Gatemouth / Vital Blues BROWN / GUITAR Authentic Tablature Transcriptions Off the Original Recordings Transcribed by Skip GrassoGatemouth / Vital Blues BROWN/GUITAR Authentic Tablature Transcriptions Off the Original Recordings Transcribed by Skip Grasso. Contents Clarence “Gatemouth” Brown Biographical Notes .......ccsseseeee 2 Souvenir Photo SECTION ......scsssscssessseessssssesssesscsssesnsssseestesseesnenrsersetess 3 The Songs... BORN IN LOUISIANA uu... .ccsssessessessecssssessessessesssssesseeseestsetsesesssensssssenses 13 COLD STRINGS. .......cccsssesssssssseesesstsssestesscsussssssscneesesscsnssssssssesseatsensanes DOLLAR GOT THE BLUES .... GOOD LOOKING WOMAN | HATE THESE DOG GONE BLUES . LEFTOVER BLUES.........ccsscssssessssssssseessssesseesssstssssstssssssesteseesesssserseneecses 74 MY OWN PRISON... PRESSURE COOKER REAL LIFE SOMETIMES I SLIP......c.sccssesssssesseestesesstsstssscsussssssessesesssessssssseesses STRAIGHTEN UP.........csesssessssesseessecsssesstersessesssssesseessesseensecssersecssenssens 124, THAT’S YOUR DADDY YADDY YO WHAT A SHAME, WHAT A SHAME (Original Cover Photo by Robert Barl Vial Blues Guitar Series Produced by John L. Haag (©1994 Creative Concepts Publishing Corporation All Rights Reserved Cataiog # 07-4042 ISBN# 1-56922-043-3 Exclusive Distributor to the Music Trade: CREATIVE CONCEPTS PUBLISHING CORPORATION, 410 Bryant Circle, Box 848, Ojai, CA 93024Clarence “Gatemouth” BROWN Gatemouth Brown was born April 18, 1924, in Vinton, Louisiana, where he lived for only three weeks. Then his family moved to Orange, Texas. His early musical influences were as diverse as the interests of his father, Clarence Brown Sr., wuo worked as an engineer for the Southem Pacific Railroad and playedinastring band on weekends. He played fiddle, banjo, mandolin, and gui- tar at house parties, dances, and fish fries, performing in the songster tradi- tion the popular country blues, zydeco, and fiddle tunes of the day. Atage ten Gatemouth began playing the fiddle under the tutelage of his fa- ther, though he was also interested the instruments played by his brothers Bobby was a drummer and James “Widemouth” Brown was a respected blues guitarist and vocalist. As a teen- ager in Orange, Gatemouth worked as a drummer with Howard Spencer and his Gay Swingsters and later weat on the road with William M. Bimbo and His Brownskin Models. Ina 1979 interview with Ray Topping, he recalled, “I was about 16 or 17. I went all the way to Norfolk, Virginia, I worked at the Eldorado Club on Church Street in Nor- folk. I played drums in a litile house band until the outbreak of World War 1” Gatemouth served during the war, and after his discharge returned to Texas and joined Hort Hudge’s 23-piece or- chestra at the Keyhold Club in San An- tonio. After hearing of the success of T- Bone Walker at Don Robey’s Bronze Peacock, Gatemouth began playingelec- tric guitar in a style that challenged Walker's virtuosic abilities. His first encounter with T-Bone Walker was in Houston in the mid-1940s. He remem- bers the experience vividly. © T hitchhiked to Houston to see him and went into this club called the Bronze Peacock. He was the hottest stuff on guitar in Texas but he was sick with a stomach ulcer and he laid his guitar down on the stage and walked off to his dressing room. I got up and went up to the stage. No one knew I was a guitar player, but I just picked up T-Bone’s guitar and started to play, inventing a little boogie — “My names is Gatemouth Brown. I just got intown. Ifyou don’t like my style, I won't hang around.’ Well, they loved it, but T- Bone didn’t. He came back out on stage and snatched away his guitar and told me that was inbig troubleif Iever fooled with his guitar again? 9 Don Robey, the owner of the Bronze Peacock, intervened, realizing Gatemouth Brown’s raw abilities to play in the style of T-Bone Walker, who by that time was quite successful. Robey bought Gatemouth a new Gibson LS guitar and some new tuxedos from acustom tailor. Later he flew Gatemouth out to Los Angeles to sign a recording contract with Aladdin Records. In November 1947 four sides were re- corded. However, Robey was dissatisfied with the timetable and the promotion the records received and decided not to renew his Aladdin contract after the first year. Convinced that Gatemouth Brown could be a big hit, Don Robey started Peacock Records, named after his club, the Bronze Peacock. Gatemouth’s recordings for Pea- cock have an undeniable energy. His early recordings on Robey’s Peacock label are classies. The electric guitar sound is mod- ern: quick single string runs with a driving rhythm backed by tenor saxophone and trumpet. On some of the early sessions the horn section is enlarged to give a big band sound with swing era solos in a call and response pattern with the progressions of the electric guitar. His sound is the unique product of a creative ambition that constantly seeks to evolve and expand. In his role as blues guitarist, Gatemouth has influenced an entire generation of musicians, as well as defined modern blues style. Yet unlike his proteges, Gatemouth has never been con- tent to play just one style of music. Resist- ing the temptation (and industry pressures) to exploit his “known” successes, he has instead chosen to explore the “unknown,” to define rather than refine. Asa result, he has not only pushed his art beyond its conventional boundaries but has, with an unrelenting tour schedule and prolific re- cording pace, brought his audiences along for the ride as well Gatemouth refuses to pigeonhole, la- bel, or limit himself in any fashion and has, at times, been called “obstinate” for this. Gatemouth would call it “telling the truth.” He plays and creates what he feels, as he feels, and does not attempt to offer the results as anything other than a unique product of his imagination. There are no pithy, bite-sized generalizations of Gatemouth’s music, no slick marketing niches into which it falls --itisas rich and diverse as the worlds through which Gatemouth travels and, consequently, dif- ficult to pitch to a label-obsessed public. Gatemouth’s capacity to transcend such constraints however, isextraordinarily sin- gular; his career has often been a tale of artistic vision matched equally with perse- verance, In an interview with Alan Govenar, author of the book, “Meeting ofthe Blues,” Gatemouth defines his music this way: © my music is explanatory. don’t have a college education, but I've got sense. Texas is where I grew up, where I learned toplay white country music, French music, and blues. The blues depends on what you're feeling, but it’s also supposed to be an explanation. How can I tell you what I’m doing if I can’t explain it? You heard what I did, but can you ever truly know if I don’t tell you? Anything I do is an explanation, otherwise it’s a mystery. The idea is to make people feel better when they leave than when they come in. Itry to record and create the positive ideas for the people around me, black and white. Idon’t want to make my audience feel guilty Nobody owes me anything. But I’m a threat because I’m trying totell the truth? ? Biographical notes from “Meeting the Blues” by Alan Govenar, Taylor Publishing Co. and from “Liner Notes” by Jim Nelson, Alligator Records.4 i i : ‘ \ 4 nS SS a4 B. B. King and Gatemouth BrownGatemouth Brown and Roy Clark Gate and his brothers (LR): James Widemouth Brown, Bobby Brown and Clarence Gatemouth Brownthe SongsVv THE NOTATION Each guitar part is written in both musical notation and guitar tablature. The tablature tells you which strings should be played at which frets. The six lines of the staff corre- spond to the strings of the guitar, first string at the top, and the numbers written on the lines indicate which frets should be fingered. 1s (high E stringy pe 2nd (B string) ~——— 3rd (G string) a inoans BB) — | sth (astring) Cina 4th string, 3rd fret The numbers in the tablature staff should be played with the same rhythm that is written in the music notation staf. (if you're unfamiliar with musical notation, the best plan is to listen to and play along with the recording of the song.) Numbers that are stacked on top of one another should be fingered and played simultaneously as a chord. Left hand fingering has not been indicated, If you play through a Tine two or three times, the correct (that is, easiest) fingering should become apparent. Blues is repetitive: that's part of its charm. There are symbols used throughout to indicate repeating the previous measure, or the previous two measures. ep Sete we se 2 0 0 Repeat the previous Repeat the previous measure two measuresMW PULL-OFFS - Finger the string simultaneously at the fret shown and at the next fret shown, Pick the first note, and produce the next note by plucking the string with the left-hand finger you're pulling off. . ter SLIDES - Finger the string at the fret shown and, without lifting your finger, slide up or down to the next indicated fret. If no fret number is shown before the slide, start a fret or two away and slide quickly to the indicated fret. Or slide away from the indicated fret to an undetermined fret, lifting your finger as you go to mute the string. Any of these slides can be performed on single strings or with whole chords.Here is the tablature for some common guitar technique: BENDS - Finger the string at the fret shown and bend it upwards to produce the note that would ordinarily be heard at the fret number it parenthesis. This usually occurs on the first three strings. Pre-bends are notated in tablature and musical notation in the same manner as the standard bend , however they are indicated with the word “pre-bend”, In the case of pre-bends, the string is bent before the string is struck. Quarter (4) bends are indicated in both musical notation and tablature as an upward slur above the note / fret. (bend in rhythm) (quick bend) Unless otherwise paired with slurs or footnotes, parenthetic fret numbers / notes indicate” ghost-notes"- very faint pitches produced either with left or right hand, HAMMER-ONS - Finger the string at the fret shown and produce the next note not by picking it with the right hand, but by hammering a finger of your left hand onto the indicated fretBORN IN LOUISIANA Transcribed Off The Flecording by Clarence “Gatemouth” Brown on the Alligator CD “Standing My Ground” Words and Music by Guitar Tablature Transcription by Clarence “Gatemouth” Brown Skip Grasso Standard Tuning ®=-— @=D @=B @-a @ @ =E Intro Clarence Brown violin solo G vamp pe eS } Guitar Il w/Bass Ce = [ —— ts 6 x 7 = / B 5 Verse 1 — f = so = =e pa 9 oe = o 7 i - 1 was born _ in Lou.is-i-an-a and raised on the Tex - as ge is Se : : 1 a Zz ——# = Fe —— s T — a 5-6 Bs Chorus upstem notes 2X cr 7 cS =_ =r 2S Se J NY a side 1.3om in Louis-i - ana and raised on the Tex-as 2.1 was born E = —— S = b 5 : 3— | A 3 : 3 : BS 5 3 - 2 1949 SONGS FOR REAL (BMI) a vision of Rea Reens I; "This arangemaw 2 1984 SONGS FOR REAL14 D7 C7 * . “2 Foes oe aay —_——— ~ T that makes me a dual ci-ti-zen more than one re - al == = 4 — 4 es [| S Verse Il + HT Gvam D7 Gvamy — —— = NE eee o —* ——— ize, 2.Tex-as and Lou - i-si-an-a are 3. My mothers from Lou-i-si-an-a my eo — } 7 - (B— 5 7 - 1 € = = oe 7 just afew feet a - part I loveboth of the plamets that's where |. got my start__ daddy | don't know from where and if someone would ask me | would say I don't care cause Affer verse II go to Chorus 2nd time then to 2nd ending (Solo) c= eo oe : FFA A A 8 18-16-40-10—9- 9-16 9-10-10-4 a 5-8 cS g Clarence “Gatemouth” Brown Guitar I Solo [ee cB 5—9—5— 40 —9-10-9-40-9- S53 SNS OS — i |Gvamp J tie atest =e —_bg fe og Te bs > y bb h b b 3 a p> AS 4 3 ps oS 3 o ©. f Ss x e p-E Pree 7 ¥ | was born. in Lou-i-si-an-a and raised on the Tex - as 7 —— , : = oD wie ee “ae hae [Bs + f D.S. (for third verse) Al Coda Gvamp D7c7 Daug Gvamp to End : tip cle dee dee dee Due Dye dye die Due dye de pre-bend pre-bend pre-bend pre-bend — 46 le ie bie ae elie belie le tae seb t +42) 2H Hd? +42) my ye nd ode ce Oe le ee pre-bend pre-bend pre-bend pre-bend coy by be te ig bg tee ig hag H+ 10. € € 2y 6 ¢18 pre-bend19 b b bb bh h a Ra a or AS) — 5) 51) 3 ASH O33 i a - Fadeout begins Fade Out20 COLD STRINGS Transcrived Off The Recording by Clarence “Gatemouth” Brown on the Aligator CD “Pressure Cooker" Guitar Tablature Transcription Masicby by Clarence “Gatemouth” Brown Skip Grasso Standard Tuning: @=D @=B @=G @=E ras Med. Sufite(JJ = J dy D7 x a tie ef ft tevte 2 , te sheets Come = — == i i * 6 + =| Capo at 10th fret b b b b h = Bet 1BS¢s413—10— 43-48 = ix 1 Bay u uw i2¢hy-—10-4+$$_] B + 2 12 D7, ie — ithe 1 tt =| SS s b b I 12 ; Ky # 344 ine Paes1210— rs C13 oF 4 Ee t2 t t +t [ +3—+ a a” d G7 2 2 ESE fe 2, f§_EEEESE Ett Seed, pt BS = - = h a b P h t 1s 5 HS 7-413 aS 10 : BS HS B40 joe tot “2th 12-06 i i t Cc (0.1973 SONGS FOR REAL (BMI, a division of Res! Records ‘This anungement © 1983 SONGS FOR REAL ‘lligh Reserved21 + 43+ t545-13 16-16-13 1543 t 5+ 41540 s s s s s s “BH a aa BS 2h —$ ft i402}22 a & x D7 att & Fel, bb F2¢rytz —3 mee tote pies f J P __b bib P Se Bes) — 333 13-1305 340-413423 s s - tt i+ iad IE = 3 10§ 83 tO +3 B 43- * 294 —1412-10— tt tt + B = | b_b s ao, a>, bb t +5 +t + tStt7ytS 43 —t. 42+ 15+ 4542 ts $54224 Ph b bob bob b bb _»b h P ttt Tach acy acs rar atts 12 tatty 101210 = 1 peat a 7 h P b io b bb h 404240 #2¢64y— 12141210" ¥2¢4y acrytdte— i012 tHD7 petals tetetes eae tts at =a PhPhPHPHA P h h h h h h h h h L at Fe SS NTS ED [Bh 12-10-12- 101210421042 16° F042 40121092 1928121012 10 1210121612 = —f h h hh hob oh hob hh h a 7 Oe A——104246- ASS Se Se AS ttt B 1-10 fora ek HHS SSO HD t07216T P P PB PP PP PP 20+ Sate 51310 B34 6- t i130" nh P 42¢t4y-t6+ 104240" 42 - ¥ +626 D7/Ab tes rs T SOH10—}10-10 41 0—[10-10}10- D7/A D7/G A7 G7 he o—f10-10H16- 1-14-1414} 1727 D7 A7/E ty 424 12-4 = + 26410 42-4 B12 F882— ee ee a ee —— | - 1310 Ee 24 t0———16 H—t ~ + 3— — Z P i3—10 10-—+ 10 to— — 2 » + i 3} + 15) B55) 3 —_ 613 oy 3 b bb ob bb b ASS T +6: 101010 SS TSS AS tS 3101013 t5-83-B-——$£$ ae ~ 2 P P +6- £ 045-451029 s s aA b 1 3310 — Ys 1B =—— 10430157 141210 1214 141210 x s—. “s s sO 2nd string sounds Ak by sympathetic vibration Ph Pp Ph Ph PhPtet0-tt h h h h —t te40 410-10 0010-40 Za let 10-46- t6: —10-2- b oy h h 2 t 424437401 40 —>— 101010410 KE t te to aa h b i2c3yt0-12 0-103 10 16 Sete i fot +2 for 0S * 2eHyte-12-40 Be — D7 7 é = BE b — A tacrart Bt + - ftOt 13-412 +6: t67-+ t6—tt6- +04 +6:32 ~~ LH. * right hand thumb and left hand fingers tap notes in parenthesis (two handed rapping) s 1 —— - = I t £ B — = t ae EMENEMEMETO NEONATE EHEC EHTEL TI J tit alee Ne hehe, pea =f 7 Z b bb »b « ach] ena aehnachanre BT ~33 GOOD LOOKING WOMAN Transcnbed Off The Recording by Clarence "Gatemouth" Brown on the Rounder CD “The Original Peacock Recordings” Guitar Tablature Transcription Words and Music by by Clarence “Gatemouth” Brown Skip Grasso Standard Tuning: @=-E @=D @=B ®=-A @=G M=E Slow Blues Bb7 Eb Ebm Bb7 F7 Good_look ing wo - man Good look-ing wo-man __ _ what made you treatme so. the way you : ; . . det gst vy Good look-ing wo - man — Good look-ing wo - man. 2ft yy * © 1954 an renewed 1982 SONGS FOR REAL (BML) vision of Real ‘This rangement ©1934 SONGS FOR REAL34 ——— —— Tf — £ : oe what makes you treat_ me the way you do. You know | told. you SSS o a ¥ | I know! told _ you so ne-verdo that no more CS I want-ed to love you~ | tried to love 2e—— _ = + oe z Paria ve But you just kept on run-ning a - round 4. 833 $33 ¢ es é oS B43 tes Eb7 Bb7 Bets pra frets pe eo Yes,_! tried_to love you feet36 Bb7 ¥7 Bb7 Eb Ebm Bb7 ¥7 Bb7 Bb7 So please be care- ful, Please be care-ful__ ES | — * 5 aie SF — be care-ful, Oh, please be care-ful__ ee ee Fi hoo, h _ 3 oo CE37 Bb7 F7 CEs = SS ae Nee Dar - lin | want you to lis- ten are 202 £2 £ . sss ee $ 5 is the | fe 2 a az a3 satiee: odte-p-od) bat — ee iz o-9. (EE J 8 §: ss o Ly | I 1343 a e a 3- 43- t 1 6 $ B 2 243-42 = 5. Cm7 F7 Bb7 Ss 2s c=: | = fis f : oy Please_ lis- ten and | want that un - der - stood38 DOLLAR GOT THE BLUES Transcribed Off The Recording by Clarence “Gatemouth” Brown on the Rounder CD ‘Alright Again” Guitar Tablature Transcription Words and Music by by Clarence “Gatemouth” Brown Skip Grasso Standard Tuning: ®=E @=D @=B O=a O-G O-E _ Medium Blues Shuffle (J = J J) Bb7 ah y z be dette tie : — eS —e- h bob ob F 1 a FH - 1810) be | — Bb7 F7 Eb7 Bb7 : - ° be, ts : Fed es —— ae b 6-6 [e--6 69-6 he B © 1971 SONGS FOR REAL (8M vision of Real Reson, “This rangement 1994 SONGS FOR REAL39 Bb7 Bb7 Faug 1010-10-86 Bb? — an }____+¢ b b vs b fad : 6 a 8440) —6 te = - f —= [40 Bb7 Eb7 pp — Sa # ¥ ete = Dot-lar got the blues __ getting iow-er every-day #6 muted Eb7 Bb7 ve Dol-lar got the blues getting low-er @-ver-y day. 7 Eb7 Bb7 I would do some-thing a-bout it folks if 1 on-ly had my way— 2 ; sie ft oie — = =? EF4l Bb7 Faug Bb7 Eb? Bb7 It used to be two for one now its one for two. —~# £ ee see eee 6 = = L. | palm mute ~ h bh a 7 —6— a - 2 = Bb7 Eb7 BLT F = It used to be two for one______ Nowit's one for___ two_ Bb7 F7 oot: = —S What in the world are we poor. peo-ple go - ingto do, = =: a= ~— Ce42 s s =~ —9 | -34010—8-6— Bb7 A ree abe theTe rte 43 bb h Fa A 8(10)8(10)-8 6 —6-F B $e — ——_1—_—e——_1—— —— ih 8 —38— —# i 3—t44 Eb7 Bb7 22 6-6 —6 6-6-6 ~ - 6-6-6 3 8-8-8 | - — F7 - Bb7 . To ro oe £: ra = SSS o p oP -e : 9 8 be 6 —§—$— B e HM 10 BL7 Eb7 Bb7 Eb7 ro = es = KG = SS u Led = vv Le * Itis impossible to tell if Brown is playing with Horn backgrounds. So, I have notated a chord chart with top note of Horns. ! Cc - Fe bee 40 B 42- t tO—H- Eb7 Bb7 A 2 . s Het om [e ott oes — oe o " Lo Hee = 1 i a_i 9 5 5 E 1 3 ot45 Eb7 +6 -9 1—9- =e a | v x x BLT aed 4 S168 a46 Bb7 Eb7 Bb7 be Wall Streetis shak - y and so is your stock Bb7 Eb, —3—- 6 _ - De f — === SS o ~ - 7 oS Wall Streetis shak - y___ and so is your Bb7 7 t t Now you people in small busi-ness47 Eb7 —3— Bb7 Faug know just what I'm talk-ing a - bout. Bb7 Zz dol-lar got the blues get-ting low - er @- ver - y- day, Bb7 Eb7 dol-lar got the blues__ getting low - er i = = a i —— = = s b P o -48 1 could do some-thing a-bout it _ fs: fg: = a * Note: sweep index finger across strings. 6 6 5 : * B = = - Bb7 Faug 0 Of eae 7 = ——— —— —— Nowthat 1 on-ly have. = my way. — | ee Bb7 Eb7 Bb7 4 885509887 8558798849 Bb7 Eb7 8a loco

— 3 === - 2 TH —— 1 O° haa i Solo Cadenza J59 MY OWN PRISON Transcribed Off The Recording by Clarence “Gatemouth” Brown on the Alligator CD ‘No Looking Back” Words and Music by Guitar Tablature Transcription by Clarence “Gatemouth” Brown y Skip Grasso Standard Tuning: @=E @-=D @=-a @= Slow Blues Bb7 NC. Dee . deb Capo at 6th fret 3 loco Bb7 sdNew sd fad adivision of Real Resor Ine (©1980 SONGS FOR REAL (BMD, “Ths aranpemont ©1984 SONGS FOR REAL60 3X only J 2 .o ~ d 2 Bb7 ——_Upstem notes 2X + 3X only \ ‘ == ——— ee ee ee = tt = 4.1 Build my own pri-son but | for-got tomake a key _ 2. This pain is kill - ing me my mind is get-ting wear -y IstX only 3. | should have changed my thoughts when | fad the — chance . = ww And it's no - bod -y in my cell but me. Yes, I gotta tell some-bod -y, this ought to. be against the law. Cause Vd “be free of trouble today, | would fave know — in advance61 Eb7 —~ ee ¢ ae a * « f oe r —_ | build = my own pri - son And | for - got to make | build my own __ ri - son but | for - got to make 1 build = my own pri - son but | never thought to. make 7 — = 9 re My heart is _ hurting me. Eb7 Bb7 Faug Howcan I ev-er be free62 ¥ the key and there's no bod - y_ in this cell pe zi Eb7 Bb7 Faug, p4 rm GP a oe T no-bod-y but me. 14-463 ¥7 = = —* + t = es Cause there’s no-bod-y in this cell oot64 Eb7 Faug pe SEs = ak —— p a : € G G N.C. b ~ ay — st = = 6 == = ; Do do bum do bum do ba do badum Oh i? be Oo ba do do dwa dobada dwa do ba do di do do dit di do | : - 3m Arc WS h P b b bh { 3 — 3 - —— 568 G7 a po —3 _ 35 2 a = ft te ee ; foyhe. = —s Ste = f oe = + + + oe oe shes = Do di di do di di do di di do Ba ba bo bobow 60 zip didoba didizeum 3 3 35 bee SI 7 do da do ba da di di dodo da di di doda do da di do mm da rele be be h 3 SBS SPD7 G7 Scat enas fetter Ss dodida di di di di di di di di di di di di [pa tte ae eo + — 36 b - 5 6 A 5 B 7 |Trumpet Solo G7(13) G7(13) G7(13) 67113) 7113) 7113) . G73) Le < e = . io = = 3 = — pe = zs —— # 0 7 7 7 7 p72 G7(13) D7(13) c7(13) G7(13) G7(13) 3 be = Bee ee Dodidododa da do didado-do Da di-dodi di? do de di dido de di dido beta bate 3 3 a a > LF be da da do da do dado da da da do do da do zip dodo dide a bo dobow bow do x, idle vt73 = di di dum de di dum | fy Pie = ——— = s=2== oe 3 b h ss * 5 6) 5 3—3 | a = =: = 1 Al = tight a74 LEFTOVER BLUES Transcribed Off The Recording by Clarence “Gatemouth” Brown on the Alligator CD “Standing My Ground” Guitar Tablature Transcription ‘Words and Music by by Clarence “Gatemouth” Brown Skip Grasso Standard Tuning ®@-E @=D @=B ®=A @=G @=E Slow Blues G7 Capo at 8th fret Clarence "Gatemouth" Brown Guitar I 1% ik rs ha t Ste ite | hed Nite ’ he 11989 SONGS FORREAL. (BM, dvson of Rest Recon. “Ts arongement © 1994 SONGS FOR REAL.7 \ © ee o fore. a fips E 6 2» = HS f * £ Ze e ¥ 7 vt =r = hh 5 8 B - 510.a | | woke up ear-ly this mor-ing | F7 = ae fl fe = = of feeling ver-y sad Cause the note | found on my door-step 7 j—"— #4 —- " = este oe ee i ae: Poe o + = ya Man, sure did make me =mad__ It said “ba - by__ ba be you've got_ to ia hs eo hee i _ VEE 7 = = aE 3 ~ ~ b_b a - Hest : ah7 i c7 Gaug = ° o- v Solo a 10¢12)—— a loco th b a be_ 1B HB i — It said “Ba-by, don’t so be rude Se =79 co 49 = Z $a eS Gis 7s a just give me one more chance dar-ling. You won't call me left 0 - ver blues Wo Oh, Ba - by Ba-by don't be so__80 7 Just give me one more Se chance babe. You won't just call me left o G7 7 7 Gaug 4 a = = = 1 ver blue cause | can't lose with the stuff I use. 8 D.S. Al Coda HOCH81PRESSURE COOKER Transcribed Off The Recording by Clarence "Gatemouth" Brown on the Alligator CD ‘Pressure Cooker” Guitar Tablature Transcription Music by my Clarence “Gatemouth” Brown Skip Grasso Standard Tuning: @=E @=D @=B ®=A @=G OeE 39 Jazz Blues (2d = J 2) Cee ~ FF co 2 F7 2 | Capo at 8th fret Pp Pp i —s nw v 7 Dm7 G7 7 HH 10-8 on = tote 808 0 10-38-88 oh oe (©1973 SONGS FOR REAL (BMD, alvsion of Real Records “This amangement © 1993 SONOS FOR REAL Ill ighs Reserved83 ce = 10-8 H-10 —1e- tt Ht 1 try 43: tt +384 —= s sP P pi#-——— 10-84 10-8 ths — | * 10th ii8 f t B 10-10 1e—16 — — — 4 10-8au G7 7 Dm:86 Dm7 P P s P F s 810-010-888 0-8 10-8 —10--— 210-8G7 36 D.C. al Coda me p p_ bre-bend Pp P > Rin | torderztor 881040 8-8 = + +040 +04688 ne) rit. Band enters TuttiWHAT A SHAME, WHAT A SHAME Transcribed Off The Recording by Clarence *Gatemouth” Brown on the Rounder CD ‘Real Life* Guitar Tablature Transcription Skip Gra: Standard Tuning: Clarence “ @=D Oc Slow Blues I A Words and Music by Gatemouth” Brown spncegsene sot Guitar I - Clarence “Gatemouth” Brown Capo at the sixth fret 6 ot F6+ <> e } Guitar ID es i - : Bb7 B7 Bb7 1 1985 SONGS FOR REAL (BML) division of Rel Records, re “Thisarangemcn 1994 SONGS FOR REAL AI Rights Rasen90 — 4 4 —4— 4 = tie pit sss ; ag #: fit 6 t. e———— ean Ce x be ny *. yh * Vibrato "F” only. b ee 66-6 b « “6 66 S488 —6- S40) 867 wa 2 se 1 —<— ooo = — i f You wake up ear - ly in the mom - ing just be - fore the _ break. CS Eee 8€40)810)8ON8-8}} [ Eb7 Be SS SS SS 5 oe ~ = — You wakeup ear - ly in the mom - ing just be -fore the break —93 you don'thear a word__ Bb7/F Faug BT = Go on baby. aBb7 == know your try - ing to do your thing. pon = = wat eS =a =) 6 an ee f t ee 1 said go on goon ba - by 1 know your try ing to do_ att Bb7 B7 Bb7 BNL J - = a — your thing.7 Eb7 Ao #0 # = #9 #9 2? _— @ + € = But if you don't un.der-stand my con-ver-sa-tion O44 - = e = = ty fae = aids = - _ ze : — ma 6) —— Bb7 18-46-Bb7 L Eb7 J 333 Pee iguigi’st a's. 4 > _ HPSS 47 48 49 48 AF A (Se * FP 3 6 3 é i ae db b h b _ 6-H I-6-9-6 — — Te im aspoken: mercy vn 7 rina bie heat ateetietiet f : bows b b b b b b © 9. ¢ 8 40—98 ‘BE10y BEHOY BEHO)8- Bb7 Faug Bo7 Eb7 I wrote you a long jong let-ter try-ing to make our lives Bb7 B7 Bb7 just a lit-tle bit better99 3S I wrote Twrote you a long. long let-ter. I was try-ing to make our lives just a Eb7 If twrote it in big bex. car100 Bb7 Bb/D Eb E°7 Bb7 Faug BO _ bh b oh _ 6 * a = = - = a 3 Bb7 Eb7 Oop Ete Pte SSS So goon ba - by and try anddo_ —_yourthing r =| * > Lya PP PP 9-6-9 Goon, Goon, ba - by and try — todo your.101 h 6 6th rr ~ 109 ja = — 1 7 Eb7 ht _—— cam = pS =e = a oe ee And if you don't un-der-stand my con-ver-sa-tion Eb E°7 Then what a shame _ what a shame. what a Bb7 Faug102 Bb7 Eb7 Bb7 B7 — Go on ba-by, Goonba - by, — Goon_ ba - by, / », 2 (2) (@ be £ 2 bt tet ‘(ee £ £ Be + i Ss OO = a 3-H F io + co 3 85 Eb7 Bb7 B7Bb7 103 oe And if you miss my con-ver-sa - tion 2 = «ge Se es = 5 a sae —— SS eS a 6 10 B 6 Bb N.C. Eb7 What a shame, what a shame_ ic What a shame104 REAL LIFE Transcribed Off The Recording by Clarence "Gatemouth" Brown on the Rounder CD ‘Real Life” Guitar Tablature Transcription Words and Music by by Clarence “Gatemouth” Brown Skip Grasso Standard Tuning: @=-— @= 5 D B ®=A @©=G =E 9 © Medium Blues Shuffle Capo at the sixth fret h ho h aah Se oe h _ Pp 9-6 bs - : bs 8 p= ae e re b ~ = 7 bx 666 6 : - 6-8 (©1981 SONGS FOR REAL (BMI, vision of Rel Records, fe “Tris arsngement 1984 SONGS FOR REAL105 Eb7 Bb7 Eee Deine orgies lessen prc b b b h h h 9-6 T 7 6 4 a —6— 84 Ate) —6 B 8 — Faug Eb7 Bb7 digo o2 SS SS = —t a | live_my life and 1 love the life 1 live , . a tee pat wt 588 oie — 7 t GF eee ee Ee Vi Vi h_¢ i “6 he 8- ms 5 | | live. my life and | love the_life _ | live - fet, the, y fe Et : : vie tet ease. ea pie Eee es h h b L = os 5 a 18) B106 Bb7 ¥7 Eb7 Bb7 Ht — —s 5 ees ; ee a tes : = FP a ee ‘And you can bet _ my kindof life. is real fhe f = pie ede wis i i L bh h b — + be = Bb7 Eb7 Bb7 esa + ¥— | foundout_ you can’t live by _ your - self. Bb7 othe = 7 Oh 1__ just found out —-you__ can't live by your - self. besssess tbe 41> f ret 53 7 = = pe ie Peteriese | h b [-P-9:9.-9-9-9.9-9- Faseeece7 [Ck 1O18HOH810L010— BEO8-6-107 Bb7 rv Eb7 Bb7 Stay along at home. and think.ing of no-bod - y___ else. ls x abe, Tey frdigs : = = Peers tae = a 7 h h b ¥ — 967 te — 6 is Faug | 'Y JID DID muted bob 1 ak eo 6 |}-F—\¢-6-6-6— Bb7 yy. “pet Sf eo + + 3S oS F7 es b —thsse ote tote ote tote pee | oe weve pre-bend pre-bend pre-bend b b | | | 846) —