Chords for Tiger Army's Nick 13 on his Gretsch Guitar Collection | Artist Interview | Gretsch Guitars
Tempo:
114.85 bpm
Chords used:
D
A
G
E
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
It's hard to put [Bm] the Gretsch sound into [C] words.
I always know it when I hear [D] it.
If I hear it on a [A] record, there aren't [C#m] that many guitars
[D] that you can tell [E] right away that's what it is.
[G] There's an emotional quality to just hearing something played with that [C] tone
that gets me in a way that no [D] other guitar really [A] gets me.
[C#m]
[D] [E] [A] I think [C#] what drew me to Gretsch, I think [Em] seeing pictures of them,
people playing them in the 50s.
I read a lot of guitar magazines, of course, when you're first starting out,
and I got to teach at Atkins Play,
and kind of just barely starting out with electric guitar.
Definitely heavily into the Beatles, so reading about George and his duo Jet.
I read, I can't tell you how many books about the Beatles
in junior high and high school.
I think it was the first Gretsch that I got.
It was a double anniversary, but it had been very sadly modified.
The original pic has been taken out.
The body was there, but the wiring was shot.
I paid a couple hundred dollars for it,
and I wound up basically having it restored.
The first time I ever plugged it in, it was to a blackface fender,
and I never heard anything sound that good in my life that I was playing.
It was like an emotional moment hearing those sounds
come out of that guitar and out of that amp,
and me being responsible for them in some way.
[Dm]
Ever since then, really, that's been the only guitar I've wanted to play.
[A#]
[D#] I've [F] always been really into music, and I've been into the connections
[G#] between different players, different genres.
You have the Beatles being influenced by Buck Owens,
and you have the Sex Pistols being influenced by Eddie Cochran.
I just see all those through lines that start probably in the 40s at Hillbilly,
go into the 50s with rock & roll and rockabilly, [B] then into surf.
As far as punk, a lot of the bands that were most important to me
had a connection with 50s and 60s rock & roll,
whether that was the Ramones or the Cramps or the Misfits.
I always saw it as kind of a continuum,
not that it's necessarily all the same thing,
but it's all part of the same family tree.
As far as Gretsch plays into that,
I think it's the connection between the classic 50s sound,
someone who was very influential to me, like say Eddie Cochran,
but then that's a through line that leads up through someone like
Poison Ivy the Cramps or Billy Zoom from X,
the fact that he was coming from a rockabilly background
and playing in this sort of overdriven, kind of new way,
at least for that style of music.
From the 50s, Buddy Holly.
The thing I like about Buddy Holly is that he was an innovator
in the way guitar was played.
There were a lot of concepts as far as making a single guitar player,
vocalist, guitarist, and a three-piece sound bigger
that I still use and a lot of people still use.
I've mostly been attracted to stylists.
It's not necessarily that what they're playing
is so incredibly difficult to play,
but they were the person that thought of approaching the guitar like that.
Dwayne Eddy is a huge one.
A little later on in punk, Johnny Ramone.
Again, it's not about the technicality,
it's about the emotion and the approach.
Ron Emery from TSOL was always a favorite of mine,
and I'm sure there are a lot of people I'm forgetting.
Gretsch is a rock & roll guitar to me.
And I think the music, whether it's punk,
whether it's whatever the differences in time period or era are,
it's all rock & roll.
And there's something about the tone for me
that I would have a hard time putting in words,
but I've just always connected to from the time I was a teenager till now.
There's something emotional about it.
[G] [A]
Well, as far as the guitars, I use Live On Stage with Tiger Army.
This would be the primary one.
This is a George Harrison model Duo Jet.
I swapped out the truss rod cover, and I have a Melita bridge on it.
And other than that, it's pretty stock.
The thing I really like about the Duo Jet
is that back in the day when the band started,
I had a 60s Gretsch double anniversary with the Hi-Lo Trons,
and I loved the hollow body, I loved that the pickups were single coil,
but I had a lot of feedback control issues.
And shortly after that, I got an original 57 Duo Jet.
Luckily, I was able to come across one of those.
And I think for me, the chambering is what really makes the tone and the sound I need.
I'm not entirely giving up the hollow body thing.
You still have that resonance from the chamber.
A friend of mine who works at Gretsch told me he was involved
in the actual making of this model,
and he told me a story about how they flew George's guitar over from England,
had it x-rayed to get the chambering exactly right.
And you can really tell on this particular one,
because I have an 02 [D] Duo Jet and I have an 04,
and this is the one as far as the chambering.
Another guitar that I carry that I really like is the Gretsch White Falcon.
There are certain songs that I just need that hollow body for.
And this particular one has the lacquer finish,
which lets it breathe more, it's more resonant,
closer to that vintage 50s, 60s sound that I'm into.
That one has stock Dynasonics in it.
They sound great, I've never wanted to change them out.
And then I have a White Penguin.
It's a little bit of a different color for certain songs, tone-wise.
I mostly use it as far as certain tunings.
It's a way to change it up.
I think that one has T-Armends in it.
I have an original 1957 Duo Jet.
That's probably my favorite guitar.
That's definitely all over the records.
And that also has the Melita on it, which I think is where I got into it.
For me, it's not that you always need it,
but it's nice to have that option, intonation option, if you need it.
I have a really nice, really clean,
I think it's a 62 double anniversary with the Hylotrons.
It almost looks like a reissue because it was kind of unplayed.
I've definitely used that on records as well.
I have a lot of guitars, a lot of oddball things,
like Clippers and anything with the single coils I'm into.
My favorite is the Dynasonics or D-Armends.
But the Hylotrons are a [A] cool color as well
that I definitely like to [G#] use on records.
[G] [E]
[G] [F#] [F]
I always know it when I hear [D] it.
If I hear it on a [A] record, there aren't [C#m] that many guitars
[D] that you can tell [E] right away that's what it is.
[G] There's an emotional quality to just hearing something played with that [C] tone
that gets me in a way that no [D] other guitar really [A] gets me.
[C#m]
[D] [E] [A] I think [C#] what drew me to Gretsch, I think [Em] seeing pictures of them,
people playing them in the 50s.
I read a lot of guitar magazines, of course, when you're first starting out,
and I got to teach at Atkins Play,
and kind of just barely starting out with electric guitar.
Definitely heavily into the Beatles, so reading about George and his duo Jet.
I read, I can't tell you how many books about the Beatles
in junior high and high school.
I think it was the first Gretsch that I got.
It was a double anniversary, but it had been very sadly modified.
The original pic has been taken out.
The body was there, but the wiring was shot.
I paid a couple hundred dollars for it,
and I wound up basically having it restored.
The first time I ever plugged it in, it was to a blackface fender,
and I never heard anything sound that good in my life that I was playing.
It was like an emotional moment hearing those sounds
come out of that guitar and out of that amp,
and me being responsible for them in some way.
[Dm]
Ever since then, really, that's been the only guitar I've wanted to play.
[A#]
[D#] I've [F] always been really into music, and I've been into the connections
[G#] between different players, different genres.
You have the Beatles being influenced by Buck Owens,
and you have the Sex Pistols being influenced by Eddie Cochran.
I just see all those through lines that start probably in the 40s at Hillbilly,
go into the 50s with rock & roll and rockabilly, [B] then into surf.
As far as punk, a lot of the bands that were most important to me
had a connection with 50s and 60s rock & roll,
whether that was the Ramones or the Cramps or the Misfits.
I always saw it as kind of a continuum,
not that it's necessarily all the same thing,
but it's all part of the same family tree.
As far as Gretsch plays into that,
I think it's the connection between the classic 50s sound,
someone who was very influential to me, like say Eddie Cochran,
but then that's a through line that leads up through someone like
Poison Ivy the Cramps or Billy Zoom from X,
the fact that he was coming from a rockabilly background
and playing in this sort of overdriven, kind of new way,
at least for that style of music.
From the 50s, Buddy Holly.
The thing I like about Buddy Holly is that he was an innovator
in the way guitar was played.
There were a lot of concepts as far as making a single guitar player,
vocalist, guitarist, and a three-piece sound bigger
that I still use and a lot of people still use.
I've mostly been attracted to stylists.
It's not necessarily that what they're playing
is so incredibly difficult to play,
but they were the person that thought of approaching the guitar like that.
Dwayne Eddy is a huge one.
A little later on in punk, Johnny Ramone.
Again, it's not about the technicality,
it's about the emotion and the approach.
Ron Emery from TSOL was always a favorite of mine,
and I'm sure there are a lot of people I'm forgetting.
Gretsch is a rock & roll guitar to me.
And I think the music, whether it's punk,
whether it's whatever the differences in time period or era are,
it's all rock & roll.
And there's something about the tone for me
that I would have a hard time putting in words,
but I've just always connected to from the time I was a teenager till now.
There's something emotional about it.
[G] [A]
Well, as far as the guitars, I use Live On Stage with Tiger Army.
This would be the primary one.
This is a George Harrison model Duo Jet.
I swapped out the truss rod cover, and I have a Melita bridge on it.
And other than that, it's pretty stock.
The thing I really like about the Duo Jet
is that back in the day when the band started,
I had a 60s Gretsch double anniversary with the Hi-Lo Trons,
and I loved the hollow body, I loved that the pickups were single coil,
but I had a lot of feedback control issues.
And shortly after that, I got an original 57 Duo Jet.
Luckily, I was able to come across one of those.
And I think for me, the chambering is what really makes the tone and the sound I need.
I'm not entirely giving up the hollow body thing.
You still have that resonance from the chamber.
A friend of mine who works at Gretsch told me he was involved
in the actual making of this model,
and he told me a story about how they flew George's guitar over from England,
had it x-rayed to get the chambering exactly right.
And you can really tell on this particular one,
because I have an 02 [D] Duo Jet and I have an 04,
and this is the one as far as the chambering.
Another guitar that I carry that I really like is the Gretsch White Falcon.
There are certain songs that I just need that hollow body for.
And this particular one has the lacquer finish,
which lets it breathe more, it's more resonant,
closer to that vintage 50s, 60s sound that I'm into.
That one has stock Dynasonics in it.
They sound great, I've never wanted to change them out.
And then I have a White Penguin.
It's a little bit of a different color for certain songs, tone-wise.
I mostly use it as far as certain tunings.
It's a way to change it up.
I think that one has T-Armends in it.
I have an original 1957 Duo Jet.
That's probably my favorite guitar.
That's definitely all over the records.
And that also has the Melita on it, which I think is where I got into it.
For me, it's not that you always need it,
but it's nice to have that option, intonation option, if you need it.
I have a really nice, really clean,
I think it's a 62 double anniversary with the Hylotrons.
It almost looks like a reissue because it was kind of unplayed.
I've definitely used that on records as well.
I have a lot of guitars, a lot of oddball things,
like Clippers and anything with the single coils I'm into.
My favorite is the Dynasonics or D-Armends.
But the Hylotrons are a [A] cool color as well
that I definitely like to [G#] use on records.
[G] [E]
[G] [F#] [F]
Key:
D
A
G
E
C
D
A
G
_ It's hard to put [Bm] the Gretsch sound into [C] words.
I always know it when I hear [D] it.
If I hear it on a [A] record, there aren't [C#m] that many guitars
[D] that you can tell [E] right away that's what it is.
[G] There's an emotional quality to just hearing something played with that [C] tone
that gets me in a way that no [D] other guitar really [A] gets me.
_ _ [C#m] _ _
_ [D] _ _ _ [E] _ _ [A] I think [C#] what drew me to Gretsch, I think [Em] seeing pictures of them,
people playing them in the 50s.
I read a lot of guitar magazines, of course, when you're first starting out,
and I got to teach at Atkins Play, _
and kind of just barely starting out with electric guitar.
Definitely heavily into the Beatles, so reading about George and his duo Jet.
I read, I can't tell you how many books about the Beatles
in junior high and high school.
I think it was the first Gretsch that I got.
It was a double anniversary, but it had been very sadly modified. _ _ _
The original pic has been taken out.
The body was there, but the wiring was shot.
I paid a couple hundred dollars for it,
and I wound up basically having it restored.
The first time I ever plugged it in, it was to a blackface fender,
and I never heard anything sound that good in my life that I was playing.
It was like an emotional moment hearing those sounds
come out of that guitar and out of that amp,
and me being responsible for them in some way.
[Dm] _ _ _
Ever since then, really, that's been the only guitar I've wanted to play.
_ [A#] _
_ _ _ [D#] _ _ I've [F] always been really into music, and I've been into the connections
[G#] _ between different players, different genres.
You have the Beatles being influenced by Buck Owens,
and you have the Sex Pistols being influenced by Eddie Cochran.
_ I just see all those through lines that start probably in the 40s at Hillbilly,
go into the 50s with rock & roll and rockabilly, [B] then into surf. _
As far as punk, a lot of the bands that were most important to me
had a connection with 50s and 60s rock & roll,
whether that was the Ramones or the Cramps or the Misfits.
I always saw it as kind of a continuum, _
_ not that it's necessarily all the same thing,
but it's all part of the same family tree.
As far as Gretsch plays into that,
I think it's the connection between the classic 50s sound,
_ _ someone who was very influential to me, like say Eddie Cochran,
_ but then that's a through line that leads up through someone like
Poison Ivy the Cramps or Billy Zoom from X,
the fact that he was coming from a rockabilly background
_ _ _ and playing in this sort of overdriven, _ kind of new way,
at least for that style of music.
From the 50s, Buddy Holly.
The thing I like about Buddy Holly is that he was an innovator
in the way guitar was played.
There were a lot of concepts as far as making a single guitar player,
vocalist, guitarist, and a three-piece sound bigger
that I still use and a lot of people still use.
I've mostly been attracted to stylists.
It's not necessarily that what they're playing
is so incredibly difficult to play,
but they were the person that thought of approaching the guitar like that.
Dwayne Eddy is a huge one.
A little later on in punk, Johnny Ramone.
Again, it's not about the technicality,
it's about the emotion and the approach.
Ron Emery from TSOL was always a favorite of mine,
_ and I'm sure there are a lot of people I'm forgetting.
Gretsch is a rock & roll guitar to me.
_ And I think the music, whether it's punk,
whether it's whatever the _ differences in time period or era are,
_ it's all rock & roll.
And there's something about the tone for me
that I would have a hard time putting in words,
but I've just always connected to from the time I was a teenager till now.
There's something emotional about it.
[G] _ _ _ _ _ _ [A] _
_ _ Well, as far as the guitars, I use Live On Stage with Tiger Army.
This would be the primary one.
This is a George Harrison model Duo Jet.
_ _ I swapped out the truss rod cover, and I have a Melita bridge on it. _
_ And other than that, it's pretty stock.
The thing I really like about the Duo Jet
is that back in the day when the band started,
I had a 60s Gretsch double anniversary with the Hi-Lo Trons,
and I loved the hollow body, I loved that the pickups were single coil,
but I had a lot of feedback control issues.
And shortly after that, I got an original 57 Duo Jet.
Luckily, I was able to come across one of those.
And I think for me, the chambering is what really makes the tone and the sound I need.
I'm not _ entirely giving up _ the hollow body thing.
You still have that resonance from the chamber.
A friend of mine who works at Gretsch told me he was involved
in the actual making of this model,
and he told me a story about how they flew George's guitar over from England,
had it x-rayed to get the chambering exactly right.
And you can really tell on this particular one,
because I have an 02 [D] Duo Jet and I have an 04,
and this is the one as far as the chambering.
Another guitar that I carry that I really like is the Gretsch White Falcon. _
_ There are certain songs that I just need that hollow body for.
_ And this particular one has the lacquer finish,
_ _ _ _ _ which lets it breathe more, it's more resonant,
closer to that vintage 50s, 60s sound that I'm into.
That one has stock _ _ Dynasonics in it.
They sound great, I've never wanted to change them out.
And then I have a White Penguin.
It's a little bit of a different color for certain songs, tone-wise.
I mostly use it as far as _ certain tunings.
It's a way to change it up.
I think that one has T-Armends in it.
I have an original 1957 Duo Jet.
That's probably my favorite guitar.
That's definitely all over the records.
And that also has the Melita on it, which I think is where I got into it.
For me, it's not that you always need it,
but it's nice to have that option, intonation option, if you need it.
I have a really nice, really clean,
I think it's a 62 double anniversary with the Hylotrons.
It almost looks like a reissue because it was kind of unplayed.
I've definitely used that on records as well.
I have a lot of guitars, a lot of oddball things,
like Clippers and anything with the single coils I'm into.
My favorite is the Dynasonics or D-Armends.
But the Hylotrons are a [A] cool color as well
that I definitely like to [G#] use on records.
[G] _ _ _ [E] _ _ _ _ _ _ _ _
[G] _ _ [F#] _ _ [F] _ _ _ _
I always know it when I hear [D] it.
If I hear it on a [A] record, there aren't [C#m] that many guitars
[D] that you can tell [E] right away that's what it is.
[G] There's an emotional quality to just hearing something played with that [C] tone
that gets me in a way that no [D] other guitar really [A] gets me.
_ _ [C#m] _ _
_ [D] _ _ _ [E] _ _ [A] I think [C#] what drew me to Gretsch, I think [Em] seeing pictures of them,
people playing them in the 50s.
I read a lot of guitar magazines, of course, when you're first starting out,
and I got to teach at Atkins Play, _
and kind of just barely starting out with electric guitar.
Definitely heavily into the Beatles, so reading about George and his duo Jet.
I read, I can't tell you how many books about the Beatles
in junior high and high school.
I think it was the first Gretsch that I got.
It was a double anniversary, but it had been very sadly modified. _ _ _
The original pic has been taken out.
The body was there, but the wiring was shot.
I paid a couple hundred dollars for it,
and I wound up basically having it restored.
The first time I ever plugged it in, it was to a blackface fender,
and I never heard anything sound that good in my life that I was playing.
It was like an emotional moment hearing those sounds
come out of that guitar and out of that amp,
and me being responsible for them in some way.
[Dm] _ _ _
Ever since then, really, that's been the only guitar I've wanted to play.
_ [A#] _
_ _ _ [D#] _ _ I've [F] always been really into music, and I've been into the connections
[G#] _ between different players, different genres.
You have the Beatles being influenced by Buck Owens,
and you have the Sex Pistols being influenced by Eddie Cochran.
_ I just see all those through lines that start probably in the 40s at Hillbilly,
go into the 50s with rock & roll and rockabilly, [B] then into surf. _
As far as punk, a lot of the bands that were most important to me
had a connection with 50s and 60s rock & roll,
whether that was the Ramones or the Cramps or the Misfits.
I always saw it as kind of a continuum, _
_ not that it's necessarily all the same thing,
but it's all part of the same family tree.
As far as Gretsch plays into that,
I think it's the connection between the classic 50s sound,
_ _ someone who was very influential to me, like say Eddie Cochran,
_ but then that's a through line that leads up through someone like
Poison Ivy the Cramps or Billy Zoom from X,
the fact that he was coming from a rockabilly background
_ _ _ and playing in this sort of overdriven, _ kind of new way,
at least for that style of music.
From the 50s, Buddy Holly.
The thing I like about Buddy Holly is that he was an innovator
in the way guitar was played.
There were a lot of concepts as far as making a single guitar player,
vocalist, guitarist, and a three-piece sound bigger
that I still use and a lot of people still use.
I've mostly been attracted to stylists.
It's not necessarily that what they're playing
is so incredibly difficult to play,
but they were the person that thought of approaching the guitar like that.
Dwayne Eddy is a huge one.
A little later on in punk, Johnny Ramone.
Again, it's not about the technicality,
it's about the emotion and the approach.
Ron Emery from TSOL was always a favorite of mine,
_ and I'm sure there are a lot of people I'm forgetting.
Gretsch is a rock & roll guitar to me.
_ And I think the music, whether it's punk,
whether it's whatever the _ differences in time period or era are,
_ it's all rock & roll.
And there's something about the tone for me
that I would have a hard time putting in words,
but I've just always connected to from the time I was a teenager till now.
There's something emotional about it.
[G] _ _ _ _ _ _ [A] _
_ _ Well, as far as the guitars, I use Live On Stage with Tiger Army.
This would be the primary one.
This is a George Harrison model Duo Jet.
_ _ I swapped out the truss rod cover, and I have a Melita bridge on it. _
_ And other than that, it's pretty stock.
The thing I really like about the Duo Jet
is that back in the day when the band started,
I had a 60s Gretsch double anniversary with the Hi-Lo Trons,
and I loved the hollow body, I loved that the pickups were single coil,
but I had a lot of feedback control issues.
And shortly after that, I got an original 57 Duo Jet.
Luckily, I was able to come across one of those.
And I think for me, the chambering is what really makes the tone and the sound I need.
I'm not _ entirely giving up _ the hollow body thing.
You still have that resonance from the chamber.
A friend of mine who works at Gretsch told me he was involved
in the actual making of this model,
and he told me a story about how they flew George's guitar over from England,
had it x-rayed to get the chambering exactly right.
And you can really tell on this particular one,
because I have an 02 [D] Duo Jet and I have an 04,
and this is the one as far as the chambering.
Another guitar that I carry that I really like is the Gretsch White Falcon. _
_ There are certain songs that I just need that hollow body for.
_ And this particular one has the lacquer finish,
_ _ _ _ _ which lets it breathe more, it's more resonant,
closer to that vintage 50s, 60s sound that I'm into.
That one has stock _ _ Dynasonics in it.
They sound great, I've never wanted to change them out.
And then I have a White Penguin.
It's a little bit of a different color for certain songs, tone-wise.
I mostly use it as far as _ certain tunings.
It's a way to change it up.
I think that one has T-Armends in it.
I have an original 1957 Duo Jet.
That's probably my favorite guitar.
That's definitely all over the records.
And that also has the Melita on it, which I think is where I got into it.
For me, it's not that you always need it,
but it's nice to have that option, intonation option, if you need it.
I have a really nice, really clean,
I think it's a 62 double anniversary with the Hylotrons.
It almost looks like a reissue because it was kind of unplayed.
I've definitely used that on records as well.
I have a lot of guitars, a lot of oddball things,
like Clippers and anything with the single coils I'm into.
My favorite is the Dynasonics or D-Armends.
But the Hylotrons are a [A] cool color as well
that I definitely like to [G#] use on records.
[G] _ _ _ [E] _ _ _ _ _ _ _ _
[G] _ _ [F#] _ _ [F] _ _ _ _