Chords for Keith Richards meets Chuck Berry

_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [E] _ _ _ _
_ _ _ [Bm] _ _ _ _ _
_ _ _ _ _ [F#m] _ _ _
_ _ _ _ [B] _ _ [G#] _ _
_ _ [F#] _ _ _ [Bm] _ _ _
_ _ [E] _ [B] _ _ _ _ _
[Bm] _ _ _ _ _ _ _ _
_ _ [F#] _ _ [Bm] _ _ _ _
_ _ _ _ _ [F#m] _ _ [F#] _
_ _ [B] _ _ [Bm] _ _ _ _
_ [F#m] _ _ _ [E] _ _ _ _
_ _ _ _ [F#] _ _ _ _
[B] _ _ [Bm] _ _ [E] _ _ _ _
_ _ _ _ [F#] _ _ _ _
_ _ _ _ [Bm] _ _ _ _
[B] _ _ _ _ _ _ _ _
_ _ _ _ _ [F#] _ _ _
_ _ [Bm] _ _ [E] _ _ [B] _ _
[Bm] _ _ [F#m] _ _ _ _ _ _
_ _ [B] _ _ [G#] _ _ _ _
_ [F#] _ So basically [Em] what's going on [F#] _
_ _ _ _ _ _ _ _
_ _ _ _ _ [B] _ _ _
_ _ _ _ _ _ [F#] _ _
_ _ _ _ is_ _ _
_ _ _ _ [Bm] _ _ _ _
_ _ _ So that's the rhythm that we're using here for this.
And this particular rhythm involves, again, muting.
It's a very important part of rock and roll and the blues.
Since we're rocking the blues, I want to talk a little bit about that.
_ We're in the key of B.
_ _ And we're doing this figure here, which is a classic [B] rock blues figure. _ _ _
_ Now if you were in the blues, it would sound something like this.
_ _ _ _ _ _ But as [G] we know, when the blues had a baby and they called it rock and roll,
you sped it up, put four on the floor, and it ends up [F#] _ sounding_ _ _
_ _ _ Now that has a distinct Texas Stevie Ray Vaughan kind of feel to it, doesn't it?
But it started way back before that, back in the 50s.
So we're doing a 1-4-5 progression.
What I'm doing on the lead side of it, I'm doing these kind of Chuck Berry licks.
_ [G#] _ _ _ [B] _
_ That's very identifiable, isn't it?
[A] It's an old rock and roll kind of riff.
_ _ _ [B] _ Let me break that down for you, and then we'll go over what I did piece by piece.
So you're in your B position here on your 7th fret.
You've got your Chuck [F#] Berry position.
_ [Bm] _ _
And then what you're doing [F#] is_
_ _ [B] _
It's a [F#] great old lick.
[C#] _ _ _ _
You're bending, you're coming in with your _ 7th fret B lick.
_ And then you're coming over here with your [E] 3rd finger.
_ _ _ [Bm] _ _
So you're hitting that E [E] position.
_ And then a [D] half-step up, [B] _ [D] which we've used so many times.
[D#] _ _ [Bm] _
_ So if you put those together with kind of a_
You know, you've got kind of a funky [F#] stop. _ _ _ _
_ _ [B] _ _ [F#] _ _ _ _
[B] _ _ _ _ _ [C#] _ _ _
And then I get into _ a_ _ _
_ _ [Bm] _ _ _ It's kind of a swing feel.
So what I'd like to do now is go back to the track
and kind of _ disassemble some of the leads I did.
[B] Here's a good [F#m] one.
_ _ _ [B] _ _
[F#] _ _ _ _ _ [E] _ _ [B] _
_ _ [D] _ [B] _ _ _ Just following the [C#] chord.
_ _ _ [Em] _ _ _
[D] _ _ [B] _ _ _ _ [E] _ _
_ _ _ [E] Back up to E. _ _
[Em] _ _ _ _ _ _ [B] _ _
_ [E] _ _ [Em] _ _ And then [C] to your F sharp.
[F#m] _ _ [E] _ _ [Am] _ _
[A#] _ _ _ _ [Bm] That's how I did my turnaround.
I went from an F sharp.
[F#m] _ _ _ _ [E] _ _
_ _ [Am] _ And [F#m] then_ _