Chords for Mule's Arsenal 1 | Gov't Mule In The Studio Part 5
Tempo:
81.05 bpm
Chords used:
D
C
F#
G
C#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
I guess I'm supposed to talk about guitars now.
This is Warren's Les Paul 12 string, which we've been [D] tuning down for this session to
low D.
It's like a standard Les Paul.
Two humbuckers except we put a coil tap switch in it so it's like a single coil, gets it
more jangly [D] sounding.
He's [C#] already used it once [E] on this session.
I don't know if he's going to use it for overdub or not.
We've had it a little [F#] over a year.
On the [N] road we generally use it in standard tuning.
Every once in a while he'll use it in drop D.
The other guitar we've been using, this is a 1958 Les Paul Special.
We've got it tuned down to E flat, put 11s on it.
It's got the P90 pickups in it.
It's an original 1958.
Let's go grab a couple more and we'll see what else we've got to play with.
This guitar here is a 1964 Firebird III.
We've taken the vibrola off of it.
It's got a Schaller wrap around tailpiece and bridge assembly.
We've put a Seymour Duncan Alnico II pickup in the neck position.
Normally, this guitar is a step down in D.
For this record, what he wants to use it on, the song he's using it on, we use it in standard.
It's got the banjo tuners just like Firebird you're used to seeing.
He got this guitar back in 2000 to use with the Phil Esch band.
Then it slowly became part of the Mule arsenal.
The biggest difference is the Firebird III, the inlays are dot inlays, not trapezoid.
It's also got the standard style tuners, smaller headstock.
Instead of having a separate tailpiece and bridge, we've changed it over to that.
If you look at the two, there's not a ton of difference aesthetically between them.
You'll notice it has a larger peg head that's got more of a banjo style tuner key on it.
The bodies are basically the same, they're neck through design.
They're pretty much the same guitar.
They both have bound necks.
They pretty much sound a lot, sound very similar because they have many humbuckers on them.
This one, the purple one, I like to call it Barney.
I guess you can figure that one out on your own.
We tuned this one to E flat.
This right here is his main Les Paul.
We got this guitar in 2002.
It's got burst buckers in it.
It's pretty beat up for such a new guitar, but this is his main guitar with the Mule, with the Allman Brothers band.
It's like going home.
This is what he's used to.
Once again, it's got burst buckers in it.
This has got the Pros, which are the same pickup, but they're potted.
These aren't potted.
This is just a nice, beautiful little Les Paul.
This is a 2002.
We don't really take a lot of old guitars on the road anymore because what they're not as good as anything they've ever made, at least in my opinion.
In my humble opinion.
In your humble opinion, which one of these would you prefer if he would give you any guitar you wanted?
1961 335.
This is the baddest of the bad.
It's got PAF pickups in it.
It's just a wonderful guitar.
It's so even.
It's easy to play.
You can play slide on it.
We tuned it to E flat.
We've tuned it down a step to D.
I've tuned it up before.
It's just a wonderful guitar.
That's probably my favorite guitar he owns.
That's the guitar.
That's why I just don't want to ever see it on the road because it's such a nice, beautiful, powerful guitar.
And it's 45 years old, so there's no reason to take it on the road.
He plays extremely hard.
He beats on his guitars a lot.
In his mind, they're like a hammer.
They're a tool.
You'll see a lot of times he'll slap down real hard on the bridges.
I've been putting Tone Pro bridges on his main live guitars just so the stability's there.
This guitar is almost 4 years old now.
You can tell where it's getting beat pretty good.
It's a thin-finished guitar from the custom shop too, like the old 58s and 59s.
This is actually a 58 reissue.
So it's a nice little guitar.
Yeah, he's not gentle with any of his instruments.
Or with me, for that matter.
We also have a pair of 335s.
This would be his favorite, probably, recording guitar.
We've used it on a lot of the deep-end stuff.
We've used it on a lot of Life Before Insanity.
We've used it on Déjà Vu.
It was on the last Allman [D#] Brothers record.
This is a 1961 ES-335.
It's got real PAF pickups in it.
We never take this on the road.
For this [F#] session, we've tuned it down [N] to Eb.
It's a great sounding guitar.
It's one of his favorites.
It used to have a Bigsby on it.
We removed it because he's not a fan of Bigsby's.
The other one we've got, this is a brand new guitar.
It's a 59 reissue.
We just got it last year.
Started using it with the Allman Brothers band.
It's a 1959 reissue of a 335.
It's got Burst Bucker Pro's in it.
The big fat neck.
We tuned this one to standard.
So that's his other 335.
And then a couple of special little guitars that we've been using.
This one so far hasn't made it on the record.
This is a late 50's Dan Electro 3 quarter [G] scale Pro-1.
It's tuned to C.
[C] Which would be the same thing as the Wandering Child tuning.
Except for this, we're putting a pair of high C's.
So it's C, G, C.
G, C, C.
[G] It hasn't made it on the record.
The one that did make it is a mid 70's 75-76 RD.
Which is this one right here.
[C] And it's tuned the same way.
So you get that.
This thing belongs to Gordy Johnson, the [D] producer.
I think he'd rather be at Tiger Stadium than here.
But we're here in Texas, so what can we do about it?
This is like a 76 [C] RD Artist.
Sorry, an RD Standard.
With that open C tuning.
And that's pretty much what we've been using for guitars.
[D] If you want to come in here we can show you
We're using amplifier wires if you want to look at that.
[N]
This is Warren's Les Paul 12 string, which we've been [D] tuning down for this session to
low D.
It's like a standard Les Paul.
Two humbuckers except we put a coil tap switch in it so it's like a single coil, gets it
more jangly [D] sounding.
He's [C#] already used it once [E] on this session.
I don't know if he's going to use it for overdub or not.
We've had it a little [F#] over a year.
On the [N] road we generally use it in standard tuning.
Every once in a while he'll use it in drop D.
The other guitar we've been using, this is a 1958 Les Paul Special.
We've got it tuned down to E flat, put 11s on it.
It's got the P90 pickups in it.
It's an original 1958.
Let's go grab a couple more and we'll see what else we've got to play with.
This guitar here is a 1964 Firebird III.
We've taken the vibrola off of it.
It's got a Schaller wrap around tailpiece and bridge assembly.
We've put a Seymour Duncan Alnico II pickup in the neck position.
Normally, this guitar is a step down in D.
For this record, what he wants to use it on, the song he's using it on, we use it in standard.
It's got the banjo tuners just like Firebird you're used to seeing.
He got this guitar back in 2000 to use with the Phil Esch band.
Then it slowly became part of the Mule arsenal.
The biggest difference is the Firebird III, the inlays are dot inlays, not trapezoid.
It's also got the standard style tuners, smaller headstock.
Instead of having a separate tailpiece and bridge, we've changed it over to that.
If you look at the two, there's not a ton of difference aesthetically between them.
You'll notice it has a larger peg head that's got more of a banjo style tuner key on it.
The bodies are basically the same, they're neck through design.
They're pretty much the same guitar.
They both have bound necks.
They pretty much sound a lot, sound very similar because they have many humbuckers on them.
This one, the purple one, I like to call it Barney.
I guess you can figure that one out on your own.
We tuned this one to E flat.
This right here is his main Les Paul.
We got this guitar in 2002.
It's got burst buckers in it.
It's pretty beat up for such a new guitar, but this is his main guitar with the Mule, with the Allman Brothers band.
It's like going home.
This is what he's used to.
Once again, it's got burst buckers in it.
This has got the Pros, which are the same pickup, but they're potted.
These aren't potted.
This is just a nice, beautiful little Les Paul.
This is a 2002.
We don't really take a lot of old guitars on the road anymore because what they're not as good as anything they've ever made, at least in my opinion.
In my humble opinion.
In your humble opinion, which one of these would you prefer if he would give you any guitar you wanted?
1961 335.
This is the baddest of the bad.
It's got PAF pickups in it.
It's just a wonderful guitar.
It's so even.
It's easy to play.
You can play slide on it.
We tuned it to E flat.
We've tuned it down a step to D.
I've tuned it up before.
It's just a wonderful guitar.
That's probably my favorite guitar he owns.
That's the guitar.
That's why I just don't want to ever see it on the road because it's such a nice, beautiful, powerful guitar.
And it's 45 years old, so there's no reason to take it on the road.
He plays extremely hard.
He beats on his guitars a lot.
In his mind, they're like a hammer.
They're a tool.
You'll see a lot of times he'll slap down real hard on the bridges.
I've been putting Tone Pro bridges on his main live guitars just so the stability's there.
This guitar is almost 4 years old now.
You can tell where it's getting beat pretty good.
It's a thin-finished guitar from the custom shop too, like the old 58s and 59s.
This is actually a 58 reissue.
So it's a nice little guitar.
Yeah, he's not gentle with any of his instruments.
Or with me, for that matter.
We also have a pair of 335s.
This would be his favorite, probably, recording guitar.
We've used it on a lot of the deep-end stuff.
We've used it on a lot of Life Before Insanity.
We've used it on Déjà Vu.
It was on the last Allman [D#] Brothers record.
This is a 1961 ES-335.
It's got real PAF pickups in it.
We never take this on the road.
For this [F#] session, we've tuned it down [N] to Eb.
It's a great sounding guitar.
It's one of his favorites.
It used to have a Bigsby on it.
We removed it because he's not a fan of Bigsby's.
The other one we've got, this is a brand new guitar.
It's a 59 reissue.
We just got it last year.
Started using it with the Allman Brothers band.
It's a 1959 reissue of a 335.
It's got Burst Bucker Pro's in it.
The big fat neck.
We tuned this one to standard.
So that's his other 335.
And then a couple of special little guitars that we've been using.
This one so far hasn't made it on the record.
This is a late 50's Dan Electro 3 quarter [G] scale Pro-1.
It's tuned to C.
[C] Which would be the same thing as the Wandering Child tuning.
Except for this, we're putting a pair of high C's.
So it's C, G, C.
G, C, C.
[G] It hasn't made it on the record.
The one that did make it is a mid 70's 75-76 RD.
Which is this one right here.
[C] And it's tuned the same way.
So you get that.
This thing belongs to Gordy Johnson, the [D] producer.
I think he'd rather be at Tiger Stadium than here.
But we're here in Texas, so what can we do about it?
This is like a 76 [C] RD Artist.
Sorry, an RD Standard.
With that open C tuning.
And that's pretty much what we've been using for guitars.
[D] If you want to come in here we can show you
We're using amplifier wires if you want to look at that.
[N]
Key:
D
C
F#
G
C#
D
C
F#
_ _ _ _ _ _ _ _
I guess I'm supposed to talk about guitars now.
_ This is Warren's Les Paul 12 string, which we've been [D] tuning down for this session to
low D.
_ _ It's like a standard Les Paul.
Two humbuckers except we put a coil tap switch in it so it's like a single coil, gets it
more jangly [D] sounding.
He's [C#] already used it once [E] on this session.
I don't know if he's going to use it for overdub or not.
We've had it a little [F#] over a year.
On the [N] road we generally use it in standard tuning.
Every once in a while he'll use it in drop D.
_ The other guitar we've been using, this is a 1958 Les Paul Special. _
We've got it tuned down to E flat, put 11s on it.
It's got the P90 pickups in it.
It's an original 1958.
Let's go grab a couple more and we'll see what else we've got to play with.
_ This guitar here is a 1964 Firebird III.
We've taken the vibrola off of it.
It's got a Schaller wrap around tailpiece and bridge assembly.
We've put a Seymour Duncan Alnico II pickup in the neck position. _
_ Normally, this guitar is a step down in D.
For this record, what he wants to use it on, the song he's using it on, we use it in standard.
It's got the banjo tuners just like Firebird you're used to seeing. _
He got this guitar back in 2000 to use with the Phil Esch band.
Then it slowly became part of the Mule arsenal.
_ The biggest difference is the Firebird III, the inlays are dot inlays, not trapezoid.
It's also got the standard style tuners, smaller headstock.
Instead of having a separate tailpiece and bridge, we've changed it over to that.
If you look at the two, there's not a ton of difference _ aesthetically between them.
You'll notice it has a larger peg head that's got more of a banjo style tuner key on it.
The bodies are basically the same, they're neck through design.
They're pretty much the same guitar.
They both have bound necks.
They pretty much sound a lot, sound very similar because they have many humbuckers on them.
This one, the purple one, I like to call it Barney.
I guess you can figure that one out on your own.
We tuned this one to E flat.
This right here is his main Les Paul.
We got this guitar in 2002.
It's got burst buckers in it.
It's pretty beat up for such a new guitar, but this is his main guitar with the Mule, with the Allman Brothers band.
It's like going home.
This is what he's used to.
_ Once again, it's got burst buckers in it.
This has got the Pros, which are the same pickup, but they're potted.
These aren't potted.
This is just a nice, beautiful little Les Paul.
This is a 2002. _
We don't really take a lot of old guitars on the road anymore because what they're _ not as good as anything they've ever made, at least in my opinion.
In my humble opinion.
In your humble opinion, which one of these would you prefer if he would give you any guitar you wanted?
_ 1961 335.
This is the baddest of the bad.
It's got PAF pickups in it.
It's just a wonderful guitar.
It's so even.
It's easy to play.
You can play slide on it.
We tuned it to E flat.
We've tuned it down a step to D.
I've tuned it up before.
It's just a wonderful guitar.
That's probably my favorite guitar he owns.
That's the guitar.
That's why I just don't want to ever see it on the road because it's such a nice, beautiful, powerful guitar.
And it's 45 years old, so there's no reason to take it on the road.
He plays extremely hard.
He beats on his guitars a lot.
In his mind, they're like a hammer.
They're a tool.
You'll see a lot of times he'll slap down real hard on the bridges.
I've been putting Tone Pro bridges on his main live guitars just so the stability's there.
This guitar is almost 4 years old now.
You can tell where it's getting beat pretty good.
It's a thin-finished guitar from the custom shop too, like the old 58s and 59s.
This is actually a 58 reissue.
So it's a nice little guitar.
Yeah, he's not gentle with any of his instruments.
Or with me, for that matter.
_ _ _ We also have a pair of 335s.
_ _ _ _ This would be his favorite, probably, recording guitar.
_ We've used it on a lot of the deep-end stuff.
We've used it on a lot of Life Before Insanity.
We've used it on Déjà Vu.
It was on the last Allman [D#] Brothers record.
_ This is a 1961 ES-335.
_ It's got real PAF pickups in it.
We never take this on the road.
For this [F#] session, we've tuned it down [N] to Eb.
_ _ It's a great sounding guitar.
It's one of his favorites.
It used to have a Bigsby on it.
We removed it because he's not a fan of Bigsby's.
The other one we've got, this is a brand new guitar.
It's a 59 reissue.
_ We just got it last year.
Started using it with the Allman Brothers band.
_ It's a 1959 reissue of a 335.
It's got Burst Bucker Pro's in it.
The big fat neck.
We tuned this one to standard.
So that's his other 335.
_ And then a couple of special little guitars that we've been using.
_ This one so far hasn't made it on the record.
This is a late 50's Dan Electro 3 quarter [G] scale Pro-1.
It's tuned to C.
_ _ _ [C] Which would be the same thing as the Wandering Child tuning.
Except for this, we're putting a pair of high C's. _
So it's C, G, C.
G, C, C.
_ _ _ [G] It hasn't made it on the record.
The one that did make it is a mid 70's 75-76 RD.
Which is this one right here.
[C] And it's tuned the same way.
So you get that. _ _ _ _
_ This thing belongs to Gordy Johnson, the [D] producer. _
I think he'd rather be at Tiger Stadium than here.
But we're here in Texas, so what can we do about it?
This is like a 76 [C] RD Artist.
Sorry, an RD Standard.
With that open C tuning.
_ And that's pretty much what we've been using for guitars.
[D] If you want to come in here we can show you_
We're using amplifier wires if you want to look at that.
_ _ _ _ _ _ [N] _
I guess I'm supposed to talk about guitars now.
_ This is Warren's Les Paul 12 string, which we've been [D] tuning down for this session to
low D.
_ _ It's like a standard Les Paul.
Two humbuckers except we put a coil tap switch in it so it's like a single coil, gets it
more jangly [D] sounding.
He's [C#] already used it once [E] on this session.
I don't know if he's going to use it for overdub or not.
We've had it a little [F#] over a year.
On the [N] road we generally use it in standard tuning.
Every once in a while he'll use it in drop D.
_ The other guitar we've been using, this is a 1958 Les Paul Special. _
We've got it tuned down to E flat, put 11s on it.
It's got the P90 pickups in it.
It's an original 1958.
Let's go grab a couple more and we'll see what else we've got to play with.
_ This guitar here is a 1964 Firebird III.
We've taken the vibrola off of it.
It's got a Schaller wrap around tailpiece and bridge assembly.
We've put a Seymour Duncan Alnico II pickup in the neck position. _
_ Normally, this guitar is a step down in D.
For this record, what he wants to use it on, the song he's using it on, we use it in standard.
It's got the banjo tuners just like Firebird you're used to seeing. _
He got this guitar back in 2000 to use with the Phil Esch band.
Then it slowly became part of the Mule arsenal.
_ The biggest difference is the Firebird III, the inlays are dot inlays, not trapezoid.
It's also got the standard style tuners, smaller headstock.
Instead of having a separate tailpiece and bridge, we've changed it over to that.
If you look at the two, there's not a ton of difference _ aesthetically between them.
You'll notice it has a larger peg head that's got more of a banjo style tuner key on it.
The bodies are basically the same, they're neck through design.
They're pretty much the same guitar.
They both have bound necks.
They pretty much sound a lot, sound very similar because they have many humbuckers on them.
This one, the purple one, I like to call it Barney.
I guess you can figure that one out on your own.
We tuned this one to E flat.
This right here is his main Les Paul.
We got this guitar in 2002.
It's got burst buckers in it.
It's pretty beat up for such a new guitar, but this is his main guitar with the Mule, with the Allman Brothers band.
It's like going home.
This is what he's used to.
_ Once again, it's got burst buckers in it.
This has got the Pros, which are the same pickup, but they're potted.
These aren't potted.
This is just a nice, beautiful little Les Paul.
This is a 2002. _
We don't really take a lot of old guitars on the road anymore because what they're _ not as good as anything they've ever made, at least in my opinion.
In my humble opinion.
In your humble opinion, which one of these would you prefer if he would give you any guitar you wanted?
_ 1961 335.
This is the baddest of the bad.
It's got PAF pickups in it.
It's just a wonderful guitar.
It's so even.
It's easy to play.
You can play slide on it.
We tuned it to E flat.
We've tuned it down a step to D.
I've tuned it up before.
It's just a wonderful guitar.
That's probably my favorite guitar he owns.
That's the guitar.
That's why I just don't want to ever see it on the road because it's such a nice, beautiful, powerful guitar.
And it's 45 years old, so there's no reason to take it on the road.
He plays extremely hard.
He beats on his guitars a lot.
In his mind, they're like a hammer.
They're a tool.
You'll see a lot of times he'll slap down real hard on the bridges.
I've been putting Tone Pro bridges on his main live guitars just so the stability's there.
This guitar is almost 4 years old now.
You can tell where it's getting beat pretty good.
It's a thin-finished guitar from the custom shop too, like the old 58s and 59s.
This is actually a 58 reissue.
So it's a nice little guitar.
Yeah, he's not gentle with any of his instruments.
Or with me, for that matter.
_ _ _ We also have a pair of 335s.
_ _ _ _ This would be his favorite, probably, recording guitar.
_ We've used it on a lot of the deep-end stuff.
We've used it on a lot of Life Before Insanity.
We've used it on Déjà Vu.
It was on the last Allman [D#] Brothers record.
_ This is a 1961 ES-335.
_ It's got real PAF pickups in it.
We never take this on the road.
For this [F#] session, we've tuned it down [N] to Eb.
_ _ It's a great sounding guitar.
It's one of his favorites.
It used to have a Bigsby on it.
We removed it because he's not a fan of Bigsby's.
The other one we've got, this is a brand new guitar.
It's a 59 reissue.
_ We just got it last year.
Started using it with the Allman Brothers band.
_ It's a 1959 reissue of a 335.
It's got Burst Bucker Pro's in it.
The big fat neck.
We tuned this one to standard.
So that's his other 335.
_ And then a couple of special little guitars that we've been using.
_ This one so far hasn't made it on the record.
This is a late 50's Dan Electro 3 quarter [G] scale Pro-1.
It's tuned to C.
_ _ _ [C] Which would be the same thing as the Wandering Child tuning.
Except for this, we're putting a pair of high C's. _
So it's C, G, C.
G, C, C.
_ _ _ [G] It hasn't made it on the record.
The one that did make it is a mid 70's 75-76 RD.
Which is this one right here.
[C] And it's tuned the same way.
So you get that. _ _ _ _
_ This thing belongs to Gordy Johnson, the [D] producer. _
I think he'd rather be at Tiger Stadium than here.
But we're here in Texas, so what can we do about it?
This is like a 76 [C] RD Artist.
Sorry, an RD Standard.
With that open C tuning.
_ And that's pretty much what we've been using for guitars.
[D] If you want to come in here we can show you_
We're using amplifier wires if you want to look at that.
_ _ _ _ _ _ [N] _