Chords for Argyle Bluegrass Festival Workshops - Joe Mullins 2
Tempo:
107.55 bpm
Chords used:
F
E
Bb
G
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret

Jam Along & Learn...
[E] [Em] [E]
[Dm] [E]
A and [Bb] F work real similar, [N] but you got one thing is don't [B] leave out this E [E] up here.
[Gb] [E] You [N] get lost down in here, or you can capo it in A and play out of the C [Bm] position, but that's wimpy.
like to play [E] out of the open.
[Em] really love, if you go back to G position, [E]
I [G] [C]
[E] love, [G]
[Dm] [E]
A and [Bb] F work real similar, [N] but you got one thing is don't [B] leave out this E [E] up here.
[Gb] [E] You [N] get lost down in here, or you can capo it in A and play out of the C [Bm] position, but that's wimpy.
like to play [E] out of the open.
[Em] really love, if you go back to G position, [E]
I [G] [C]
[E] love, [G]
100% ➙ 108BPM
F
E
Bb
G
D
F
E
Bb
[E] _ [Em] _ _ _ _ _ [E] _ _
_ _ [Dm] _ [E] _ _ _ _ _
_ _ _ _ _ _ _ _
A and [Bb] F work real similar, [N] but you got one thing is don't [B] leave out this E [E] up here. _ _
[Gb] [E] You [N] get lost down in here, or you can capo it in A and play out of the C [Bm] position, but that's wimpy.
I like to play [E] out of the open.
_ I [Em] really love, if you go back to G position, _ _ [E]
I _ [G] _ _ _ _ [C] _ _
_ _ _ [E] love, _ _ [G]
I like that as a fill, I like that
as a backup.
You can do about anything in the world.
_ All the little fill and backup [B] and rhythm licks that are [Eb] in that first chord position.
[G] _ _ _ _
_ _ _ _ _ _ [D] _ [Gm] _
_ _ [Eb] There's all kinds [G] of stuff in that. _
You can do every bit of that in the key of [B] E too, whether [E] you're down [Db] here [Em] or up here. _
_ [E] _ _ _ _ _ _
And then [B] you can grab a B right here.
Yeah, that's a sonnet.
That's something that people can leave out. _ _ _ _ _ _
[E] _ _ [Cm] So I like that big, deep tone [B] up here in B.
Yeah.
_ [Bb] _ [B] _ _ _ _ _
[E] _ _ _ _ _ [Em] And there's E.
I play a lot out [N] of F.
_ I [F] go back to Don Reno.
_ _ _ _ _ [Bm] _ _ _
_ [G] _ _ Reno Smiley had an old honky-tonk hit called You're No Longer a [Gb] Sweetheart of Mine.
_ [F] _ _ _
[Bb] That's one of the first tunes I learned to play [G] and enjoyed playing out of the key of
F [N] and finding my way around on the neck and everything.
Reno [F] Smiley did that.
_ _ _ _ _ _ We are saying goodbye [Bb] dear [C] forever. _ _
I'm [Em] leaving your false [F] love behind.
_ [Dm] Every promise you've made [B] has been [Bb] broken.
_ [C] You're no longer a [Eb] sweetheart [F] of mine. _ _ _
_ _ _ [C] _ _ _ _ _
_ _ _ [Fm] _ _ _ [F] _ _
_ _ [Cm] _ _ [Bb] _ _ _ [C] _
_ _ [Gm] _ [F] _ [Eb] _ [Fm] _ _ _
[F] _ _ [N] That's what I like to do out of the key of A. _
So, _ most of that was Don, except that's Gooby's song.
Yeah.
_ _ _ _ _ _ That's fun out of F.
Then, out of the traditional grasp, Mark Rader wrote a song we did in the early 90s that
was [F] in F.
_ [N] It's called Be True to [F] Yourself a Little Darker.
[N] And it's still in print, but I got to play that thing out of the key of F too.
It makes you learn the [F] neck. _
_ _ _ _ _ [Bb] _ _ _
_ _ [F] _ _ _ _ _ [C] _
_ _ _ _ _ _ [Em] _ [Bb] _
_ [Cm] _ [Gm] _ [D] _ _ _ [F] _ [E] _
[Bb] _ [Gm] _ [Ebm] _ [Dbm] _ [Dm] _ _ [F] _ _
_ [N] I always like playing those types of closed-chord things.
That's the Don Reno influence.
The first time I was _ learning to play and I seen [D] _ _ _ _ Don_
[Bm]
Chuck Berry.
You know, [D] he was playing that thing.
I know you're married, but you _ knew _ [Am] _ _ [G] _ [D] _ _ _
_ [N] it the way he did it.
But a few years later, we did one of the old Reno Smiley [Bm] tunes called Pretending out of
the key of D.
Boy, that thing's just a blast.
[A] _ _ [D] _ _ _ _ [Em] _
_ _ _ _ _ _ _ _
_ [Dbm] _ [Bm] _ _ [Bb] _ _ _ _
[A] _ _ [Bm] _ _ [A] _ [D] _ _ _
_ _ [G] _ _ _ _ [A] _ _
[D] _ [C] _ _ _ [Ab] _ [D] _ [F] _ _
[D] _ Yeah.
_ _ [G] [N] That's E, F, D.
You learn how to control the left-hand positions for all that stuff.
All the bluesy things [C] that you can do. _ _ _
_ [G] _ [G] _ I always [F] enjoyed playing that stuff out of the [G] old position.
_ _ _ [E] _ And that [F] goes back to_
_ Back to TAF.
Sonny Osborne was only [Db] _ _ 16 years old.
Bobby and Sonny and Jimmy Martin teamed up and, man, they started recording.
All the Jimmy Martin stuff in about 54, 56.
[Gb] I just loved it.
And Sonny, [Em] the first place you hear some of these backup [N] licks that I have hung my hat
on for 30 years, _ _ they recorded 20-20 vision in like _ 54 or 55 for [F] RCA.
_ _ You see that going good?
_ [N] Simple stuff Sonny did on backup [F] right there. _
I've been to [Cm] the doctor, he [Fm] says I'm alright. _
_ [Bb] I know he's lying, I'm losing [Fm] my sight.
_ _ [F] _ _ _ [Fm] That's _ _ _ _ [C] _ _ [Fm] _ [N]
the first place we heard those things.
And then, _ in _ 58, here comes Crow, age 19, 20, playing with Martin.
And they did Ocean of Diamonds, [F] same thing. _
_ _ Yeah.
_ [Ab] _ _ [Bb] _
_ [Bbm] _ _ _ All that stuff I learned from Sonny and JD.
_ [Db] You put a little Reno with it and you
_ _ [Dm] _ [E] _ _ _ _ _
_ _ _ _ _ _ _ _
A and [Bb] F work real similar, [N] but you got one thing is don't [B] leave out this E [E] up here. _ _
[Gb] [E] You [N] get lost down in here, or you can capo it in A and play out of the C [Bm] position, but that's wimpy.
I like to play [E] out of the open.
_ I [Em] really love, if you go back to G position, _ _ [E]
I _ [G] _ _ _ _ [C] _ _
_ _ _ [E] love, _ _ [G]
I like that as a fill, I like that
as a backup.
You can do about anything in the world.
_ All the little fill and backup [B] and rhythm licks that are [Eb] in that first chord position.
[G] _ _ _ _
_ _ _ _ _ _ [D] _ [Gm] _
_ _ [Eb] There's all kinds [G] of stuff in that. _
You can do every bit of that in the key of [B] E too, whether [E] you're down [Db] here [Em] or up here. _
_ [E] _ _ _ _ _ _
And then [B] you can grab a B right here.
Yeah, that's a sonnet.
That's something that people can leave out. _ _ _ _ _ _
[E] _ _ [Cm] So I like that big, deep tone [B] up here in B.
Yeah.
_ [Bb] _ [B] _ _ _ _ _
[E] _ _ _ _ _ [Em] And there's E.
I play a lot out [N] of F.
_ I [F] go back to Don Reno.
_ _ _ _ _ [Bm] _ _ _
_ [G] _ _ Reno Smiley had an old honky-tonk hit called You're No Longer a [Gb] Sweetheart of Mine.
_ [F] _ _ _
[Bb] That's one of the first tunes I learned to play [G] and enjoyed playing out of the key of
F [N] and finding my way around on the neck and everything.
Reno [F] Smiley did that.
_ _ _ _ _ _ We are saying goodbye [Bb] dear [C] forever. _ _
I'm [Em] leaving your false [F] love behind.
_ [Dm] Every promise you've made [B] has been [Bb] broken.
_ [C] You're no longer a [Eb] sweetheart [F] of mine. _ _ _
_ _ _ [C] _ _ _ _ _
_ _ _ [Fm] _ _ _ [F] _ _
_ _ [Cm] _ _ [Bb] _ _ _ [C] _
_ _ [Gm] _ [F] _ [Eb] _ [Fm] _ _ _
[F] _ _ [N] That's what I like to do out of the key of A. _
So, _ most of that was Don, except that's Gooby's song.
Yeah.
_ _ _ _ _ _ That's fun out of F.
Then, out of the traditional grasp, Mark Rader wrote a song we did in the early 90s that
was [F] in F.
_ [N] It's called Be True to [F] Yourself a Little Darker.
[N] And it's still in print, but I got to play that thing out of the key of F too.
It makes you learn the [F] neck. _
_ _ _ _ _ [Bb] _ _ _
_ _ [F] _ _ _ _ _ [C] _
_ _ _ _ _ _ [Em] _ [Bb] _
_ [Cm] _ [Gm] _ [D] _ _ _ [F] _ [E] _
[Bb] _ [Gm] _ [Ebm] _ [Dbm] _ [Dm] _ _ [F] _ _
_ [N] I always like playing those types of closed-chord things.
That's the Don Reno influence.
The first time I was _ learning to play and I seen [D] _ _ _ _ Don_
[Bm]
Chuck Berry.
You know, [D] he was playing that thing.
I know you're married, but you _ knew _ [Am] _ _ [G] _ [D] _ _ _
_ [N] it the way he did it.
But a few years later, we did one of the old Reno Smiley [Bm] tunes called Pretending out of
the key of D.
Boy, that thing's just a blast.
[A] _ _ [D] _ _ _ _ [Em] _
_ _ _ _ _ _ _ _
_ [Dbm] _ [Bm] _ _ [Bb] _ _ _ _
[A] _ _ [Bm] _ _ [A] _ [D] _ _ _
_ _ [G] _ _ _ _ [A] _ _
[D] _ [C] _ _ _ [Ab] _ [D] _ [F] _ _
[D] _ Yeah.
_ _ [G] [N] That's E, F, D.
You learn how to control the left-hand positions for all that stuff.
All the bluesy things [C] that you can do. _ _ _
_ [G] _ [G] _ I always [F] enjoyed playing that stuff out of the [G] old position.
_ _ _ [E] _ And that [F] goes back to_
_ Back to TAF.
Sonny Osborne was only [Db] _ _ 16 years old.
Bobby and Sonny and Jimmy Martin teamed up and, man, they started recording.
All the Jimmy Martin stuff in about 54, 56.
[Gb] I just loved it.
And Sonny, [Em] the first place you hear some of these backup [N] licks that I have hung my hat
on for 30 years, _ _ they recorded 20-20 vision in like _ 54 or 55 for [F] RCA.
_ _ You see that going good?
_ [N] Simple stuff Sonny did on backup [F] right there. _
I've been to [Cm] the doctor, he [Fm] says I'm alright. _
_ [Bb] I know he's lying, I'm losing [Fm] my sight.
_ _ [F] _ _ _ [Fm] That's _ _ _ _ [C] _ _ [Fm] _ [N]
the first place we heard those things.
And then, _ in _ 58, here comes Crow, age 19, 20, playing with Martin.
And they did Ocean of Diamonds, [F] same thing. _
_ _ Yeah.
_ [Ab] _ _ [Bb] _
_ [Bbm] _ _ _ All that stuff I learned from Sonny and JD.
_ [Db] You put a little Reno with it and you