Chords for Sonny Boy Williamson: he's not a pheasant plucker
Tempo:
70.9 bpm
Chords used:
D
A
F#m
G
B
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
We did realize, you know, pretty early on that we were these white impostors.
I mean, we played with, you know, people like Sonny Boy Williamson, for Christ's sake.
You know, he used to get very drunk, would think nothing of changing arrangements, screwing up the band.
Anyway, we were whiteies, what did he care?
And he actually said, you know, when he got back to the States,
these boys want to play the blues so badly, and believe you me, they do, you know.
Which was probably a very nice [B] thing for him to say.
Manfred Mann, who already had several chart hits to their name,
also accepted the honor of backing Sonny Boy on stage.
[D] Sonny Boy was a grumpy old character, but the problem really was that Manfred Mann was made up mostly of trained musicians.
Musicians who could read music and write music.
And we fell out over how many bars there are in a 12-bar blues.
You know, I mean, the trained musicians thought it must be 12, surely.
You just keep it [F#m] all to yourself.
And Sonny Boy knew the correct answer, [G#] which was any number that I wanted to be.
Do that for me, darling.
[D] Don't make it to nobody else.
[G] [A]
[Am] [A] [D] [A]
[D]
[C] Sonny Boy Williamson was staying with our manager, Giorgio Gromelsky, in his flat in Lexham Gardens, [G] around the corner here.
And one day we came home to the flat and there's all this noise going on.
And we open the bathroom and Sonny Boy Williamson is plucking a live chicken in the bathroom.
[F#m] Like he did Peck Home, you know.
So there was a lot of cultural differences, you see.
I mean, we played with, you know, people like Sonny Boy Williamson, for Christ's sake.
You know, he used to get very drunk, would think nothing of changing arrangements, screwing up the band.
Anyway, we were whiteies, what did he care?
And he actually said, you know, when he got back to the States,
these boys want to play the blues so badly, and believe you me, they do, you know.
Which was probably a very nice [B] thing for him to say.
Manfred Mann, who already had several chart hits to their name,
also accepted the honor of backing Sonny Boy on stage.
[D] Sonny Boy was a grumpy old character, but the problem really was that Manfred Mann was made up mostly of trained musicians.
Musicians who could read music and write music.
And we fell out over how many bars there are in a 12-bar blues.
You know, I mean, the trained musicians thought it must be 12, surely.
You just keep it [F#m] all to yourself.
And Sonny Boy knew the correct answer, [G#] which was any number that I wanted to be.
Do that for me, darling.
[D] Don't make it to nobody else.
[G] [A]
[Am] [A] [D] [A]
[D]
[C] Sonny Boy Williamson was staying with our manager, Giorgio Gromelsky, in his flat in Lexham Gardens, [G] around the corner here.
And one day we came home to the flat and there's all this noise going on.
And we open the bathroom and Sonny Boy Williamson is plucking a live chicken in the bathroom.
[F#m] Like he did Peck Home, you know.
So there was a lot of cultural differences, you see.
Key:
D
A
F#m
G
B
D
A
F#m
We did realize, you know, pretty early on that we were these white impostors.
I mean, we played with, you know, people like Sonny Boy Williamson, for Christ's sake.
_ You know, he used to get very drunk, would think nothing of changing arrangements, screwing up the band.
Anyway, we were whiteies, what did he care?
And he actually said, you know, when he got back to the States,
these boys want to play the blues so badly, and believe you me, they do, you know.
Which was probably a very nice [B] thing for him to say. _ _
_ Manfred Mann, who already had several chart hits to their name,
also accepted the honor of backing Sonny Boy on stage.
_ _ _ _ [D] Sonny Boy was a grumpy old character, but the problem really was that Manfred Mann was made up mostly of trained musicians.
Musicians who could read music and write music.
And we fell out over how many bars there are in a 12-bar blues.
You know, I mean, the trained musicians thought it must be 12, surely.
_ You just keep it [F#m] all to yourself.
And Sonny Boy knew the correct answer, [G#] which was any number that I wanted to be.
Do that for me, darling.
[D] Don't make it to nobody else.
_ _ _ _ [G] _ [A] _ _
[Am] _ _ _ _ [A] _ _ [D] _ [A] _
_ [D] _ _ _ _ _ _
[C] Sonny Boy Williamson was staying with our manager, Giorgio Gromelsky, in his flat in Lexham Gardens, [G] around the corner here.
And one day we came home to the flat and there's all this noise going on.
And we open the bathroom and Sonny Boy Williamson is plucking a live chicken in the bathroom.
[F#m] Like he did Peck Home, you know.
So there was a lot of cultural differences, you see. _
I mean, we played with, you know, people like Sonny Boy Williamson, for Christ's sake.
_ You know, he used to get very drunk, would think nothing of changing arrangements, screwing up the band.
Anyway, we were whiteies, what did he care?
And he actually said, you know, when he got back to the States,
these boys want to play the blues so badly, and believe you me, they do, you know.
Which was probably a very nice [B] thing for him to say. _ _
_ Manfred Mann, who already had several chart hits to their name,
also accepted the honor of backing Sonny Boy on stage.
_ _ _ _ [D] Sonny Boy was a grumpy old character, but the problem really was that Manfred Mann was made up mostly of trained musicians.
Musicians who could read music and write music.
And we fell out over how many bars there are in a 12-bar blues.
You know, I mean, the trained musicians thought it must be 12, surely.
_ You just keep it [F#m] all to yourself.
And Sonny Boy knew the correct answer, [G#] which was any number that I wanted to be.
Do that for me, darling.
[D] Don't make it to nobody else.
_ _ _ _ [G] _ [A] _ _
[Am] _ _ _ _ [A] _ _ [D] _ [A] _
_ [D] _ _ _ _ _ _
[C] Sonny Boy Williamson was staying with our manager, Giorgio Gromelsky, in his flat in Lexham Gardens, [G] around the corner here.
And one day we came home to the flat and there's all this noise going on.
And we open the bathroom and Sonny Boy Williamson is plucking a live chicken in the bathroom.
[F#m] Like he did Peck Home, you know.
So there was a lot of cultural differences, you see. _