Chords for The Fender Eric Clapton "Brownie" Tribute Stratocaster : Presented By Guitar Center
Tempo:
119.35 bpm
Chords used:
A
E
G
C
Em
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Can I get you to do that?
Why not?
[C] [G]
Menacing.
[E] [A]
[D]
[C] [A]
[G] [A] [Em]
When it sounds good, it sounds dead right
on that, between the middle and bridge.
That [Am] was
That was the sound, you know, [Em] that sort of banjo.
[A] [Dm]
[Am] [A]
[Am]
[G] [C] [G]
[Dm] [G] [A]
[G] [E] [A] [E]
[A] [E]
[A] [G]
[Em] [E] [A]
[Am] [E]
Yeah, that'll do.
Very nice.
The [N] repro and the original, they take me back,
that brownie takes me back to a state of mind
and a state of capability.
It didn't look much different to the way it looks now,
I don't think, you know.
What [C] I would always look for [N] on a strap was a maple neck
that had been worn out.
You know, that was the thing.
If it looked brand new, then it was obviously, you know,
it was like a restaurant.
If there's lots of people in there, you know,
it's got to be good food.
So I just thought if it had all those kind of worn-out patches,
it meant that it had been, you know, well favoured.
So that would
This probably would have pretty much been what it was like
when I bought it.
Right.
[G] And, you know, to go back to why that would be is that, you know,
I saw Buddy Holly [E] holding one, Buddy Holly played one,
and, you know, all those records [N] that he made,
it sounded like it was really, really quiet, you know,
and the tone, you know, it was
He played it like an acoustic guitar a lot of the time.
So it had that initial appeal to me when I was a kid.
But then somewhere down the road I went to the marquee
and saw Buddy Guy, [G#] and I heard Buddy Guy on an album
[A] called Folk Festival of [E] the Blues, where he was the new kid
on the block playing with Muddy and Howlin' Wolf,
and they were all singing, and he just launched into this solo
that killed everybody dead, you know.
[N] And then I went to see him at play and he was bouncing it off the floor,
you know, playing it behind his
between his legs, behind his head, but taking it off
and throwing it on the floor and bouncing it and catching it and playing.
I mean, all these kind of tricks that obviously had been going on,
you know, for those guys for a long time,
and everyone was up to that apparently back then.
And it was, you know, went out a little bit,
and he didn't use, you know, the wang bar.
It was all, man, I thought, this is the sound, and then Hendrix, yeah.
And Jimmy was playing one while I was still playing an SG.
And I didn't get to it then, but I got to it right away afterwards.
And I think the problem was trying to find the Maple Necks.
You know, they weren't that.
You know, all the models that were current at that time
had rosewood fingerboards.
So they'd kind of gone out of circulation, this end of the scene anyway.
It wasn't until I went through the States on tour
that I started picking them up in pawn shops and record shops for a song,
you know, and I'd buy four or five at a time.
So that comes back to me, you know, when I pick up these guitars.
That all comes back to me, doing the Johnny Cash show,
[C]
you know, with [E] Carl Perkins, man.
I mean, touring with that in a quartet [C] that was quieter, funky,
very, very strong, all of it hinged on the toughness of this guitar.
There's a lot involved.
There is a nostalgic [A] thing about my own journey,
let alone the journey of the guitar.
The two things combine.
[D] [Em]
[A] [E] [A]
[Dm] [A] [C]
[A] [Dm]
[G]
[A] [D]
[A] [E] [A] [D]
[F#m] [F] [Dm] [A]
[E] [A] [Em]
[Am] [G] [E] [D]
[A]
[G] [A]
[E] [A]
[F] [E] [A]
[Em] [A]
©
Why not?
[C] [G]
Menacing.
[E] [A]
[D]
[C] [A]
[G] [A] [Em]
When it sounds good, it sounds dead right
on that, between the middle and bridge.
That [Am] was
That was the sound, you know, [Em] that sort of banjo.
[A] [Dm]
[Am] [A]
[Am]
[G] [C] [G]
[Dm] [G] [A]
[G] [E] [A] [E]
[A] [E]
[A] [G]
[Em] [E] [A]
[Am] [E]
Yeah, that'll do.
Very nice.
The [N] repro and the original, they take me back,
that brownie takes me back to a state of mind
and a state of capability.
It didn't look much different to the way it looks now,
I don't think, you know.
What [C] I would always look for [N] on a strap was a maple neck
that had been worn out.
You know, that was the thing.
If it looked brand new, then it was obviously, you know,
it was like a restaurant.
If there's lots of people in there, you know,
it's got to be good food.
So I just thought if it had all those kind of worn-out patches,
it meant that it had been, you know, well favoured.
So that would
This probably would have pretty much been what it was like
when I bought it.
Right.
[G] And, you know, to go back to why that would be is that, you know,
I saw Buddy Holly [E] holding one, Buddy Holly played one,
and, you know, all those records [N] that he made,
it sounded like it was really, really quiet, you know,
and the tone, you know, it was
He played it like an acoustic guitar a lot of the time.
So it had that initial appeal to me when I was a kid.
But then somewhere down the road I went to the marquee
and saw Buddy Guy, [G#] and I heard Buddy Guy on an album
[A] called Folk Festival of [E] the Blues, where he was the new kid
on the block playing with Muddy and Howlin' Wolf,
and they were all singing, and he just launched into this solo
that killed everybody dead, you know.
[N] And then I went to see him at play and he was bouncing it off the floor,
you know, playing it behind his
between his legs, behind his head, but taking it off
and throwing it on the floor and bouncing it and catching it and playing.
I mean, all these kind of tricks that obviously had been going on,
you know, for those guys for a long time,
and everyone was up to that apparently back then.
And it was, you know, went out a little bit,
and he didn't use, you know, the wang bar.
It was all, man, I thought, this is the sound, and then Hendrix, yeah.
And Jimmy was playing one while I was still playing an SG.
And I didn't get to it then, but I got to it right away afterwards.
And I think the problem was trying to find the Maple Necks.
You know, they weren't that.
You know, all the models that were current at that time
had rosewood fingerboards.
So they'd kind of gone out of circulation, this end of the scene anyway.
It wasn't until I went through the States on tour
that I started picking them up in pawn shops and record shops for a song,
you know, and I'd buy four or five at a time.
So that comes back to me, you know, when I pick up these guitars.
That all comes back to me, doing the Johnny Cash show,
[C]
you know, with [E] Carl Perkins, man.
I mean, touring with that in a quartet [C] that was quieter, funky,
very, very strong, all of it hinged on the toughness of this guitar.
There's a lot involved.
There is a nostalgic [A] thing about my own journey,
let alone the journey of the guitar.
The two things combine.
[D] [Em]
[A] [E] [A]
[Dm] [A] [C]
[A] [Dm]
[G]
[A] [D]
[A] [E] [A] [D]
[F#m] [F] [Dm] [A]
[E] [A] [Em]
[Am] [G] [E] [D]
[A]
[G] [A]
[E] [A]
[F] [E] [A]
[Em] [A]
©
Key:
A
E
G
C
Em
A
E
G
_ _ _ _ _ Can I get you to do that?
_ _ _ _ Why not? _
[C] _ _ _ _ _ [G] _ _ _
_ _ _ _ _ _ Menacing.
[E] _ [A] _ _ _ _ _ _ _
_ _ _ _ _ _ _ [D] _
[C] _ [A] _ _ _ _ _ _ _
[G] _ _ [A] _ _ _ [Em] _ _ _
When it sounds good, it sounds dead right
on that, _ between the middle and bridge.
That [Am] was_
That was the sound, you know, [Em] that sort of banjo.
_ [A] _ _ [Dm] _ _ _
_ _ _ [Am] _ _ _ [A] _ _
_ [Am] _ _ _ _ _ _ _
_ _ _ [G] _ [C] _ [G] _ _ _
[Dm] _ [G] _ [A] _ _ _ _ _ _
[G] _ [E] _ _ _ _ _ [A] _ [E] _
_ _ _ _ [A] _ _ _ [E] _
[A] _ _ _ _ _ [G] _ _ _
[Em] _ _ _ [E] _ _ _ _ [A] _
[Am] _ [E] _ _ _ _ _ _ _
_ _ _ Yeah, that'll do. _ _
_ _ _ _ _ Very _ nice.
The [N] repro and the original, they take me back,
that brownie takes me back to a state of mind
and a state of capability.
It didn't look much different to the way it looks now,
I don't think, you know.
What [C] I would always look for [N] on a strap was a maple neck
that had been worn out. _ _
_ You know, that was the thing.
If it looked brand new, then it was obviously, you know,
it was like a restaurant.
If there's lots of people in there, you know,
it's got to be good food.
_ So I just thought if it had all those kind of worn-out patches,
it meant that it had been, you know, well favoured.
So that would_
This probably would have pretty much been what it was like
when I bought it.
Right.
_ [G] And, you know, to go back to _ why that would be is that, you know,
I saw _ Buddy Holly [E] holding one, Buddy Holly played one,
and, you know, all those records [N] that he made,
it sounded like it was really, really quiet, you know,
and the tone, you know, it was_
He played it like an acoustic guitar a lot of the time. _ _ _
So _ it had that initial appeal to me when I was a kid.
But then somewhere down the road I went to the marquee
and saw Buddy Guy, [G#] and I heard Buddy Guy on an album
[A] called Folk Festival of [E] the Blues, where he was the new kid
on the block playing with Muddy and Howlin' Wolf,
and they were all singing, and he just launched into this solo
_ that killed everybody dead, you know.
[N] And then I went to see him at play _ and he was bouncing it off the floor,
_ you know, playing it behind his_
between his legs, behind his head, but taking it off
and throwing it on the floor and bouncing it and catching it and playing.
I mean, all these kind of tricks that obviously had been going on,
you know, _ for those guys for a long time,
and everyone was up to that apparently back then.
And it was, you know, went out a little bit,
and he didn't use, you know, the wang bar.
It was all, _ man, I thought, this is the sound, and then Hendrix, _ yeah.
And Jimmy was playing one while I was still playing an SG.
_ And I didn't get to it then, but I got to it right away afterwards.
And I think the problem was trying to find the _ Maple Necks.
You know, they weren't that.
You know, _ all the models that were current at that time
had rosewood fingerboards.
So they'd kind of gone out of circulation, this end of the scene anyway.
It wasn't until I went through the States on tour
that I started picking them up in pawn shops and record shops for a song,
you know, and I'd buy four or five at a time.
_ So that comes back to me, you know, when I pick up these guitars.
That all comes back to me, doing the Johnny Cash show,
_ [C]
you know, with [E] Carl Perkins, man.
I mean, touring with that in a quartet [C] that was quieter, funky,
very, very strong, all of it hinged on the toughness of this guitar.
There's a lot involved.
There is a nostalgic [A] thing _ about my own journey,
_ _ let alone the journey of the guitar.
The two things _ combine. _ _
_ _ [D] _ _ [Em] _ _ _ _
_ [A] _ [E] _ _ [A] _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[Dm] _ _ _ _ [A] _ _ _ [C] _
[A] _ _ [Dm] _ _ _ _ _ _
_ _ [G] _ _ _ _ _ _
[A] _ _ _ _ _ _ [D] _ _
[A] _ _ [E] _ _ [A] _ _ [D] _ _
[F#m] _ [F] _ _ [Dm] _ _ [A] _ _ _
[E] _ _ [A] _ _ _ _ [Em] _ _
[Am] _ [G] _ [E] _ _ [D] _ _ _ _
_ [A] _ _ _ _ _ _ _
[G] _ _ _ [A] _ _ _ _ _
[E] _ _ [A] _ _ _ _ _ _
[F] _ _ [E] _ _ [A] _ _ _ _
_ [Em] _ [A] _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ © _ _
_ _ _ _ Why not? _
[C] _ _ _ _ _ [G] _ _ _
_ _ _ _ _ _ Menacing.
[E] _ [A] _ _ _ _ _ _ _
_ _ _ _ _ _ _ [D] _
[C] _ [A] _ _ _ _ _ _ _
[G] _ _ [A] _ _ _ [Em] _ _ _
When it sounds good, it sounds dead right
on that, _ between the middle and bridge.
That [Am] was_
That was the sound, you know, [Em] that sort of banjo.
_ [A] _ _ [Dm] _ _ _
_ _ _ [Am] _ _ _ [A] _ _
_ [Am] _ _ _ _ _ _ _
_ _ _ [G] _ [C] _ [G] _ _ _
[Dm] _ [G] _ [A] _ _ _ _ _ _
[G] _ [E] _ _ _ _ _ [A] _ [E] _
_ _ _ _ [A] _ _ _ [E] _
[A] _ _ _ _ _ [G] _ _ _
[Em] _ _ _ [E] _ _ _ _ [A] _
[Am] _ [E] _ _ _ _ _ _ _
_ _ _ Yeah, that'll do. _ _
_ _ _ _ _ Very _ nice.
The [N] repro and the original, they take me back,
that brownie takes me back to a state of mind
and a state of capability.
It didn't look much different to the way it looks now,
I don't think, you know.
What [C] I would always look for [N] on a strap was a maple neck
that had been worn out. _ _
_ You know, that was the thing.
If it looked brand new, then it was obviously, you know,
it was like a restaurant.
If there's lots of people in there, you know,
it's got to be good food.
_ So I just thought if it had all those kind of worn-out patches,
it meant that it had been, you know, well favoured.
So that would_
This probably would have pretty much been what it was like
when I bought it.
Right.
_ [G] And, you know, to go back to _ why that would be is that, you know,
I saw _ Buddy Holly [E] holding one, Buddy Holly played one,
and, you know, all those records [N] that he made,
it sounded like it was really, really quiet, you know,
and the tone, you know, it was_
He played it like an acoustic guitar a lot of the time. _ _ _
So _ it had that initial appeal to me when I was a kid.
But then somewhere down the road I went to the marquee
and saw Buddy Guy, [G#] and I heard Buddy Guy on an album
[A] called Folk Festival of [E] the Blues, where he was the new kid
on the block playing with Muddy and Howlin' Wolf,
and they were all singing, and he just launched into this solo
_ that killed everybody dead, you know.
[N] And then I went to see him at play _ and he was bouncing it off the floor,
_ you know, playing it behind his_
between his legs, behind his head, but taking it off
and throwing it on the floor and bouncing it and catching it and playing.
I mean, all these kind of tricks that obviously had been going on,
you know, _ for those guys for a long time,
and everyone was up to that apparently back then.
And it was, you know, went out a little bit,
and he didn't use, you know, the wang bar.
It was all, _ man, I thought, this is the sound, and then Hendrix, _ yeah.
And Jimmy was playing one while I was still playing an SG.
_ And I didn't get to it then, but I got to it right away afterwards.
And I think the problem was trying to find the _ Maple Necks.
You know, they weren't that.
You know, _ all the models that were current at that time
had rosewood fingerboards.
So they'd kind of gone out of circulation, this end of the scene anyway.
It wasn't until I went through the States on tour
that I started picking them up in pawn shops and record shops for a song,
you know, and I'd buy four or five at a time.
_ So that comes back to me, you know, when I pick up these guitars.
That all comes back to me, doing the Johnny Cash show,
_ [C]
you know, with [E] Carl Perkins, man.
I mean, touring with that in a quartet [C] that was quieter, funky,
very, very strong, all of it hinged on the toughness of this guitar.
There's a lot involved.
There is a nostalgic [A] thing _ about my own journey,
_ _ let alone the journey of the guitar.
The two things _ combine. _ _
_ _ [D] _ _ [Em] _ _ _ _
_ [A] _ [E] _ _ [A] _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[Dm] _ _ _ _ [A] _ _ _ [C] _
[A] _ _ [Dm] _ _ _ _ _ _
_ _ [G] _ _ _ _ _ _
[A] _ _ _ _ _ _ [D] _ _
[A] _ _ [E] _ _ [A] _ _ [D] _ _
[F#m] _ [F] _ _ [Dm] _ _ [A] _ _ _
[E] _ _ [A] _ _ _ _ [Em] _ _
[Am] _ [G] _ [E] _ _ [D] _ _ _ _
_ [A] _ _ _ _ _ _ _
[G] _ _ _ [A] _ _ _ _ _
[E] _ _ [A] _ _ _ _ _ _
[F] _ _ [E] _ _ [A] _ _ _ _
_ [Em] _ [A] _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ © _ _