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
Start Jamming...
[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
Key:
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