Chords for Rockabilly Revival - Chapter Six - Jimmy Sutton
Tempo:
79.3 bpm
Chords used:
Ab
E
G
C
Eb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Cm] [B]
[C] [Fm] [A] [Ab] I was 15, I was just going to turn 16, [Gb] [C] and I was going to start [Ab] a rockabilly band, but
I needed an acoustic bass at this time.
And I remember looking up in a book beforehand, double bass, okay, I wanted to know the proper
name [G] for it, a doghouse bass.
So I went to Kagan and Gaines, the elevator opens up right into the store.
We walk in and there's a guy at the counter, and he's kicked back while looking at a book.
He's got his glasses on, he sees us come and he's like, can I help you?
I said, yes, I'm interested in purchasing a double bass.
For what type of music would we be playing this double bass?
And I was like, oh shit.
Well, rockabilly.
And at that point his whole persona changed, he was like, man, I dig rockabilly, this is great.
So he took us to the back room and there was about 50 or 60 acoustic basses and he just
let me have at it.
I didn't really know anything, but I ended up picking up this blonde 50s, K, plywood
bass and soon after, a penny of black, you know, with white piping.
There it is.
[F] Dusty and all with two strings on it.
You know, when I was younger, I think I was watching a lot of the, you know, a lot of
old movies and it was the sound, it was the sights, it was the whole package of music
from, you know, late 40s, early 50s and early 60s that just grabbed me.
Why it grabbed me?
I'm not really sure.
I just knew it felt good.
It moved me.
[G] [Dm] [C] [Fm]
[E] [Ab] Well, it isn't easy to get hooked on because, I mean, especially when you mentioned how
certain, you know, like pop music is just kind of thrown at you, it's right in your
face, it's crammed down your throat or your ears.
And it's, you know, it's processed in computers and it's real like it's real loud and
thick and, you know, heavy on the bass.
And I would think for a lot of people, when they hear all their music, sometimes it might
be a turnoff because it just doesn't have that, you know, that process.
I mean, you know, it's like overproduction.
You're talking like, you know, Velveeta cheese versus, you know, some good, you know,
Upper State New York white cheddar.
I'm not that experienced with old equipment.
I can tell you that I've been, you know, buying and slowly restoring this stuff over the last two years.
So if that explains anything, it's a slow going process.
[E] This is the first mic I purchased.
This is the RCA [N] 77 ribbon mic.
[Eb]
[E] It all started with me wanting to just get a nice old tape recorder and a couple of cool
old ribbon mics.
Just, I mean, obviously you need to play a certain way to have, you know, that vintage sound.
But I also wanted just a small recording unit so I can just do some small time recordings
in my house here.
I bought an RCA 77 mic and I also got this tape recorder and I got another mic and another
mic and another tape recorder.
It just kind of snowballed into me picking up some mic mixers, some compressors.
And right here we [Eb] have the Ampex 600, which is a portable model.
It's a quarter inch reel to reel.
[Dm] What's that?
Lomax used to do a lot of the field recordings of blues artists down in Mississippi on one
of these bad boys.
[Ab] And then [G] also I have a [E] few more of these guys.
But these are Berlant recorders.
[Gm] They were radio [G] broadcast quality recorder from back [Eb] in the 50s, early 60s.
And we are slowly restoring these.
[D] And I tell you, old equipment, it only, like, you know, a lot of the capacitors in these
old units only have a shelf life of 15, 20 years.
So they kind of need to be replaced.
Over here I [E] have two MX10 Ampex [G] mic mixers, all tube, valve.
Very good, very [Ab] good.
I think there's definitely something there with old equipment that you can't get with new equipment.
As far as recording something and having it hit the tape right away a certain way.
People claim that you can get the same results digitally.
If I'm in a real hurry, I'm probably going to use, if I'm in a hurry and I need to make
this sound radio friendly, I'm going to use new equipment.
We still might play the same way.
But if I want to create, you know, and record something that's really going to appeal to
my old school vintage passions and, you know, and also say, you know, a lot of rockabilly
purists, I'm going to record with old equipment.
And I'm going to record straight to tape.
[E] It definitely has a character [C] that you get immediately that you don't get digitally.
[Ab] [Db] [Ab]
[C] [Fm] [A] [Ab] I was 15, I was just going to turn 16, [Gb] [C] and I was going to start [Ab] a rockabilly band, but
I needed an acoustic bass at this time.
And I remember looking up in a book beforehand, double bass, okay, I wanted to know the proper
name [G] for it, a doghouse bass.
So I went to Kagan and Gaines, the elevator opens up right into the store.
We walk in and there's a guy at the counter, and he's kicked back while looking at a book.
He's got his glasses on, he sees us come and he's like, can I help you?
I said, yes, I'm interested in purchasing a double bass.
For what type of music would we be playing this double bass?
And I was like, oh shit.
Well, rockabilly.
And at that point his whole persona changed, he was like, man, I dig rockabilly, this is great.
So he took us to the back room and there was about 50 or 60 acoustic basses and he just
let me have at it.
I didn't really know anything, but I ended up picking up this blonde 50s, K, plywood
bass and soon after, a penny of black, you know, with white piping.
There it is.
[F] Dusty and all with two strings on it.
You know, when I was younger, I think I was watching a lot of the, you know, a lot of
old movies and it was the sound, it was the sights, it was the whole package of music
from, you know, late 40s, early 50s and early 60s that just grabbed me.
Why it grabbed me?
I'm not really sure.
I just knew it felt good.
It moved me.
[G] [Dm] [C] [Fm]
[E] [Ab] Well, it isn't easy to get hooked on because, I mean, especially when you mentioned how
certain, you know, like pop music is just kind of thrown at you, it's right in your
face, it's crammed down your throat or your ears.
And it's, you know, it's processed in computers and it's real like it's real loud and
thick and, you know, heavy on the bass.
And I would think for a lot of people, when they hear all their music, sometimes it might
be a turnoff because it just doesn't have that, you know, that process.
I mean, you know, it's like overproduction.
You're talking like, you know, Velveeta cheese versus, you know, some good, you know,
Upper State New York white cheddar.
I'm not that experienced with old equipment.
I can tell you that I've been, you know, buying and slowly restoring this stuff over the last two years.
So if that explains anything, it's a slow going process.
[E] This is the first mic I purchased.
This is the RCA [N] 77 ribbon mic.
[Eb]
[E] It all started with me wanting to just get a nice old tape recorder and a couple of cool
old ribbon mics.
Just, I mean, obviously you need to play a certain way to have, you know, that vintage sound.
But I also wanted just a small recording unit so I can just do some small time recordings
in my house here.
I bought an RCA 77 mic and I also got this tape recorder and I got another mic and another
mic and another tape recorder.
It just kind of snowballed into me picking up some mic mixers, some compressors.
And right here we [Eb] have the Ampex 600, which is a portable model.
It's a quarter inch reel to reel.
[Dm] What's that?
Lomax used to do a lot of the field recordings of blues artists down in Mississippi on one
of these bad boys.
[Ab] And then [G] also I have a [E] few more of these guys.
But these are Berlant recorders.
[Gm] They were radio [G] broadcast quality recorder from back [Eb] in the 50s, early 60s.
And we are slowly restoring these.
[D] And I tell you, old equipment, it only, like, you know, a lot of the capacitors in these
old units only have a shelf life of 15, 20 years.
So they kind of need to be replaced.
Over here I [E] have two MX10 Ampex [G] mic mixers, all tube, valve.
Very good, very [Ab] good.
I think there's definitely something there with old equipment that you can't get with new equipment.
As far as recording something and having it hit the tape right away a certain way.
People claim that you can get the same results digitally.
If I'm in a real hurry, I'm probably going to use, if I'm in a hurry and I need to make
this sound radio friendly, I'm going to use new equipment.
We still might play the same way.
But if I want to create, you know, and record something that's really going to appeal to
my old school vintage passions and, you know, and also say, you know, a lot of rockabilly
purists, I'm going to record with old equipment.
And I'm going to record straight to tape.
[E] It definitely has a character [C] that you get immediately that you don't get digitally.
[Ab] [Db] [Ab]
Key:
Ab
E
G
C
Eb
Ab
E
G
[Cm] _ _ [B] _ _ _ _ _ _
[C] _ _ [Fm] _ [A] _ [Ab] I was 15, I was just going to turn 16, [Gb] [C] and I was going to start [Ab] a rockabilly band, but
I needed an acoustic bass at this time.
And I remember looking up in a book beforehand, _ double bass, okay, I wanted to know the proper
name [G] for it, a doghouse bass. _ _
So I went to Kagan and Gaines, the elevator opens up right into the store.
We walk in and there's a guy at the counter, and he's kicked back while looking at a book.
He's got his glasses on, he sees us come and he's like, _ _ can I help you?
I said, yes, I'm interested in purchasing a double bass. _
For what type of music would we be playing this double bass?
And I was like, oh shit.
Well, rockabilly.
And at that point his whole persona changed, he was like, man, I dig rockabilly, this is great.
So he took us to the back room and there was about 50 or 60 acoustic basses and he just
let me have at it.
I didn't really know anything, but I ended up picking up this blonde 50s, K, plywood
bass and soon after, a penny of black, you know, with white piping.
There it is.
[F] Dusty and all with two strings on it.
You know, when I was younger, I think I was watching a lot of the, you know, a lot of
old movies and _ it was the sound, it was the sights, it was the whole package of music
from, you know, late 40s, early 50s and early 60s that just grabbed me. _
_ Why it grabbed me?
I'm not really sure.
I just knew it felt good.
It moved me.
[G] _ [Dm] _ [C] _ _ _ _ [Fm] _
[E] [Ab] Well, it isn't easy to get hooked on because, I mean, _ _ especially when you mentioned how
certain, you know, like pop music is just kind of thrown at you, it's right in your
face, it's crammed down your throat or your ears. _
And it's, you know, it's _ processed in computers and it's real like it's real loud and
thick and, you know, heavy on the bass.
And _ I would think for a lot of people, when they hear all their music, _ sometimes it might
be a turnoff because it just doesn't have that, you know, that _ process.
I mean, you know, _ it's like overproduction.
You're talking like, you know, Velveeta cheese versus, you know, some good, you know,
Upper State New York white cheddar. _ _
I'm not that experienced with old equipment.
I can tell you that I've been, you know, buying and slowly restoring this stuff over the last two years.
So if that explains anything, it's a slow going process.
[E] This is the first mic I purchased.
This is the RCA [N] 77 ribbon mic.
_ [Eb] _
[E] It all started with me wanting to just get a nice old tape recorder and a couple of cool
old ribbon mics. _ _
Just, I mean, obviously you need to play a certain way to have, you know, that vintage sound. _
But I also wanted just a small recording unit so I can just do some small time recordings
in my house here.
I bought an RCA 77 mic and I also got this tape recorder and I got another mic and another
mic and another tape recorder.
It just kind of snowballed into me picking up some mic mixers, some compressors.
And right here we [Eb] have the Ampex 600, which is a portable _ model.
It's a quarter inch reel to reel.
_ _ _ [Dm] What's that?
Lomax used to do a lot of the field recordings of blues artists down in Mississippi on one
of these bad boys.
_ [Ab] And then [G] also I have a [E] few more of these guys.
But these are Berlant recorders.
[Gm] They were radio [G] broadcast quality recorder from back [Eb] in the 50s, early 60s.
And we are slowly restoring these.
[D] And I tell you, old equipment, it only, like, you know, a lot of the capacitors in these
old units only have a shelf life of 15, 20 years.
So they kind of need to be replaced.
Over here I [E] have two _ MX10 Ampex [G] mic mixers, all tube, valve.
Very good, very [Ab] good.
I think there's definitely something there _ with old equipment that you can't get with new equipment.
As far as recording something and having it hit the tape right away a certain way.
People claim that you can get the same results _ digitally.
If I'm in a real hurry, I'm probably going to use, _ if I'm in a hurry and I need to make
this sound radio friendly, I'm going to use new equipment.
We still might play the same way.
But if I want to create, you know, and record something that's really going to appeal to
my old school vintage passions and, you know, and also say, you know, a lot of rockabilly
purists, I'm going to record with old equipment.
And I'm going to record straight to tape.
[E] It definitely has a character [C] that you get immediately that you don't get digitally.
[Ab] _ _ [Db] _ [Ab] _ _ _
[C] _ _ [Fm] _ [A] _ [Ab] I was 15, I was just going to turn 16, [Gb] [C] and I was going to start [Ab] a rockabilly band, but
I needed an acoustic bass at this time.
And I remember looking up in a book beforehand, _ double bass, okay, I wanted to know the proper
name [G] for it, a doghouse bass. _ _
So I went to Kagan and Gaines, the elevator opens up right into the store.
We walk in and there's a guy at the counter, and he's kicked back while looking at a book.
He's got his glasses on, he sees us come and he's like, _ _ can I help you?
I said, yes, I'm interested in purchasing a double bass. _
For what type of music would we be playing this double bass?
And I was like, oh shit.
Well, rockabilly.
And at that point his whole persona changed, he was like, man, I dig rockabilly, this is great.
So he took us to the back room and there was about 50 or 60 acoustic basses and he just
let me have at it.
I didn't really know anything, but I ended up picking up this blonde 50s, K, plywood
bass and soon after, a penny of black, you know, with white piping.
There it is.
[F] Dusty and all with two strings on it.
You know, when I was younger, I think I was watching a lot of the, you know, a lot of
old movies and _ it was the sound, it was the sights, it was the whole package of music
from, you know, late 40s, early 50s and early 60s that just grabbed me. _
_ Why it grabbed me?
I'm not really sure.
I just knew it felt good.
It moved me.
[G] _ [Dm] _ [C] _ _ _ _ [Fm] _
[E] [Ab] Well, it isn't easy to get hooked on because, I mean, _ _ especially when you mentioned how
certain, you know, like pop music is just kind of thrown at you, it's right in your
face, it's crammed down your throat or your ears. _
And it's, you know, it's _ processed in computers and it's real like it's real loud and
thick and, you know, heavy on the bass.
And _ I would think for a lot of people, when they hear all their music, _ sometimes it might
be a turnoff because it just doesn't have that, you know, that _ process.
I mean, you know, _ it's like overproduction.
You're talking like, you know, Velveeta cheese versus, you know, some good, you know,
Upper State New York white cheddar. _ _
I'm not that experienced with old equipment.
I can tell you that I've been, you know, buying and slowly restoring this stuff over the last two years.
So if that explains anything, it's a slow going process.
[E] This is the first mic I purchased.
This is the RCA [N] 77 ribbon mic.
_ [Eb] _
[E] It all started with me wanting to just get a nice old tape recorder and a couple of cool
old ribbon mics. _ _
Just, I mean, obviously you need to play a certain way to have, you know, that vintage sound. _
But I also wanted just a small recording unit so I can just do some small time recordings
in my house here.
I bought an RCA 77 mic and I also got this tape recorder and I got another mic and another
mic and another tape recorder.
It just kind of snowballed into me picking up some mic mixers, some compressors.
And right here we [Eb] have the Ampex 600, which is a portable _ model.
It's a quarter inch reel to reel.
_ _ _ [Dm] What's that?
Lomax used to do a lot of the field recordings of blues artists down in Mississippi on one
of these bad boys.
_ [Ab] And then [G] also I have a [E] few more of these guys.
But these are Berlant recorders.
[Gm] They were radio [G] broadcast quality recorder from back [Eb] in the 50s, early 60s.
And we are slowly restoring these.
[D] And I tell you, old equipment, it only, like, you know, a lot of the capacitors in these
old units only have a shelf life of 15, 20 years.
So they kind of need to be replaced.
Over here I [E] have two _ MX10 Ampex [G] mic mixers, all tube, valve.
Very good, very [Ab] good.
I think there's definitely something there _ with old equipment that you can't get with new equipment.
As far as recording something and having it hit the tape right away a certain way.
People claim that you can get the same results _ digitally.
If I'm in a real hurry, I'm probably going to use, _ if I'm in a hurry and I need to make
this sound radio friendly, I'm going to use new equipment.
We still might play the same way.
But if I want to create, you know, and record something that's really going to appeal to
my old school vintage passions and, you know, and also say, you know, a lot of rockabilly
purists, I'm going to record with old equipment.
And I'm going to record straight to tape.
[E] It definitely has a character [C] that you get immediately that you don't get digitally.
[Ab] _ _ [Db] _ [Ab] _ _ _