Chords for Gibson Memphis - The Luther Dickinson Guitar
Tempo:
90.3 bpm
Chords used:
D
A
Dm
C
F#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Ever since I was a little kid, our father Jim Dickinson was a musician and I knew I
wanted to be a guitar player.
And I had a natural creative process, but I wasn't a natural musician and [C] I practiced a lot.
[A]
[D] [Dm] [D]
[Am] [G] We went for the finish first.
We [F] copied dad's finish and [A] the neck shape.
At first I was like, you can't reinvent the wheel.
[D] It's a 335 and the first one [F#] had these great killer humbuckers with [A] no big speed.
But then I was playing that guitar and I took it on the road and I was like, [Em] that one, that
prototype [A] is still my favorite 335.
[E] But then I was thinking, I was like, wait a minute, I fell in love with the 330.
So what I want to do is combine the two.
If we can get the P90 sound and response of the 330 on a 335 semi-hollow [F#] that can handle
the rock and [Dm] roll environment, I was like, now we're really getting somewhere.
And then just cherry on top, I was like, okay, let's do it.
Let's put the Bigsby on there.
And that was the final block.
So this is really the second version.
The first one was way more straightforward.
[D] [Dm] The neck is not too skinny and not too fat.
[D] It's just perfect.
I love how she plays.
I really need the fat necks.
Just as I get older, it's so much more comfortable and less fatiguing.
But this one, she kind of, not tapers off, but she stays slim all the way up.
So I can play it all night, all day, and all night [F] and up.
My hand doesn't get tired.
[D] And my whole style is based on translating acoustic guitar technique and response into electric guitar.
Really loud rock and roll electric guitar.
That's what my whole [Dm] trip's about.
[D] It's amazing how well the Bigsby stays in tune.
Any trim system, you get to know it.
I'm still learning on it, [Am] but it [Bm] really stays in tune so good.
It's such a perfect design.
Bigsby was a genius.
Ry Cooder taught me a long time ago that the more springs you can have involved in your
guitar, the better.
You know, because it's a built-in resonant chamber.
[B] And you can feel it.
The way that the string tension is, is so loose.
It's such [G] a [A] slanky [Dm] feel on this thing.
[A] [D]
[Dm] Once I [D] discovered the Semi Acoustic, the 335, because all the jazz boxes I grew up with,
they would all feed back at the sonic environment [F#] at which I play.
[A#] We play really loud, and I want it loud, but clean, but loud.
But you know, the full hollows, they'll feed back.
They just [D] vibrate too much, which feels amazing.
But when I found the [G] 335, I was home, man, because it's [D] just the perfect design rock
and roll [C] machine.
[B] [D] [F#]
[Gm] [C] [A#]
[D]
[C]
wanted to be a guitar player.
And I had a natural creative process, but I wasn't a natural musician and [C] I practiced a lot.
[A]
[D] [Dm] [D]
[Am] [G] We went for the finish first.
We [F] copied dad's finish and [A] the neck shape.
At first I was like, you can't reinvent the wheel.
[D] It's a 335 and the first one [F#] had these great killer humbuckers with [A] no big speed.
But then I was playing that guitar and I took it on the road and I was like, [Em] that one, that
prototype [A] is still my favorite 335.
[E] But then I was thinking, I was like, wait a minute, I fell in love with the 330.
So what I want to do is combine the two.
If we can get the P90 sound and response of the 330 on a 335 semi-hollow [F#] that can handle
the rock and [Dm] roll environment, I was like, now we're really getting somewhere.
And then just cherry on top, I was like, okay, let's do it.
Let's put the Bigsby on there.
And that was the final block.
So this is really the second version.
The first one was way more straightforward.
[D] [Dm] The neck is not too skinny and not too fat.
[D] It's just perfect.
I love how she plays.
I really need the fat necks.
Just as I get older, it's so much more comfortable and less fatiguing.
But this one, she kind of, not tapers off, but she stays slim all the way up.
So I can play it all night, all day, and all night [F] and up.
My hand doesn't get tired.
[D] And my whole style is based on translating acoustic guitar technique and response into electric guitar.
Really loud rock and roll electric guitar.
That's what my whole [Dm] trip's about.
[D] It's amazing how well the Bigsby stays in tune.
Any trim system, you get to know it.
I'm still learning on it, [Am] but it [Bm] really stays in tune so good.
It's such a perfect design.
Bigsby was a genius.
Ry Cooder taught me a long time ago that the more springs you can have involved in your
guitar, the better.
You know, because it's a built-in resonant chamber.
[B] And you can feel it.
The way that the string tension is, is so loose.
It's such [G] a [A] slanky [Dm] feel on this thing.
[A] [D]
[Dm] Once I [D] discovered the Semi Acoustic, the 335, because all the jazz boxes I grew up with,
they would all feed back at the sonic environment [F#] at which I play.
[A#] We play really loud, and I want it loud, but clean, but loud.
But you know, the full hollows, they'll feed back.
They just [D] vibrate too much, which feels amazing.
But when I found the [G] 335, I was home, man, because it's [D] just the perfect design rock
and roll [C] machine.
[B] [D] [F#]
[Gm] [C] [A#]
[D]
[C]
Key:
D
A
Dm
C
F#
D
A
Dm
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
Ever since I was a little kid, our father Jim Dickinson was a musician and I knew I
wanted to be a guitar player.
And I had a natural creative _ process, but I wasn't a natural musician and [C] I practiced a lot.
[A] _ _
_ [D] _ _ [Dm] _ _ _ [D] _ _
[Am] _ _ [G] We went for the finish first.
We [F] copied dad's finish and [A] the neck shape.
At first I was like, you can't reinvent the wheel.
[D] It's a 335 and the first one [F#] had these great killer humbuckers with [A] no big speed.
But then I was playing that guitar and I took it on the road and I was like, _ [Em] that one, that
prototype [A] is still my favorite 335.
[E] But then I was thinking, I was like, wait a minute, I fell in love with the 330.
So what I want to do is combine the two.
If we can get the P90 sound and response of the 330 on a 335 semi-hollow [F#] that can handle
the rock and [Dm] roll environment, I was like, now we're really getting somewhere.
And then just cherry on top, I was like, okay, let's do it.
Let's put the Bigsby on there.
And that was the final block.
So this is really the second version.
The first one was way more straightforward. _
[D] _ _ _ _ _ [Dm] _ The neck is not too skinny and not too fat.
[D] It's just perfect.
I love how she plays.
I really need the fat necks.
Just as I get older, it's so much more comfortable and less fatiguing.
But this one, she kind of, not tapers off, but she stays slim all the way up.
So I can play it all night, all day, and all night [F] and up.
My hand doesn't get tired. _ _
[D] _ _ And my whole style is based on translating acoustic guitar technique and response into electric guitar.
Really loud rock and roll electric guitar.
That's what my whole [Dm] trip's about. _
_ _ _ _ _ _ _ _
_ _ _ _ [D] It's amazing _ how well the Bigsby stays in tune.
Any trim system, _ you get to know it.
I'm still learning on it, [Am] but it [Bm] really stays in tune so good.
It's such a perfect design.
Bigsby was a genius.
Ry Cooder taught me a long time ago that the more springs you can have involved in your
guitar, the better.
You know, because it's a built-in resonant chamber.
_ [B] And you can feel it.
The way that the string tension is, is so loose.
It's such [G] a [A] slanky [Dm] feel on this thing. _ _
[A] _ _ _ _ [D] _ _ _ _
_ _ _ [Dm] _ Once I [D] discovered the Semi _ Acoustic, the 335, because all the jazz boxes I grew up with,
they would all feed back at the sonic environment [F#] at which I play.
[A#] We play really loud, and I want it loud, but clean, but loud.
But you know, the full hollows, they'll feed back.
They just [D] vibrate too much, which feels amazing.
But when I found the [G] 335, _ I was home, man, because it's [D] just the perfect design rock
and roll [C] machine.
_ [B] _ _ _ _ _ [D] _ _ _ _ _ _ [F#] _ _
_ [Gm] _ _ [C] _ _ _ [A#] _ _
[D] _ _ _ _ _ _ _ _
_ _ _ _ _ _ [C] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
Ever since I was a little kid, our father Jim Dickinson was a musician and I knew I
wanted to be a guitar player.
And I had a natural creative _ process, but I wasn't a natural musician and [C] I practiced a lot.
[A] _ _
_ [D] _ _ [Dm] _ _ _ [D] _ _
[Am] _ _ [G] We went for the finish first.
We [F] copied dad's finish and [A] the neck shape.
At first I was like, you can't reinvent the wheel.
[D] It's a 335 and the first one [F#] had these great killer humbuckers with [A] no big speed.
But then I was playing that guitar and I took it on the road and I was like, _ [Em] that one, that
prototype [A] is still my favorite 335.
[E] But then I was thinking, I was like, wait a minute, I fell in love with the 330.
So what I want to do is combine the two.
If we can get the P90 sound and response of the 330 on a 335 semi-hollow [F#] that can handle
the rock and [Dm] roll environment, I was like, now we're really getting somewhere.
And then just cherry on top, I was like, okay, let's do it.
Let's put the Bigsby on there.
And that was the final block.
So this is really the second version.
The first one was way more straightforward. _
[D] _ _ _ _ _ [Dm] _ The neck is not too skinny and not too fat.
[D] It's just perfect.
I love how she plays.
I really need the fat necks.
Just as I get older, it's so much more comfortable and less fatiguing.
But this one, she kind of, not tapers off, but she stays slim all the way up.
So I can play it all night, all day, and all night [F] and up.
My hand doesn't get tired. _ _
[D] _ _ And my whole style is based on translating acoustic guitar technique and response into electric guitar.
Really loud rock and roll electric guitar.
That's what my whole [Dm] trip's about. _
_ _ _ _ _ _ _ _
_ _ _ _ [D] It's amazing _ how well the Bigsby stays in tune.
Any trim system, _ you get to know it.
I'm still learning on it, [Am] but it [Bm] really stays in tune so good.
It's such a perfect design.
Bigsby was a genius.
Ry Cooder taught me a long time ago that the more springs you can have involved in your
guitar, the better.
You know, because it's a built-in resonant chamber.
_ [B] And you can feel it.
The way that the string tension is, is so loose.
It's such [G] a [A] slanky [Dm] feel on this thing. _ _
[A] _ _ _ _ [D] _ _ _ _
_ _ _ [Dm] _ Once I [D] discovered the Semi _ Acoustic, the 335, because all the jazz boxes I grew up with,
they would all feed back at the sonic environment [F#] at which I play.
[A#] We play really loud, and I want it loud, but clean, but loud.
But you know, the full hollows, they'll feed back.
They just [D] vibrate too much, which feels amazing.
But when I found the [G] 335, _ I was home, man, because it's [D] just the perfect design rock
and roll [C] machine.
_ [B] _ _ _ _ _ [D] _ _ _ _ _ _ [F#] _ _
_ [Gm] _ _ [C] _ _ _ [A#] _ _
[D] _ _ _ _ _ _ _ _
_ _ _ _ _ _ [C] _ _