, L'Arge Robert.
And with my friend Alec, who was playing
guitar and harp as well.
And we were doing some blues, it was basically just an excuse
to jam, if you know what I'm saying.
So I get done doing the solo and I got my eyes
closed and I'm going, shwittle it, shwittle, shwittle, shwittle, shwittle.
And I knew Albert
King was playing at the tent next door in the evening, but this is, I don't know, four
o'clock in the afternoon or something.
So I get done doing the solo, my eyes are closed
and I open up my eyes and the crowd is clapping.
Fooled him again, says I.
And so I turn to
my left and there's Albert King hanging on this fence watching me like this and he goes,
gives me the thumbs up.
And I was like, oh my God.
Because Albert, I don't know if you're
aware of this, had kind of a reputation for being a little salty, a little, shall we say,
cantankerous.
And so much so that when we got done, I didn't want to meet him because
I didn't want him to ruin my whole thing.
I did see him, I just want to shake hands.
He's like, all right.
And he shakes my hand.
But the other two guys went onto his bus and
tried to get him to sit in with us.
And he told them some things that are not camera
friendly, ladies and gentlemen.
It involved permutations on the reproductive act.
Okay.
That's all I'm going to say.
But anyways, Albert King, if you're not familiar with the ways of
Albert King, I suggest you go on the international super highway called the internet and explore
some Albert King renderings and you will feel the power of [C] the glorious.
[E] [Am] [E]
Woo!
He does that all the time.
Woo!
See you later.
[F#m]
[Gm] [A]
Key:
E
C
D
B
F
E
C
D
_ _ _ _ _ _ _ [D] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [C] _ _
_ _ [B] _ _ [F] _ _ _ [E]
Hey!
Hey now!
Greg Koch here, Wildwood Guitars, playing a little Albert King-ish stuff.
We
were just kind of talking off camera about some fun stories and Stephen Mesplay asked
me if I'd ever met Albert King and indeed, [N] _ I was very much into Albert as a youngster.
That's why when I first heard Stevie Ray Vaughan, I thought to myself, who is this youngster
playing those Albert King licks with such aplomb and vehemence?
And I immediately wanted
to seek him out and kick him right in the shin and say, no, don't do it.
But he is,
of course, the one that took the Albert King into the mainstream of American and international
consciousness with his savagery.
Stevie Ray Vaughan, that is.
But I met Albert King, I
was actually playing with a friend of mine at Milwaukee's Summerfest, a glorious event
on the lakefront with pungent, acrid scents of the lakefront of dead fish and various
septic systems are breathing into the Wisconsin moor in the night. _
We were playing, it was
a band called Big Bob and the Ballroom, no, actually it was the Blue Torpedoes featuring
Big Bob, or as I like to call him, L'Arge Robert.
_ And with my friend Alec, who was playing
guitar and harp as well.
And we were doing some blues, it was basically just an excuse
to jam, if you know what I'm saying.
So I get done doing the solo and I got my eyes
closed and I'm going, shwittle it, shwittle, shwittle, shwittle, shwittle.
And I knew Albert
King was playing at the tent next door in the evening, but this is, I don't know, four
o'clock in the afternoon or something.
So I get done doing the solo, my eyes are closed
and I open up my eyes and the crowd is clapping.
Fooled him again, says I.
And so I turn to
my left and there's Albert King hanging on this fence watching me like this and he goes,
_ gives me the thumbs up.
And I was like, oh my God.
Because Albert, I don't know if you're
aware of this, had kind of a reputation for being a little salty, a little, shall we say,
cantankerous.
And so much so that when we got done, I didn't want to meet him because
I didn't want him to ruin my whole thing.
I did see him, I just want to shake hands.
He's like, all right.
And he shakes my hand.
But the other two guys went onto his bus and
tried to get him to sit in with us.
And he told them some things that are not camera
friendly, ladies and gentlemen.
It involved permutations on the reproductive act.
Okay.
That's all I'm going to say.
But anyways, Albert King, if you're not familiar with the ways of
Albert King, I suggest you go on the international super highway called the internet _ and explore
some Albert King renderings and you will feel the power of [C] the glorious. _ _ _
_ _ _ _ _ _ _ _
_ [E] _ _ _ [Am] _ _ _ [E]
Woo!
_ He does that all the time.
Woo!
See you later. _
_ _ _ _ _ _ _ [F#m] _
[Gm] _ _ _ _ _ _ _ [A] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [C] _ _
_ _ [B] _ _ [F] _ _ _ [E]
Hey!
Hey now!
Greg Koch here, Wildwood Guitars, playing a little Albert King-ish stuff.
We
were just kind of talking off camera about some fun stories and Stephen Mesplay asked
me if I'd ever met Albert King and indeed, [N] _ I was very much into Albert as a youngster.
That's why when I first heard Stevie Ray Vaughan, I thought to myself, who is this youngster
playing those Albert King licks with such aplomb and vehemence?
And I immediately wanted
to seek him out and kick him right in the shin and say, no, don't do it.
But he is,
of course, the one that took the Albert King into the mainstream of American and international
consciousness with his savagery.
Stevie Ray Vaughan, that is.
But I met Albert King, I
was actually playing with a friend of mine at Milwaukee's Summerfest, a glorious event
on the lakefront with pungent, acrid scents of the lakefront of dead fish and various
septic systems are breathing into the Wisconsin moor in the night. _
We were playing, it was
a band called Big Bob and the Ballroom, no, actually it was the Blue Torpedoes featuring
Big Bob, or as I like to call him, L'Arge Robert.
_ And with my friend Alec, who was playing
guitar and harp as well.
And we were doing some blues, it was basically just an excuse
to jam, if you know what I'm saying.
So I get done doing the solo and I got my eyes
closed and I'm going, shwittle it, shwittle, shwittle, shwittle, shwittle.
And I knew Albert
King was playing at the tent next door in the evening, but this is, I don't know, four
o'clock in the afternoon or something.
So I get done doing the solo, my eyes are closed
and I open up my eyes and the crowd is clapping.
Fooled him again, says I.
And so I turn to
my left and there's Albert King hanging on this fence watching me like this and he goes,
_ gives me the thumbs up.
And I was like, oh my God.
Because Albert, I don't know if you're
aware of this, had kind of a reputation for being a little salty, a little, shall we say,
cantankerous.
And so much so that when we got done, I didn't want to meet him because
I didn't want him to ruin my whole thing.
I did see him, I just want to shake hands.
He's like, all right.
And he shakes my hand.
But the other two guys went onto his bus and
tried to get him to sit in with us.
And he told them some things that are not camera
friendly, ladies and gentlemen.
It involved permutations on the reproductive act.
Okay.
That's all I'm going to say.
But anyways, Albert King, if you're not familiar with the ways of
Albert King, I suggest you go on the international super highway called the internet _ and explore
some Albert King renderings and you will feel the power of [C] the glorious. _ _ _
_ _ _ _ _ _ _ _
_ [E] _ _ _ [Am] _ _ _ [E]
Woo!
_ He does that all the time.
Woo!
See you later. _
_ _ _ _ _ _ _ [F#m] _
[Gm] _ _ _ _ _ _ _ [A] _