Chords for Guitar Center's Blues Masters 2013 with Joe Bonamassa: First Note + Gear Talk!
Tempo:
85.55 bpm
Chords used:
F#
E
B
F#m
Bm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[E]
[B] I grew up listening to [F#] the British interpretation of the blues before I heard the American version.
And I really just enjoyed it more.
[F#m] And it's just a taste thing.
And then I grew into listening to guys like Howlin' Wolf and B.B. King
and Freddie King and Albert King, the three kings, and [F#] the list goes on.
Over the [D#] years [B] I've discovered that the more economy approach is probably the [F#] best.
It's about the signature, it's about the way they start a solo.
So if you're in a key of [E] B,
[Bm] [E] it's the way you kind of get into it.
[C#]
That first note that grabs your attention.
And it's a really critical way [Bm] of soloing, in the sense that that first note,
[F#] either you lock in the audience or you don't.
And [F#m] that for me has been the most important thing,
and the thing I've learned probably over the last two or three years,
really studying the great old blues guys.
And my heroes like Jeff Beck and Eric Clapton, it's always about that first note.
So if you know [E] something [A] cool is happening, you want to just basically go from there.
[A] [E]
[Bm] I started to hear about this word cobalt about two years ago.
I'm a tried and [F#] true super slinky, [F#m] 11 to 52, some less, probably around 11 to 48, the standard set.
[F#] And for most of [F#m] the hollow [C#m] bodies, like the ES-350 that I play live,
the music man Steve Morris guitar that's been [Em] tricked out with a [F#] reverse headstock
and they call him the Dark Lord.
That guitar, the 335s, any hollow body, [F#] tend to have the cobalt on them.
And I've used Ernie Ball for [F#m] many years, and [E] it's a great company, great bunch of cats.
And it's hard to do something new with [F#] a guitar string, and I think they've done [E] it.
[Em] Primarily my [A#] live rig right now is four Marshall [Em] amps.
I use a DSL, that's the secret weapon, the [F#] DSL-100.
I know, it's shocking.
And I use that, the DSL, set clean, and I [C#] use a 1966 Super [F#] PA Marshall,
one of the first 100-watt amps built.
It's a pretty early one.
And I run four cabinets, two heads, and I use a tube screamer or a FET driver to create overdrive.
And that's basically it.
Dunlop, it started with [G] myself [B] and a guy named George [Bm] Tripps
who founded the Way Huge Pedal Company and now is part of the Dunlop family.
And he built me this [B] prototype, [F#] just a one-off fuzz bass,
and then he built another one for [F#m] the second pedal board.
And when it came to do [F#] the [C#m] signature versions of these pedals,
the fuzz bass seemed to be a no-brainer [Bm] because it was voiced differently,
it was voiced more for a double-coil pickup than a single-coil pickup, it got less gain.
And the wah, I was a little bit [B] hesitant at first because there's so many signature wah-wahs.
There's a Buddy Guy, there's a Zach Wild, there's a Slash,
there's at least ten that I can name, an Eddie Van Halen.
And [F#] I really said, well, what's going to be different about the wah-wah pedal
than stuff that you currently make?
This one is the only one that uses the original style inductors, the Halo.
They just came out great, and everybody who buys [E] one is really happy.
[B]
[E]
[A] [Em]
[B] I grew up listening to [F#] the British interpretation of the blues before I heard the American version.
And I really just enjoyed it more.
[F#m] And it's just a taste thing.
And then I grew into listening to guys like Howlin' Wolf and B.B. King
and Freddie King and Albert King, the three kings, and [F#] the list goes on.
Over the [D#] years [B] I've discovered that the more economy approach is probably the [F#] best.
It's about the signature, it's about the way they start a solo.
So if you're in a key of [E] B,
[Bm] [E] it's the way you kind of get into it.
[C#]
That first note that grabs your attention.
And it's a really critical way [Bm] of soloing, in the sense that that first note,
[F#] either you lock in the audience or you don't.
And [F#m] that for me has been the most important thing,
and the thing I've learned probably over the last two or three years,
really studying the great old blues guys.
And my heroes like Jeff Beck and Eric Clapton, it's always about that first note.
So if you know [E] something [A] cool is happening, you want to just basically go from there.
[A] [E]
[Bm] I started to hear about this word cobalt about two years ago.
I'm a tried and [F#] true super slinky, [F#m] 11 to 52, some less, probably around 11 to 48, the standard set.
[F#] And for most of [F#m] the hollow [C#m] bodies, like the ES-350 that I play live,
the music man Steve Morris guitar that's been [Em] tricked out with a [F#] reverse headstock
and they call him the Dark Lord.
That guitar, the 335s, any hollow body, [F#] tend to have the cobalt on them.
And I've used Ernie Ball for [F#m] many years, and [E] it's a great company, great bunch of cats.
And it's hard to do something new with [F#] a guitar string, and I think they've done [E] it.
[Em] Primarily my [A#] live rig right now is four Marshall [Em] amps.
I use a DSL, that's the secret weapon, the [F#] DSL-100.
I know, it's shocking.
And I use that, the DSL, set clean, and I [C#] use a 1966 Super [F#] PA Marshall,
one of the first 100-watt amps built.
It's a pretty early one.
And I run four cabinets, two heads, and I use a tube screamer or a FET driver to create overdrive.
And that's basically it.
Dunlop, it started with [G] myself [B] and a guy named George [Bm] Tripps
who founded the Way Huge Pedal Company and now is part of the Dunlop family.
And he built me this [B] prototype, [F#] just a one-off fuzz bass,
and then he built another one for [F#m] the second pedal board.
And when it came to do [F#] the [C#m] signature versions of these pedals,
the fuzz bass seemed to be a no-brainer [Bm] because it was voiced differently,
it was voiced more for a double-coil pickup than a single-coil pickup, it got less gain.
And the wah, I was a little bit [B] hesitant at first because there's so many signature wah-wahs.
There's a Buddy Guy, there's a Zach Wild, there's a Slash,
there's at least ten that I can name, an Eddie Van Halen.
And [F#] I really said, well, what's going to be different about the wah-wah pedal
than stuff that you currently make?
This one is the only one that uses the original style inductors, the Halo.
They just came out great, and everybody who buys [E] one is really happy.
[B]
[E]
[A] [Em]
Key:
F#
E
B
F#m
Bm
F#
E
B
_ _ _ [E] _ _ _ _ _
_ _ _ _ _ [B] I grew up listening to [F#] the British interpretation of the blues before I heard the American version.
And I really just enjoyed it more.
[F#m] And it's just a taste thing.
And then I grew into listening to guys like Howlin' Wolf and B.B. King
and Freddie King and Albert King, the three kings, and [F#] the list goes on.
Over the [D#] years [B] I've discovered that the more economy approach is probably the [F#] best.
It's about the signature, it's about the way they start a solo.
So if you're in a key of [E] B, _ _
[Bm] _ _ _ _ [E] it's the way you kind of get into it.
[C#]
That first note that grabs your attention.
And it's a really critical way [Bm] of soloing, in the sense that that first note,
[F#] either you lock in the audience or you don't.
And [F#m] that for me has been the most important thing,
and the thing I've learned probably over the last two or three years,
really studying the great old blues guys.
And my heroes like Jeff Beck and Eric Clapton, it's always about that first note.
So if you know [E] _ _ _ something [A] cool is happening, you want to just basically go from there.
_ [A] _ [E] _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [Bm] I started to hear about this word cobalt about two years ago.
I'm a tried and [F#] true super slinky, [F#m] 11 to 52, some less, probably around 11 to 48, the standard set.
[F#] And for most of [F#m] the hollow [C#m] bodies, like the ES-350 that I play live,
the music man Steve Morris guitar that's been [Em] tricked out with a [F#] reverse headstock
and they call him the Dark Lord.
That guitar, the 335s, any hollow body, [F#] tend to have the cobalt on them.
And I've used Ernie Ball for [F#m] many years, and [E] it's a great company, great bunch of cats.
And it's hard to do something new with [F#] a guitar string, and I think they've done [E] it.
_ _ _ _ _ _ [Em] Primarily my [A#] live rig right now is four Marshall [Em] amps.
I use a DSL, that's the secret weapon, the [F#] DSL-100.
I know, it's shocking.
And I use that, the DSL, set clean, and I [C#] use a 1966 Super [F#] PA Marshall,
one of the first 100-watt amps built.
It's a pretty early one.
And I run four cabinets, two heads, and I use a tube screamer or a FET driver to create overdrive.
And that's basically it.
Dunlop, it started with [G] myself [B] and a guy named George [Bm] Tripps
who founded the Way Huge Pedal Company and now is part of the Dunlop family.
And he built me this [B] prototype, [F#] just a one-off fuzz bass,
and then he built another one for [F#m] the second pedal board.
And when it came to do [F#] the [C#m] signature versions of these pedals, _
the fuzz bass seemed to be a no-brainer [Bm] because it was voiced differently,
it was voiced more for a double-coil pickup than a single-coil pickup, it got less gain.
And the wah, I was a little bit [B] hesitant at first because there's so many signature wah-wahs.
There's a Buddy Guy, there's a Zach Wild, there's a Slash,
there's at least ten that I can name, an Eddie Van Halen.
And [F#] I really said, well, what's going to be different about the wah-wah pedal
than stuff that you currently make?
This one is the only one that uses the original style inductors, the Halo.
They just came out great, and everybody who buys [E] one is really happy. _ _ _ _
_ _ _ _ _ [B] _ _ _
[E] _ _ _ _ _ _ _ _
_ _ _ [A] _ _ [Em] _ _ _
_ _ _ _ _ [B] I grew up listening to [F#] the British interpretation of the blues before I heard the American version.
And I really just enjoyed it more.
[F#m] And it's just a taste thing.
And then I grew into listening to guys like Howlin' Wolf and B.B. King
and Freddie King and Albert King, the three kings, and [F#] the list goes on.
Over the [D#] years [B] I've discovered that the more economy approach is probably the [F#] best.
It's about the signature, it's about the way they start a solo.
So if you're in a key of [E] B, _ _
[Bm] _ _ _ _ [E] it's the way you kind of get into it.
[C#]
That first note that grabs your attention.
And it's a really critical way [Bm] of soloing, in the sense that that first note,
[F#] either you lock in the audience or you don't.
And [F#m] that for me has been the most important thing,
and the thing I've learned probably over the last two or three years,
really studying the great old blues guys.
And my heroes like Jeff Beck and Eric Clapton, it's always about that first note.
So if you know [E] _ _ _ something [A] cool is happening, you want to just basically go from there.
_ [A] _ [E] _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [Bm] I started to hear about this word cobalt about two years ago.
I'm a tried and [F#] true super slinky, [F#m] 11 to 52, some less, probably around 11 to 48, the standard set.
[F#] And for most of [F#m] the hollow [C#m] bodies, like the ES-350 that I play live,
the music man Steve Morris guitar that's been [Em] tricked out with a [F#] reverse headstock
and they call him the Dark Lord.
That guitar, the 335s, any hollow body, [F#] tend to have the cobalt on them.
And I've used Ernie Ball for [F#m] many years, and [E] it's a great company, great bunch of cats.
And it's hard to do something new with [F#] a guitar string, and I think they've done [E] it.
_ _ _ _ _ _ [Em] Primarily my [A#] live rig right now is four Marshall [Em] amps.
I use a DSL, that's the secret weapon, the [F#] DSL-100.
I know, it's shocking.
And I use that, the DSL, set clean, and I [C#] use a 1966 Super [F#] PA Marshall,
one of the first 100-watt amps built.
It's a pretty early one.
And I run four cabinets, two heads, and I use a tube screamer or a FET driver to create overdrive.
And that's basically it.
Dunlop, it started with [G] myself [B] and a guy named George [Bm] Tripps
who founded the Way Huge Pedal Company and now is part of the Dunlop family.
And he built me this [B] prototype, [F#] just a one-off fuzz bass,
and then he built another one for [F#m] the second pedal board.
And when it came to do [F#] the [C#m] signature versions of these pedals, _
the fuzz bass seemed to be a no-brainer [Bm] because it was voiced differently,
it was voiced more for a double-coil pickup than a single-coil pickup, it got less gain.
And the wah, I was a little bit [B] hesitant at first because there's so many signature wah-wahs.
There's a Buddy Guy, there's a Zach Wild, there's a Slash,
there's at least ten that I can name, an Eddie Van Halen.
And [F#] I really said, well, what's going to be different about the wah-wah pedal
than stuff that you currently make?
This one is the only one that uses the original style inductors, the Halo.
They just came out great, and everybody who buys [E] one is really happy. _ _ _ _
_ _ _ _ _ [B] _ _ _
[E] _ _ _ _ _ _ _ _
_ _ _ [A] _ _ [Em] _ _ _