Chords for 50 Low-Down Rhythm Licks - #1 Honky Tonk - Guitar Lesson - Adam Levy
Tempo:
100.5 bpm
Chords used:
F
G
Gb
B
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Hi, this is Adam Levy for True Fire.
Welcome to this installment of my video blog for 50 lowdown rhythm licks.
[Gb] The guitarist that I want to talk about in this [Eb] lesson is a guy named Billy Butler.
He [Am] played with the Bill Doggett combo in [G] the 50s, and he also worked with Dinah Washington and [Bb] Ruth Brown and Jimmy Smith.
Really [F] great versatile guitar [G] player.
A little bit of jazz flavor, [Bb] a little bit of blues [E] flavor, a little bit of R&B.
He just swung [B] so hard as a soloist and as a rhythm player.
Of course, this is [Gb] a rhythm lesson, so I want to talk about his [B] rhythm playing.
His most [Ab] famous [G] recording was with the Bill Doggett combo [F] in 1956.
They [Gb] had a hit single with an instrumental called [F] Honky Tonk Part 1.
[G] According to Billboard charts, it was the [N] number one R&B single of 1956, [Eb] which is a pretty big [A] deal.
The song starts with just [N] drums and guitar, and Billy Butler is playing
just [F] lowdown
rhythm guitar, [Fm] but what I love about [A] it is that he avoids the cliche of just [F] going
[Ab]
Now, there's [N] nothing wrong with that.
Lots of great records have been made doing just exactly that.
But what he does that's so neat and really
swings it in a different way is he starts on the upbeat of the previous bar.
So if you're counting in four, two, [F] three, four
[Abm] And he just rolls [F] that through the whole track.
It [A]
makes it swing in a different way.
It gets [Gb] the accents off of the one, two, three, [C] four, and onto the
ands.
And one, and two, and three, and four.
It's [D] just really swinging.
[E] Makes me want to dance right here in [F] my little New York apartment. [G] So,
I'm gonna play along with a little drum beat [B] here.
[G] The record, Hogg and Tompkin Part 1, actually starts out just with drums and guitar [N] just like this,
before the organ or the saxophone come in.
So it sounds like this.
[A] [F]
[Bb] [F]
[B] And I'm gonna do that one more time.
[C] It's a bit of a pinky stretch to be sure,
[Gb]
but [G] totally [Eb] worth it.
[F] [Bb]
[F]
[Ab] So, you know, [C] you may or may not be able [Gm] to work this into a song that you're playing today or tomorrow.
[C] The lick would be great for you to learn, and [A] overall,
it's also about the concept.
The concept [E] of playing a rhythm part that's not so heavy on the one, two, three, four,
but gets you into the [G] ands.
Believe me, somebody else in the band, the drummer, the bass player,
somebody's gonna be taking [Eb] care of all those downbeats, [B] and you [Gb] don't necessarily have to follow along.
[A] You can play something that balances it [C] out, and then when they work [B] together, it can make something very special.
So, [G] that's my big idea.
Thanks for tuning in.
Hope you enjoyed it.
[Eb] This is Adam
Welcome to this installment of my video blog for 50 lowdown rhythm licks.
[Gb] The guitarist that I want to talk about in this [Eb] lesson is a guy named Billy Butler.
He [Am] played with the Bill Doggett combo in [G] the 50s, and he also worked with Dinah Washington and [Bb] Ruth Brown and Jimmy Smith.
Really [F] great versatile guitar [G] player.
A little bit of jazz flavor, [Bb] a little bit of blues [E] flavor, a little bit of R&B.
He just swung [B] so hard as a soloist and as a rhythm player.
Of course, this is [Gb] a rhythm lesson, so I want to talk about his [B] rhythm playing.
His most [Ab] famous [G] recording was with the Bill Doggett combo [F] in 1956.
They [Gb] had a hit single with an instrumental called [F] Honky Tonk Part 1.
[G] According to Billboard charts, it was the [N] number one R&B single of 1956, [Eb] which is a pretty big [A] deal.
The song starts with just [N] drums and guitar, and Billy Butler is playing
just [F] lowdown
rhythm guitar, [Fm] but what I love about [A] it is that he avoids the cliche of just [F] going
[Ab]
Now, there's [N] nothing wrong with that.
Lots of great records have been made doing just exactly that.
But what he does that's so neat and really
swings it in a different way is he starts on the upbeat of the previous bar.
So if you're counting in four, two, [F] three, four
[Abm] And he just rolls [F] that through the whole track.
It [A]
makes it swing in a different way.
It gets [Gb] the accents off of the one, two, three, [C] four, and onto the
ands.
And one, and two, and three, and four.
It's [D] just really swinging.
[E] Makes me want to dance right here in [F] my little New York apartment. [G] So,
I'm gonna play along with a little drum beat [B] here.
[G] The record, Hogg and Tompkin Part 1, actually starts out just with drums and guitar [N] just like this,
before the organ or the saxophone come in.
So it sounds like this.
[A] [F]
[Bb] [F]
[B] And I'm gonna do that one more time.
[C] It's a bit of a pinky stretch to be sure,
[Gb]
but [G] totally [Eb] worth it.
[F] [Bb]
[F]
[Ab] So, you know, [C] you may or may not be able [Gm] to work this into a song that you're playing today or tomorrow.
[C] The lick would be great for you to learn, and [A] overall,
it's also about the concept.
The concept [E] of playing a rhythm part that's not so heavy on the one, two, three, four,
but gets you into the [G] ands.
Believe me, somebody else in the band, the drummer, the bass player,
somebody's gonna be taking [Eb] care of all those downbeats, [B] and you [Gb] don't necessarily have to follow along.
[A] You can play something that balances it [C] out, and then when they work [B] together, it can make something very special.
So, [G] that's my big idea.
Thanks for tuning in.
Hope you enjoyed it.
[Eb] This is Adam
Key:
F
G
Gb
B
A
F
G
Gb
_ _ _ Hi, this is Adam Levy for True Fire.
Welcome to this installment of my video blog for 50 lowdown rhythm licks.
[Gb] The guitarist that I want to talk about in this [Eb] lesson is a guy named Billy Butler.
He [Am] played with the Bill Doggett combo in [G] the 50s, and he also worked with Dinah Washington and [Bb] Ruth Brown and Jimmy Smith.
Really [F] great versatile guitar [G] player.
A little bit of jazz flavor, [Bb] a little bit of blues [E] flavor, a little bit of R&B.
He just swung [B] so hard as a soloist and as a rhythm player.
Of course, this is [Gb] a rhythm lesson, so I want to talk about his [B] rhythm playing.
His most [Ab] famous [G] recording was with the Bill Doggett combo [F] in 1956.
They [Gb] had a hit single with an instrumental called [F] Honky Tonk Part 1.
_ _ [G] According to Billboard charts, it was the [N] number one R&B single of 1956, [Eb] which is a pretty big [A] deal.
The song starts with just [N] drums and guitar, and Billy Butler is playing
_ just [F] lowdown
rhythm guitar, [Fm] but what I love about [A] it is that he avoids the cliche of just [F] going_
_ _ _ _ _ _ _ [Ab]
Now, there's [N] nothing wrong with that.
Lots of great records have been made doing just exactly that.
But what he does that's so neat and really
swings it in a different way is he starts on the upbeat of the previous bar.
So if you're counting in four, two, [F] three, four_ _ _
_ [Abm] And he just rolls [F] that through the whole track.
It [A]
makes it swing in a different way.
It gets [Gb] the accents off of the one, two, three, [C] four, and onto the
ands.
And one, and two, and three, and four.
It's [D] just really swinging.
[E] Makes me want to dance right here in [F] my little New York apartment. [G] So,
_ I'm gonna play along with a little drum beat [B] here.
[G] The record, Hogg and Tompkin Part 1, actually starts out just with drums and guitar [N] just like this,
before the organ or the saxophone come in.
So it sounds like this. _ _
[A] _ _ _ _ _ [F] _ _ _
_ [Bb] _ _ _ _ [F] _ _ _
_ _ _ _ _ _ [B] And I'm gonna do that one more time.
[C] It's a bit of a pinky stretch to be sure,
[Gb] _
_ but [G] totally [Eb] worth it. _ _
_ _ _ [F] _ _ _ _ [Bb] _
_ _ _ [F] _ _ _ _ _
_ _ _ [Ab] _ _ So, you know, [C] you may or may not be able [Gm] to work this into a song that you're playing today or tomorrow.
_ [C] The lick would be great for you to learn, and [A] overall,
it's also about the concept.
The concept [E] of playing a rhythm part that's not so heavy on the one, two, three, four,
but gets you into the [G] ands.
Believe me, somebody else in the band, the drummer, the bass player,
somebody's gonna be taking [Eb] care of all those downbeats, [B] and you [Gb] don't necessarily have to follow along.
[A] You can play something that balances it [C] out, and then when they work [B] together, it can make something very special.
So, [G] that's my big idea.
Thanks for tuning in.
Hope you enjoyed it.
[Eb] This is Adam
Welcome to this installment of my video blog for 50 lowdown rhythm licks.
[Gb] The guitarist that I want to talk about in this [Eb] lesson is a guy named Billy Butler.
He [Am] played with the Bill Doggett combo in [G] the 50s, and he also worked with Dinah Washington and [Bb] Ruth Brown and Jimmy Smith.
Really [F] great versatile guitar [G] player.
A little bit of jazz flavor, [Bb] a little bit of blues [E] flavor, a little bit of R&B.
He just swung [B] so hard as a soloist and as a rhythm player.
Of course, this is [Gb] a rhythm lesson, so I want to talk about his [B] rhythm playing.
His most [Ab] famous [G] recording was with the Bill Doggett combo [F] in 1956.
They [Gb] had a hit single with an instrumental called [F] Honky Tonk Part 1.
_ _ [G] According to Billboard charts, it was the [N] number one R&B single of 1956, [Eb] which is a pretty big [A] deal.
The song starts with just [N] drums and guitar, and Billy Butler is playing
_ just [F] lowdown
rhythm guitar, [Fm] but what I love about [A] it is that he avoids the cliche of just [F] going_
_ _ _ _ _ _ _ [Ab]
Now, there's [N] nothing wrong with that.
Lots of great records have been made doing just exactly that.
But what he does that's so neat and really
swings it in a different way is he starts on the upbeat of the previous bar.
So if you're counting in four, two, [F] three, four_ _ _
_ [Abm] And he just rolls [F] that through the whole track.
It [A]
makes it swing in a different way.
It gets [Gb] the accents off of the one, two, three, [C] four, and onto the
ands.
And one, and two, and three, and four.
It's [D] just really swinging.
[E] Makes me want to dance right here in [F] my little New York apartment. [G] So,
_ I'm gonna play along with a little drum beat [B] here.
[G] The record, Hogg and Tompkin Part 1, actually starts out just with drums and guitar [N] just like this,
before the organ or the saxophone come in.
So it sounds like this. _ _
[A] _ _ _ _ _ [F] _ _ _
_ [Bb] _ _ _ _ [F] _ _ _
_ _ _ _ _ _ [B] And I'm gonna do that one more time.
[C] It's a bit of a pinky stretch to be sure,
[Gb] _
_ but [G] totally [Eb] worth it. _ _
_ _ _ [F] _ _ _ _ [Bb] _
_ _ _ [F] _ _ _ _ _
_ _ _ [Ab] _ _ So, you know, [C] you may or may not be able [Gm] to work this into a song that you're playing today or tomorrow.
_ [C] The lick would be great for you to learn, and [A] overall,
it's also about the concept.
The concept [E] of playing a rhythm part that's not so heavy on the one, two, three, four,
but gets you into the [G] ands.
Believe me, somebody else in the band, the drummer, the bass player,
somebody's gonna be taking [Eb] care of all those downbeats, [B] and you [Gb] don't necessarily have to follow along.
[A] You can play something that balances it [C] out, and then when they work [B] together, it can make something very special.
So, [G] that's my big idea.
Thanks for tuning in.
Hope you enjoyed it.
[Eb] This is Adam