from ZZ Top - Degüello
A Fool for Your Stockings Words and Music by Billy F Gibbons, Dusty Hill and Frank Lee Beard Gtr. 1: Drop D tuning: (low to high) D-A-D-G-B-E
Intro 3 3 Free time = *D7
Gtr. 1 (clean)
f
w/ fingers
12
let ring
1/2
10 10
12 10
4 4
12 0
5 5
4 4
5 5
4 4
5 5
4 4
5 5
4 4
5 5
5 5
12 10
5 5 5
4 4 4 0 **6th string only
8 8 8
7 7 7
7 7 7
5 5 5
5 5 5
4 4 4
12
0
let ring
4 4 4
12
**let ring
1/2
10 10
*Chord symbols reflect basic harmony.
5 5 5
5 5 5
7 7 7
5 5 5
7 7 7
__ =
7
5
7
6
5
3
3
Moderately slow q = 77 Gtr. 1 tacet
Gtr. 4 tacet
Am7
†
Gtr. 4 (clean)
mp 1
10
***Gtrs. 2 & 3 (clean)
mf
13
15
1 15
3
1. Is it
†Played as even eighth-notes.
w/ fingers
1 0
0 1 0 0
1 0 2
0 1 0 0
1 0 2
0 1 0 0
1 0 2
0 1 0
***Composite arrangement
Copyright © 1979 Music Of Stage Three All Rights Administered by Stage Three Music (US) Inc., a BMG Chrysalis company All Rights Reserved Used by Permission
1
Verse Gtr. 2 tacet
Am7
Dm7/A
3
you
a - gain out - side
Gtr. 3
Am7
Rhy. Fig. 1
just
Am7
3
bang - in’ on the front
door?
3
0
You
Dm7/A
3
3
said you had e - nough,
1 1 2
0 1 0 2
1 1 2
0 1 0 2
Dm7/A
*
0
0 1 0 2
1 1 2
now you’re
0
*Swing behind the beat.
Am7
Dm7/A
com - in’ back for
Dm7
3
3
more.
End Rhy. Fig. 1
Rhy. Fig. 2
Am7
Dm7/A
that’s al - right.
I End Rhy. Fig. 2
Am7 3
3
I’m just a fool for your stock - ings I
Gtr. 2
Am7
let ring
2 3 2 2
2
2 3 2
let ring 0
2 3 2
0
0 1 0 2
0 1 0
0 1 0
3
3
Dm7/A
3
2. Now, I
8 9
3
Gtr. 3
ad - mit it,
0 1 0 3
Dm7/A
be - lieve.
0 1 0
1 1 2
3
3
E9sus4 3
may not want to
Rhy. Fig. 3
0
Bm7
0 1 0
3 3
0 1 0
1 1 2
0 1 0 2
C
said that
0
Dm7/A
I
1 1 2
0 0
0 1 0
Am7
C/D
1 1 2
3
3
Dm7
al - right,
1 1 2
0 1 0
3
But that’s
C/D
3
10
1 1 2 0
0 1 0 2
End Rhy. Fig. 3
1 1 2 0
Verse Gtr. 2 tacet Gtr. 3: w/ Rhy. Fig.1 (1st 3 meas.)
Am7
Dm7/A
don’t mind when you send mon - ey
and
3
3
Am7
Dm7/A
*
Am7
bring your girl - friends with you.
Dm7/A
But
3
how could one be
3
3
so thought - less,
to
try
*Sung as even eighth-notes.
Am7
Dm7/A
Dm7
3
3
3
and have, ah, less than two?
Gtr. 3
Am7
I
**
3
3
3
3
0 1 0
0 1 0
0
may not want to ad - mit it,
1 1 2
0 1 0
that that’s
0
C
said
0 1 0
1 1 2
0
Dm7/A
3
0 1 0
1 1 2
0 1 0 2
Am7
3
ba - by.
C/D
I
Dm7/A
al - right,
1 1 2
3
Dm7
But that’s al - right,
1 1 2
0 1 0
C/D
3
0 1 0
0 1 0
3
3
**Sung as even eighth-notes.
Bm7
E9sus4
Am7
3 3 I’m just a fool for your stock - ings Gtr. 2
I
be - lieve,
3
Dm7/A
ba - by.
3 3 5 5
Gtr. 3
let ring
2 3 2 2
let ring 0
2 3 2
0
0 1 0
0 1 0 0
5 7 7
1 0 2
1 1 2
3
Guitar Solo Gtr. 3 tacet
Am7
3
3
3
Gtr. 2
3
3
3
1/4
5 7 7
5 7 7
6 8 8
5
5 7 7
5 5
5 5
5 5
5 7 7
5 7 7
6 8 8
5 7 7
5
3 5 5
3 5 5
5 7 7
5 5
5 7 7
6 8 8
5 7 7
5 7 7
5 7 7
5 5
5
5 7 7
5
C/D
3
3
3
3
3
6 8 8
5 7 7
5 7 7
Gtr. 3
8
5
8
8
8
8
8
8
8
8
8
0 1 0
0 1 0
Rhy. Fig. 4
8
5
3
3
3
8
8
8
8
7
7
3
1/2
Am7
3
1/4
7
7
8
3
3
3 1/2
5 7 7
Gtr. 2
C
0 1 0
0 1 0
5 7 7
3 5 5
5
End Rhy. Fig. 4
3
3
3
1/2
5 7 7
6 8 8
5 7 7
5
5 7 7
3 5 5
3 5 5
3 5 5
5 7 7
5 7 7
6 8 8
5 7 7
5
5 7 7
5 5
5
7
7
0 1 0 3
4
7
9
7
7
8 9
7
0 1 0
0 1 0 3
5
7
7
0 1 0 3
Bm7
E9sus4
3
3
3
3
Am7
5
5 7
7
7
8
let ring
2 3 2 2
5
7
7
let ring
7 5 7
5
7
7
5 7
0 1 0
0 1 0
0 1 0
1 0 2
0
5 7 7
3 5 5
5
0
0
7
9
7
3
10
2 3 2
1/4
5
Gtr. 3 tacet
Gtr. 2
3
3
3
3
1/4
5 7 7
6 8 8
5 7 7
5
3 5 5
3 5 5
5 7 7
3
1/4
6 8 8
5 7 7
5 7 7
3 5 5
5
3 5 5
5 7 7
7
5 7 7
6 8 8
5 7 7
3 5 5
3 5 5
5 X 7
5
2
3 5 5
Gtr. 3: w/ Rhy. Fig. 4
C/D
3
1/4
6 8 8
5 7 7
5
3
3
3
3
3
8
8
8
8
8
3
1/2
7
7
3
1/2
3 5 5
3 5 5
5 7 7
8
5
8
8
8
8
5
7
7
7
7
Gtr. 2
5
3
3
10 5
7
5
7
7
7
5
7
5
3
5
3
5
10
*
C
Am7
1/2
13
1/4 1
16
13
13
1 1/2
2
13
13
13
13
3 *Played behind the beat.
Gtr. 3
1 0
1 0
0 1 0 3
0 1 0
0 1 0 3
0 1 0 3
5
Gtr. 3: w/ Rhy. Fig. 3 (last 3 meas.)
Gtr. 2 tacet
Bm7
E9sus4
Am7
Dm7/A
Am7
Dm7/A
3
3. Now, I’m 6 3 3 5 6
Gtr. 2
1/2
5 8
5
7
7 5 7 5
7
7
5
7 7
7
5 7
7
5
7
5 3
5 5 3 5
Verse Gtr. 3: w/ Rhy. Fig. 1
Am7
Dm7/A
Am7
3
tell - in’
ev - ’ry - bod
-
3
3
y,
well, it
Dm7/A
Am7
3
seems too good to be
true.
But
Dm7/A
3
3
3
know mine
did, how ’bout
Gtr. 2
you?
Dm7
Yes,
it’s
I
Gtr. 2 tacet
C/D
Dm7
C/D
3
al - right.
3 3
sweet things can al - ways get sweet - er.
Gtr. 3: w/ Rhy. Fig. 2
Am7
Dm7/A
I
said,
3
yeah, I
5
Gtr. 3: w/ Rhy. Fig. 3
Am7
Dm7/A
Am7
3 3
3
said yes
it
is.
Dm7/A
C
That’s al - right.
I
* may
not
want
3 to
ad - mit
it,
*Sung as even eighth-notes.
Bm7
E9sus4
Am7
3
I’m just Gtr. 2
3
a
3
3
fool for your stock - ings
I
Dm7/A
Am7
Dm7/A 3
be - lieve.
Have mer - cy.
3 5 5
6
5 7 7
Outro-Guitar Solo
Am7
3
3
3
3
1/4
3
3 5 5
3 5 5
5 7 7
5
3
6 8 8
5 7 7
5 7 7
5
5 7 7
6 8 8
5 7 7
3 5 5
5 7 7
5
1 1
13
5 7 7
5 5
3
3 3 1/4
5 7 7
5 7 7
6 8 8
5 7 7
5
7
3
7 7
8 8
7 7
3
5 5
7 7
14 15
5 5
5 7 7
6 8 8
5 7 7
5 7 7
8
5
12
5
0
5
7
3
3
5 5
7 7
7
8
7
5
7
14 15
5
5 5
Begin fade
3
7
8
3
7
5
7
5
7
7
3
5
8
3
3
3
7 7
5
7
5 7 7
6 8 8
5 7 7
5
7
5
7
5
7
7
Fade out
3
3
3
3
3
3
3
3
1
3
1/4
7 7
8 8
7 7
5
7 7
3 3 4
0
5
3 5
7
7 7
8 8
7 7
5
7
10 9
5
7
5
7
7 7
8 8
7 7
8
8 7
8
5
7 7 7
7
from ZZ Top - Rio Grande Mud
Apologies to Pearly Words and Music by Billy F Gibbons, Frank Lee Beard, Dusty Hill and Bill Ham
Gtr. 1: Open E tuning: (low to high) E-B-E-G#-B-E
__ =
A
3
Moderately fast q = 137
Gtr. 1 (dist.) 3 3 3 3 μ
*E
f
3
w/ slap-back delay w/ slide 10
12 12
12
12
12
12
12
12
12
12
12
12
10 11
Gtr. 2 (slight dist.)
12
3
mf
3
12 12
12
12 12
3
12
12
12
12
12
12
12
12
12
P.M.
2 0
2 0
0
0
4 0
0
2 0
0
4 0
0
2 0
0
4 0
0
*Chord symbols reflect basic harmony.
11
4 0
0
12
3
12 12
12
11
A
3 P.H.
12
12
5 4
5
5
4
5
4
5
3 4
10
12
12
11
12
Pitch: C
P.M.
2 0
0
4 0
0
4 0
0
2 0
6 4
7 5
7 5
5
9 5
5
7 5
5
9 5
5
5
Copyright © 1972 Music Of Stage Three and Stage Three Songs Copyright Renewed All Rights Administered by Stage Three Music (US) Inc., a BMG Chrysalis company All Rights Reserved Used by Permission
9 5
5
7 5
5
9 5
5
1
E
B
3
11
10
10
3
steady gliss.
10
12
12
12
10
11
loco
8va
11
12
15
17
3
18
*
7 18
8
6
7
6
6
7
6
6.5
6
*Slide positioned halfway between 6th & 7th frets.
P.M.
2 0
2 0
4 0
4 0
0
2 0
0
4 0
0
0
A
E
5
4
P.M.
B
5
5
3
2
11 11
0 0
6 7 0
6 7 0
9 5
5
7 5
5
A
9 5
5
2 0
4 0
0
F#
F
3 3
2 2
0
E7
7 5
0
12 12
12
P.M.
11
9
P.M.
4 X 5
0
P.M.
3 X 4
0
9 7
7
11 7
9 7
7
11 11
11 11
7 7
15
P.M.
1 X 2
0
0
2 2
2 2
2 2
3
4
2 2
0 2 X 2
0 2 X 2
0 2 X 2
3 X 1
E
9 10
3
14
steady gliss.
15
12
12
10
3
14
0
B7
11 7
7
Bb
steady gliss.
2
E
10
2 X 3
0
0
12
12 12
11
11
11 10
2 2
X X
2 2
12
3
2 2
11 10
2 3
4
0
10
12
1 X 2
11
11
10
0
1 1 X X 2 2
0
3
9
7
6
5
4
5
4
0
1 X 2
0
1 X 2
1 X 2
1 X 2
1 X 2
A
4
3
3
3
5
4
5
5
5 5
4
3
2 2
2 2
0
3
10
5
7
7
2 2 2
2 2
0
0
2 2
2 2
0
3
3
steady gliss.
14 14 13 12 13 12
3
B
7
6
5
2 2
4 4
6
7
7
7
7
6
3
5
5
7
steady gliss.
6
5
6
3
4 4
4 4
4 4
2
4 4
2
4 4
2 2
4 4
C Gtr. 1 tacet
E
μ
E μ
Aμ
E
3 3 f w/ slap-back delay let ring let ring
Gtr. 3 (dist.)
1/2
1
14
14
12
Gtr. 2
1/2
14
14
14 12
14
1/4
12 14 0
14 12
12
14
13
0
F#7
1
15
15
7
9 9
X X X
X X X
4
6 4 6
B7
12
2
12
14
12
14 13
11
12 10 10
14
E
E7
F#
3 2 4
12
X X X
F
1/2
12
14
12 12
11
2
4 2 4
14
14
0
12
4 X 5
3 X 4
E
B7
9 14
0
0 0 1
X X X
12
7
12
14
1
14
12
2 2 0
2
C#7
12 10 12 10
2 X 3
12
9
9
11
9
1 X 2
2
0 2 1
0 2 1
0 2 1
3
D
A
1/2
1/2
12 11
9
11
1
9
11
9
11
E
3
9
11
14
2 2
2 0
2 0
2 0
2 2
2 2
3
4
2 2
0
2 2 2
3
4
0
9
10
9 9
11
9
3
12
1/2
9 11
9
11
11
1 2 2
2
1/2
14
3
7
9
8
0
2 2 2
A
3
12
3
2 2
12
14
14
3 3
1/2
12 12 12 12 15 12 12 15
9
3
1
11
9
B
X X X X X X X X X
1 0 2
1 0 2
0
1
2 2
2 0
0
3
3
3 w/ pick & finger
12 11
7
9
12 9
10 9
12
7
7
1
0
2 2
1
0
B7
14
9
9
11
1/2
2 2
0
2 2
2 2 3
E
μ
E
1/4
12 12
14
9 9 7
4
12
2
12
0
2 2
14
12
14
0
2 2
2 2
2 2
2
4 4
2
E
12 13
7
4 4
μ
12
4 4
12
10
11
A
12
12
12
4 4
2
4 4
2
4 4
4 2 4
4 2 4
X X X
μ
14
12
2 2 0
12
14
12 12
14
12 12
14
12
E7#9
12
12
14
11
12
14
12
14
12
12
12
14
C#7#9
0
8 9
E7
0
5 6
F
F
2 X 3
1/2
1/2
14 14
14 14
0
12
1/2
14 14
14 14
2 2
3
12 14 14
14 14
0
1/2
14 14
14 14
12
1
0 0 0
12
3
2 2
2 2
3
4
2 2
12
0
3 1/2
14 14
4 2 1
4 2
2 4
14 14
14 14
2
2
2
3 1/2
14 14
14 14
14 14
2
1/2
14 14
14 14
1/2
12
3
1/2
14 14
14 14
12 12
4 2
2
12
3
1/2
12
3
4 2
B7
12
1/2
0
3
3
0 2
A
3
5 3
14
3 X 4
4 X 5
E7
12
14
13
12
14
4 2
1
12
11
4
F#
14
14
11
7
E
12 10
B7
1
12 12
14
F#7
12
1/2
14 14
14 14
2 2
3
3
1/2
12
14 14
14 14
0
12
1/2
14 14
14 14
12
1/2
14 14
14 14
12
14 14
14 14
3
2 2
2 2
3
4
2 2
5
3
3
1/2
12
1/2
14 14
14 14
3
1/2
12
14 14
14 14
14 14
14 14
12
1/2
12
14 14
14 14
0
2 0
0
0
A
3
3
1/2
12
1/2
14 14
14 14
12
12
14 14
14 14
2 2
0
B
1/2
12
14 14
2 2
2 2
4 4
2 2
14 14
14 14
3
12
14 14
14 14
0
1 0 2 0
1 0 2 0
1 0 2 0
1 0 2 0
12
1/2
14 14
14 14
14 14
12
1/2
14 14
14 14
14
12
3
12
1/2
14 14
14 14
12
14 14
14 14
2 2
0
3
1/2
14 14
3
12
2 2
14 14
14 14
1/2
14 14
14 14
1/2
12
3
1/2
12
14 14
14 14
3
14 14
0 0 1 0 2 0
1/2
12
14 14
14 14
3
1/2
12
3
1/2
14 14
14 14
1
12
12
0 0 2 0
1/2
14 14
14 14
14 14
14 14
3
1/2
12
1/2
12
3
1/2
14 14
14 14
14 14
14 14
0 0 1 0
1
0
3
1/2
12
3
1/2
14 14
14 14
P.M.
3
1/2
12
E7
2 2
0
10
12
1/4
11
12
11
6 6
6
14
14
15
2
12
14
12
4 4
6 6
4 4
12
14
14
4 4
12
2
4 4
0
12
6 6
4 4
G
A
E
12
14
12
14
12
9 9
7
3
14
9 9
A#º7
3
3
15 12
9 9
11 7
7
12
12
14
9 9
7
3
3
3
3
1
12
14
3
7
3
3
12
9 9
12
14 14 14 14 14 14
14
14
11 11
7
13
14
14
12
9 9
2 2
E
14
14
3
12
14 12 14
0
2 2
0
2 2
2 2
0 0
C#7
12
12
11
3
1
12
12
15
12
6 5 6
12
14
14
12
14 14
14
6
6 5 6
6 5 6
6 5 6
14 14
13
14
14
0 0 0
B7
E7
1/2
12
4 2
2 3 2
12
12
14
4 2 4
6 4 6
6 4 6
4
F
E
B9
3/4
1/2 1/4
14
11
grad. bend
9
2
1/4
14
F#
14
X X
9 9
7
F#7
14
4 2 4 0
13
12
4 X 5
4 X 5
14
12
15
3 X 4
2 X 3
1 X 2
X X X
2
2 2 1
7
H
A
3 let ring
8 9
7 8
7 8
8 9
8
3
8 9
7 8
9
7
9
7
9
9
2 2
0
2 2 0
w/ pick & fingers
5 5
3 2 3
2 2
0
4
9
3
10
3
8
9
3
7
9
7
3 0
0
1
9
3
8 10 8
9
7
7
9
9
7
9
3
2 2 0
2 2 0
2 2 0
2 2 0
0
7
2 3
9
4
0
1 0 2
0 0 0
9
8
10
8
9
7
0
1
X X
0
2 2
2 2
2 2
0
7
9
3
3
7
2
2 2 0
12
2 2
0
2 2
2 2
12
9
4
1/2
9
X X
3
8
0 0 1 2
A
0 2
B
8
E
3
0
11
9
9
4 4
4 6
9
2
4 4
4 4
4 2
X X
4 4
9
2
4 4
4 4
2 2
X X
I E
μ
3
1
1/4
12
12
15 12
14
12
14
E
3 3 12
12
14
14 12
11
10
14
12
let ring
C#7
14
16
11
11
14
12 15
11 14
9 9
9 9
F#
F
3
16
16
13 14
15 16
4 X 5
X X X
3 X 4
15 16
12 15
14
3
15
F#7
3
7
12
14
12 11
E
15 16
15 16
2 X 3
13 14
12
14
12
6 4 6
X X X
4
3
13 14
14
B7
B7sus4
3
6
E7
12
14
12
14
2 0
E
3
12
14
12
0 0 1 2
12
μ
3
9
14
A#º7 μ
14
A
2 2 0
5 5 X 6
μ
15 16
13 14
15 16
1 X 2
12
11
14
3 2
14
12
13
14
14
4 2 4
5 2 4
2
2
B9
3
15 16
14
12
15 16
3
14 15
15 16
15 16
2
14 15
3
12
15 16
14 15
15 16
3
12 14 15
15 16
12 14 15
15 16
15 16
2 2 1
9
J
E A
3
17
17
17
17
17
17
3
2 2
0
2 2
0
2 2
17
15
3
12
15 12
14
12
12
14
1 2
1 2
1 2
0
12
2 2
0
2 2
3
1 2
X X
14
2 2
4
14
11
12
12
3
0
2
1
1 2
1 2
14
2 2
0
0
14
11
2 2
3
3
3
4
12
14
11
2 2
2 2
0
2 2
5 2 2
2 2
12
10
10
4 4
4 4
2 2
3 1/4
9
4 4
10
11
12
12
2
14
12
4 4
4 4
12
11
14
2
14
12
14
4 4
14
14
3
0
14
1 2
2 2
1
12
14
1/2
11
0
B
2 2
3
12
14 12
3
4
14
A
1/4
17
3
2 3
14
17
3
14
1/2
3
15
3
12
14
13
2
0
K
12
12
14
3 1/4
14
1/2
12
12
15
12
12
14 14
12
14
12
11
E7
F#
F
E
12
14
15
9 9
F
12
X
14
7
3
11 11
14
0
12
13
F#13
B7
B7sus4
3 1/2
11
5 6 5
3
14
C#7
3
3
2 2
3
E
μ
12 0
9 9
A#º7 μ
A
1/4
14
9 7 0
X X
F#
4
E7
14
12
12
14
12
12
11
14
14
14
4 2 4
5
2
2
12
let ring
4 3 2
6 4 6
14
μ
rit.
14 12
3
1/4
14
μ
3
3
12
E
μ
E
14
12
12
11 13
10 12
4 X 5
4 X 5
3 X 4
2 X 3
9 11
10 11
11 12
1 X 2
2 X 3
3 X 4
3
4
4
5
3
rit.
4
4
4
11
from ZZ Top - `Tejas
Arrested for Driving While Blind Words and Music by Billy F Gibbons, Dusty Hill and Frank Lee Beard G7
Bb7 5fr
__ =
Intro Moderately fast q = 134
μ
132
132
F5 10fr
3fr
132
13
3
C
Gtr. 3 (dist.)
C7 8fr
*** G5
f
rake
1
1. Well,
3
5
3 3 f ** P.M.
3
X X X
*Gtrs. 1 & 2 (dist.)
5
3
5
4
3
1
3
*Two gtrs. arr. for one.
1 0 2 3
3
3
3
3
0
3
3
3
3
3
3
3
3
3
3
3
3
**Vibrato to bottom two notes only ***Chord symbols reflect basic harmony.
Verse Gtr. 3 tacet 2nd time, Gtr. 4: w/ Rhy. Fill 1
2nd time, Gtr. 4: w/ Rhy. Fill 1
G5
driv - in’ down the high - way oth - er night, with noth - in’
Gtr. 4 (clean)
at to
night do,
†
G5
Gtrs. 1 & 2
Bb7
we
and you’re broke a
feel - in’ that case of proof
3
Wild Tur - key’s one - o two
p
w/ chorus w/ fingers
9 10 8
†2nd time, played mf
Rhy. Fig. 1
P.M.
3
3
3
3
3
3
3
3
3
3
3
Rhy. Fill 1
Gtr. 4
1
2
3
P.M.
3
3
3
3
3
3
3
3
2
6 7 5
Copyright © 1976 Stage Three Songs Copyright Renewed All Rights Administered by Stage Three Music (U.S.) Inc. All Rights Reserved Used by Permission
1
F7
C7
bite, and
3
a give John - ny Walk - er itch - in’ for that won - der - ful
don’t start - ed
ride, feel
’cause Jack of
mf
w/ chorus w/ fingers
End Rhy. Fig. 1
11 12 10
11 12 10
5 3
let ring
10 8
10 8
10 8
10 8
P.M.
1 1
1
10 8
10 8
10 8
10 8
10 8
10 8
10 8
10 8
10 8
10 8
0 0
10 8
2nd time, Gtrs. 1 & 2: w/ Fill 2
G7
Black roll - in’
in
is an
Bb7
3
right by his side. au - to - mo - bile.
D5
You might You
get could
tak - en say
to we
Fill 1
the was
3
jail - house and out of our mind
End Fill 1
3 let ring
9 10 8
6 7 5
3
3
3
3
3
3
3
Gtrs. 1 & 2
3
Fill 2
5
P.M.
3
5
3
5 3
5
5
5
2
5
5
5
5 5
5
3
let ring
4
5
5
5
P.M.
5
5
3
3
let ring
5
P.M.
1
3
5
5
5 5
5
5
5
5
5
5 5
0
1.
C
find
you’ve
been
ar - rest - ed
Gtr. 4 tacet
G7
for
let ring let ring P.M.
7
5
X X X
4 5 5
5 5
3
blind.
2. Now, just
3
0 0 3
3
3
3
3
3
3
3
3
1
3
0
2
3 0
5 3
the
Gtr. 3
6 7 5
7 5 7
driv - in’ while
3
5 5 5
5
Em7
1
2.
Em7
C
3
G7
and
let
me
tell
you
we
were
fly - in’ while
blind.
Gtr. 3
w/ pick let ring
3
6 7 5
let ring P.M.
5
7
5
let ring
7 5 7
X X X
3
5 5
5 5
6
3
3
3
5 5 3
3
3
3
3
3
3
3
1
2
0
3
3
Gtr. 4 Gtr. 3 let ring let ring let ring let ring let ring let ring let ring let ring
Guitar Solo
3
G7
3
6
6
Bb7
3
6
3
3
5
Rhy. Fig. 3
3
3
P.M.
3
3
3
3
3
F5
5
3
5
let ring
3
10
11
3
3
1
C7
let ring
8
6
5
Gtrs. 1 & 2
G7
8
8
11
8
3
6
6
3
6
P.M.
3
3
3
3
3
3
8
5
3
let ring
11
3
let ring
let ring
11
2
3
3
3
2
Bb7
10
10
let ring
P.M.
3 6
6
End Rhy. Fig. 3
10 8
10 8
10 8
10 8
10 8
10 8
10 8
10 8
8 6
8 6
8 6
8 6
8 6
8 6
8 6
8 6
P.M.
1 1
4
1
G7
Gtr. 4: w/ Fill 1
Bb7
D5
let ring let ring let ring 3
3
6
3
6
3
3 3 rake
3
5
5
10
12
12
10 10
X X
12
12
11
10
10
X
P.M.
3
3
3
3
3
3
Em7
3
3
3
3
C Gtr. 4
Gtr. 3
3
3
1/2
6
3
1/2
3
6
3
3
Gtrs. 1 & 2
let ring P.M.
7
5
5
5
X
Gtrs. 1 & 2: w/ Rhy. Fig. 3
Rhy. Fig. 4 Gtr. 4
G7
3
3
5
5
5 5
5 5
G7
3
3
7
6
7
6
7
6
7
3
6
7
6
5
6
5
6
3
3
6
7
6
7
6
7
3
3
3
3
3
3
3
3
3
Bb7
7
5
5
5
5
5 5
0
3
7
5
3
3
6
7
7
6
3
let ring
6
5
3
7
3
4
5
6 7
3 let ring 1/2
5
3
3
let ring
Gtr. 3
5
0 0
3
let ring
5
P.M.
3
3
1/2
1
3
3
3 5
3
3
3
1
2
7
7
6
0
7
6
7
3 0
G7
6
1
3 3
3
3
1/4
3
6
3 0
3 3
3
5
3
3
5
5
5
5
3
5
5
F5
3
P.M.
1/4
C7
1/4
3
5
1
8
11
0
3
let ring P.M.
8 3
let ring
8
11
let ring
11
3
1
8
Bb7
11
3
let ring P.M.
P.M.
8
11
8
11
8
8
8 8
3
1
3
End Rhy. Fig. 4 Gtr. 3 3 3 3 let ring rake let ring let ring let ring Gtr. 4: w/ Fill 1
Gtr. 4
G7
3
3
6
Bb7
3
6
D5
3
6
5
10
5
12
10
10
10
12
X
11
10
10
X
Gtrs. 1 & 2
P.M.
3
3
3
3
3
3
Em7
3
3
3
3
C Gtr. 4
3
3
G7
5
7 5
7 5
7 5
P.M.
1
3
4
7 5
7 5
7 5
5
3. Then they
Gtr. 3
3
3
1/2
6
3
1/2
3
3
3
3
3
5
5
7
5
6
6
7
7
5
P.M.
let ring 7
7 5 7
0
5
6
5
5
5 3
let ring
3
3 3
Gtrs. 1 & 2
P.M.
1/2
3 3
6
0
2
3
3
3
3
3
0 0 3
3
3
3
3
3
3
1
2
0
3 0
1
Verse Gtrs. 1 & 2: w/ Rhy. Fig. 1 Gtr. 3 tacet Gtr. 4: w/ Rhy. Fig. 4
G7
had
up
a - gainst
us
Gtr. 5 (clean)
the
wall,
Bb7
hey,
G7
it’s
on - ly
blood
grain
al
-
3
co - hol
p w/ fingers
3
5
3
3
5
3
3
5
3
3
5
3
3
5
3
3
5
3
F7
3
and
to
there
ain’t
no
cause
for
a - larm,
1
8
10
8
8
1
8
10
8
8
3
do
Gtr. 5
G7
out
C7
no - bod
-
y
Bb7
no
How
could
an - y - one
be
Fill 3
3
3
5
3
3
5
3
3
5
3
Gtrs. 1 & 2
3
3
P.M.
3
3
3
3
3
3
3
3
3
1
ain’t
5 5
5 5
3
4
so
un
5
-
End Fill 3
5
5
3
P.M.
3
3
3
let ring
5
we
D5
3
Gtr. 4: w/ Fill 1
harm.
5
5
5
5
5
5
5
5
5
7
Em7
C
kind
*Gtrs. 4 & 5
let ring
8
8
to
ar
rest
a
man
-
for
driv - in’ while
3
blind?
*Composite arrangement
Gtrs. 1 & 2
let ring P.M.
5
5
7
5 7
5
5
let ring
0
3
10 10 9
5 5
10
Gtr. 5 tacet
G9
3
3
3
3
3
3
3
3
3
3
0
1
3
0
2
3
Outro-Guitar Solo Gtrs. 1 & 2: w/ Rhy. Fig. 3 Gtr. 4: w/ Rhy. Fig. 4
3 3 3 P.M. 1
G7
Bb7
Gtr. 3
5
3
5
F7
3
3
6
3
5
5
8
Gtr. 3
3
8
3
6
8
7
6
6 7
5
3
4
5
3
3
3
3
3
3
P.M.
8
3
3
3
P.M.
1
5
5
5
3
5
3
Bb7
5
1/4
6
6
8
7
1/2
8
7
Gtr. 4: w/ Fill 3
D5
5
3
rake
10 5
3
X
5
3
8
7
Bb7
3
Gtrs. 1 & 2
3
5
C7
3
G7
5
G7
3
1
7
3
10
12
X
3
6
8
7
11
10
10
3
P.M.
3
4
5
5
5
5
5
5
5
5
5
Gtr. 4 tacet
Em7
3
C
μ
3
3
3
1/2
6
6
7
8
let ring P.M.
5
7
5
8
5
7
0
5
5
let ring
0
3
6
*Switch to neck pickup.
7 5
7 5
7 5
7 5
7 5
7 5
12
10
1
0
4
3
2
1
D5
10
4
C#5
10
12
8 6
7 5
7 5
7 5
7 5
7 5
7 5
7 5
D5
1
T
End Rhy. Fig. 5
C#5
12
17
6 4
D5
Eb5
3
***
1
12
2
3
3
1
10
Eb5
3
4
2
3
10
P.M.
D5
4
Gtrs. 1 & 2: w/ Rhy. Fig. 5 (till fade)
0
3
Rhy. Fig. 5
4
1
5
2
**Played behind the beat.
Gtr. 3
3
Eb5
* 9
4
D5
**
5
12
12
10
10
12
10 11 10
12
10 10
12
***Vibrato executed w/ left hand ring finger at 12th fret.
D5
C#5
3
3
D5
Eb5
3
3
let ring
10
10
12
10
12
10
12
10
12
10
12
10
12
12
12
10
12
D5
C#5
12
10 X
X
12
10
12
9
D5
Eb5
3
D5
12
11
10
12
10
12
12
12
10
12
10
10 10
10 10
12
D5
loco
12
10
13
12
15
8va
12
12
12
X
3
10
10
12
10
10
10
13
13
10
10 12
12
10
13
Eb5
13
13
15
15
Eb5
13
15
13 15
D5
3
1/2
slight P.H. T
D5
20
Eb5
C#5 3
1
15
3
10
D5
3
12
12
12
10
C#5
13 X X X 0
3
10
D5
C#5
12
10
10 12
12
Eb5
13
let ring
Eb5
3
10
10 12
D5
D5
D5
10
12
10
10 12
10
10
C#5
3
12
10
12 10
12
let ring
10
C#5
1/2
10 10 11 10
D5
C#5
3
3
3
3
1/4
13
13
14
14
12
12
12
10
12
Begin fade D5
12
Eb5
3 3 3 3
10
12
11
10
8
10
D5
10
12
C#5 3
3
10
12
10
10
12
D5
3
10
3
3
10
10
12
10
12
10
D5
12 10
10
12
10
10
10
12
D5
10
1
12 10
12 10
12
Eb5
3
12
10
12
10
12
C#5
3 1
10
10
12
10
12
3
12
10
12
10
8
C#5
1/2
12
8
12
10
D5
12 10
12
10
10
3 3 1
D5
10
Eb5
3 1
12
12 12
10
Fade out
D5
10
10
10
Eb5
12
10
12
C#5
10
12
12
3
10 12
D5
10
8
10
12
Eb5
10
12
10
D5
10
12
10
C#5
10
12
10
10
10
10
10 12
10
from ZZ Top - Rio Grande Mud
Bar-B-Q
Words and Music by Billy F Gibbons and Bill Ham Am
Dm 9fr
14fr
213
213
Gtr. 3: Drop D tuning: (low to high) D-A-D-G-B-E
Intro Fast q = 174 *Am7
__ = 3
Gtr. 3 (dist.)
Gtr. 2 (dist.)
Am
mf
w/ fingers
7
7
f
3
7
9
w/ chorus & slight delay
8 9
9
7
5
5
7
5
7
5
Gtr. 1 (dist.)
2 2 0
2 2 0
2 0
3
0
0
3
1
1/4
8
5
7
0
2 0
5
2 0
0
2 0
3
2 0
0
2 0
3
2 0
3
0
2 0
2 0
3
*Chord symbol reflects overall harmony.
3
2 0
3
7
sim.
2 0
P.M. throughout
mf
9
3
3
7
2 2
0
6 7
7
3
3
2 0
8 9
0
2 0
5 9
2 0
3
grad. bend
7
3
5
5
P.M.
3
3
X 3
2 0
Copyright © 1972 Stage Three Songs Copyright Renewed All Rights Administered by Stage Three Music (U.S.) Inc. All Rights Reserved Used by Permission
7
5
0
2 0
3
2 2
0
2 2 3
2 0
1
1 6 7
5
2
8 9
X 3
3
5
1
9
2
2 2 0
2 2
8
5
2 0
0
2 0
3
3
7
Rhy. Fig. 1
5
7
5
2 2
3
8 9
5
3
3
2 0
0
2 0
8
P.M.
7
5
3
2 0
1
9
3
9
f
9
2 2
7
2 2
0
7
8
7
3
Am
5
3
1/2
7
7
3
7
1/2
5
5
5
9
10
7
5
2 0
0
2 0
3
2 0
0
2 0
7
3
End Rhy. Fig. 1
0
2 0
3
2 0
0
2 0
3
2 0
0
2 0
3
2 0
0
2 0
3
3
2 0
1/2
8
8
10
1. No,
10
P.M.
10
5
8
3
1
1/4
1/2
5 7
5
7
7
7
2 0
0
3
2 0
0
Verse
-
2 0
2 0
3
0
2 0
2 0
3
2 0
0
3
2 0
3
2 0
don’t
3
2 0
0
2 0
2 0
3
0
2 0
2 0
3
you?
Well,
7
2 0
7
Gtr. 2 tacet
Rhy. Fig. 2
0
3
P.M.
3
5
2 0
0
why
2 0
0
5
3
me
2 0
0
3
tell
2 0
3
by,
1/4
ba -
2 0
0
2 0
3
2 0
0
2 0
3
2 0
0
2 0
3
2 0
0
2 0
3
2 0
0
2 0
3
2 0
0
2 0
3
2 0
3
Gtr. 3
Dm
3 3
now,
ba
-
by,
tell
me
why
Am
don’t
you?
Ah,
ba -
Gtr. 1
2 0
0
3
2 0
Dm
2 0
0
2 0
3
3
-
2 0
3
0
2 0
3
2 2
2 0
why
2 0
2 0
3
0
2 0
3
3
2 0
0
2 0
3
2 0
0
don’t
2 0
3
2 0
0
Am
2 0
(cont. in notation)
you?
2 0
3
2. No, ba End Rhy. Fig. 2
0
2 0
tell me
3
0
2 0
2 0
0
by,
0
2 0
3
3
2 0
0
2 2
0
2 0
3
2 0
0
2 0
2 0
3
0
2 0
3
2 0
0
2 0
2 0
3
Verse Gtr. 1: w/ Rhy. Fig. 2 (1st 8 meas.) *Am
-
by,
want
Gtr. 2
to
some?
8
10
make
me
Oh,
P.M.
0
Gtr. 3
3
(cont. in slashes)
10 9 10
10 9 10
*Chord symbols reflect implied harmony.
4
10 9 10
10 9 10
10 9 10
10 9 10
10 9 10
10 9 10
5
7
5
Gtr. 3
Dm
now, ba
-
by,
want
Gtr. 2
Gtr. 3
3
3
-
to
some?
make
me
Gtr. 2
1 1/2
13
13
to
Am
make
13 10
13
ba -
10
1
10
10
(cont. in notation)
me
3
Oh,
1 1/4
want
by,
10
Dm
Am
some?
grad. bend 1 1/4
Gtr. 1
0
2 0
3
2 0
0
2 0
3
2 0
0
2 0
3
2 0
0
2 0
3
2 2
1 3/4
1 1/2
1
1/2
1
1/2
13
13
13
13
10
10
Rhy. Fill 1
End Rhy. Fill 1
0
2 0
3
2 0
0
2 0
3
2 0
0
2 0
3
2 0
0
2 0
3
2 0
5
Guitar Solo
8 9
Gtr. 3
9
7
5
7
Gtr. 3
0
0
Dm
Gtr. 2
8 9
10
8
7
Gtr. 2
loco
3 P.H.
slight P.H.
12
12
12
8va
loco
3
10
5 7
9
5
1
5 8 5
7
7
5
7
9
11
10
10
8va
P.H.
12
7
5
5
7
5
10 9 10
10 9 10
10 9 10
7 0
grad. bend
(cont. in slashes)
2
13
13
13
13
10
13
10
9
5
3
3
7
4
8
9
10
10
10
10
Am7
12
12
D
B
3
loco
3
loco
3 slight P.H.
X
8va
12
P.H.
X
12
12
12
3
8va
loco
3
X
X
X
9
8
8va
3
P.H.
P.H.
X
X
X
7
5
(cont. in notation)
1 1/2
7
7
Am
10 9 10
10 9 10
1
10
12
Am
1/4
5
10 9 10
10 9 10
X X X
5
10
7
10
10
loco
slight P.H.
7
B
3
3
3
3
3
3
w/ thumb
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
7
5
7
5
*Chord symbols reflect implied harmony (next 12 meas.).
6
3
1
7
0
3 P.H.
12
8 9
5
Pitch: D Gtr. 3
5
Gtr. 2 tacet *Am
5
3 1 1/4
7
8va
9
Dm
10 9 10
10 9 10
7
w/ pick
w/ thumb
0
5
3
3
0
7
Gtr. 2
3 1 P.M.
Gtr. 1: w/ Rhy. Fig. 2
Am
2
1
Dm
8va
3
3
9
loco
3
3
9
slight P.H.
P.H.
9
9
9
7
7
7
7
5
5
Am
3
3
P.H.
5
5
5
5
5
3 slight P.H.
5
5
4
3
3
0
0
0
0
0
0
0
0
0
0
0
0
8va
5
8va
3
4
4
Pitch: A
F#
3
4
4
loco
3
4
7
3
7
7
7
7
7
7
7
7
7
7
7
7
3
7
7
3 P.H.
7
7
P.M.
7
7
7
X
5
7
4
5
5
D#
3
3
3
9
9
9
9
9
9
5
5
5
5
5
5
7
Gtr. 1: w/ Rhy. Fill 1
Am
w/ pick
1/2
1 17 17
Gtr. 1: w/ Rhy. Fig. 2 (last 10 meas.)
1/2 1
17 17
3
E
A
5
Gtr. 3
4
Am7
slight P.H.
4
3
slight P.H.
G
15ma
P.H.
3
B
Gtr. 2
3
15ma
3
P.H.
Pitch: B
17
14
14
let ring
17
17
5
7
5
7
(cont. in slashes)
5
3
3 1
16 14
17 5
6
5
8
5
8
5
8
5
7
5 7
5
7
Dm
Am
3 Rhy. Fig. 3
1
5
5
7
7
Dm
10
10 12
5
7
3
5
8 5
1 1/2
5
5
8 5
5
8 5
8
8
5
8
5 7
7
Am
1 1/2 13
13 10
13
2
10
grad. bend 1
5
5
3
End Rhy. Fig. 3
7
3
1
7
Rhy. Fig. 4
let ring
13 10 10 10 9
7
5
7
End Rhy. Fig. 4
5
3
7
7
5 5
5
4
5 5
5
4
Gtr. 1: w/ Rhy. Fig. 2 Gtr. 3: w/ Rhy. Fig. 3 (2 times)
Gtr. 2
Am
3
3 let ring
5 5 8 8 5 5
5
3
3 let ring
8 5 5
5
3
8 5
3
3
3
3
5 5 8 5 5 5 8 5 5 5 8 5
Gtr. 3: w/ Rhy. Fig. 4 (2 times)
3
3
3
Dm
3
3
3
3
3
5 5 8 5 5 5 8 5 5 5 8 5
3
3
3
3
3
5 5 8 5 5 5 8 5 5 5 8 5
5
8
5
5
5
8
5
5
5
5
8
3
grad. bend
5
P.M. 1
5
8
3
5
5 7
8
3
3
5 5 8 5 5 5 8 5 5 5 8 5
3
3
3
Am
1
5
3
3
3
5 5 8 5 5 5 8 5 5 5 8 5
8
3
Am
5 5 8 5 5 5 8 5 5 5 8 5
3
Dm
3
3
3
5 5 8 5 5 5 8 5 5 5 8 5
3 3 3
3
8
5 7
7 7
7 7
7 7
5 5
5 5
7
7
7
7
1
3
3. No, ba -
5
5
7
3
7
7
Verse Gtr. 1: w/ Rhy. Fig. 2
Gtr. 3
Am
-
by,
X X X X
7
tell
Gtr. 2
5 5 5 7
X X X X
me
5 5 5 7
don’t
3
5
make me
some
fa - mous
you
5
10 9
Am
-
7
5 5
10
B - Q?
3
1 1/2 13
7
5
Am
why don’t
me
5
Bar
7
tell
7
of your fine
10
5 5
5 7
5
3
5 5 7
1/2
P.M.
1
Dm
Oh,
5
8
now, babe,
you?
1/2
8
7
3
Dm
why
1
13 10
13
10
10
9
Gtr. 1: w/ Rhy. Fig. 1 (12 times)
Gtr. 2
8 9
Gtr. 3
10
9
9
7
8 9
3
5
5
5
7
5
5
X
5
7
8 9
7
5
8
8 9
10
9
5
7
5
8 9
1/4
5
7
5
5
3 1/2
7
9
7
5
5 5
7
8 9
3
7
8 9
7
slight P.M.
5
8 9
7
9
5
8 9
5
7
1/4
slight P.M.
5
3
1/2
8
7
3
8 9
5
10
Am
Outro-Guitar Solo
1/2
8
9
8 9
5
7
9
8
8 9
3
3
7
7
8 9
5
10 7
10
8
10
Gtr. 2
3
Gtr. 3
10
10 7
9
X
X
7
7
8
9 9
8
5
10 11
8 9
3
2 0
0
2 0
3
0
2 0
3
2 0
Gtr. 2
10
3
4
0
2 0
10 10 10 11
10
1
10 10
13
10
10 10
10
X X
12
1/2
10 12
10
13
8 9
10 12 10 12 12 12 12
3
2 0
0
10
3
2 0
2
2 0
2 0
0
3
3
2 0
3
1
10 X 12
10
2 0
2 0
0
0
4
P.M.
1
12
10
2 3
10
Gtr. 3 tacet
11
3
2
2 0
0
12
8 9
Gtr. 1
1
8 9
3
3
3
3
8
10
7
3
8
9
7
Gtr. 3 tacet
4
1
X X
10 10 10 12
10
X
12
Gtr. 1
0
2 0
2 0
3
2 0
0
3
2 0
3
3
2 0
2 0
2 0
3
2 0
0
2 0
2 3
4
0
1
10
10 10 10
12
12
13
0
2 0
13
13 10 13
2 0
3
0
2 0
2 0
3
2 0
0
steady slight P.M. gliss. 1/2
1
10 10
2 0
3
1 1/2 1
2 0
3
10
10
3
7
11
10 10
0
2 0
3
2 0
0
2 0
3
2 0
0
2 0
3
2 0
0
2 0
4
6 7
End Rhy. Fig. 5
3
2 3
4
13
Rhy. Fig. 5
3
2 3
0
2 0
3
2 0
0
2 0
3
2 0
0
2 0
3
2 0
0
2 0
2 3
4
11
Gtr. 1: w/ Rhy. Fig. 5 (4 times) Gtr. 2
3
P.M. 1 1/2 1
10 11
10
10
11
3
3
let ring
10 10
Gtr. 2
11
10
10
X
10 12
10
10
11
10
X
13
13
13
10
3
let ring
P.M. 1
10
X
10
11
12
10
10
11
10 10 10
11
10
3 3 3 3 3 3 P.M. slight P.M.
10
11
10 10 10
11
10
7
9
5
5
7
5
7
5
5
5 5
5
8
8 8
5
5
5 5
5 5
8
5 5
5
5 5
8
5
7
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
slight P.M.
5 5 5 5 5 5 5 5 8 5 5 5 8 5 5 5 8 5
Gtr. 1
Rhy. Fill 2
2 0
8 5
5 5 5 5 5 5 5 5 8 5 5 5 8 5 5 5 8 5
5 5 5 5 5 5 5 5 8 5 5 5 8 5 5 5 8 5
End Rhy. Fill 2
0
5 5 5 5 5 5 5 5 8 5 5 5 8 5 5 5
2 0
3
2 0
0
2 0
3
3
2 0
0
2 0
3
2 0
0
2 3
4
2 0
0
2 0
3
2 0
0
2 0
3
2 0
0
2 0
3
2 0
0
2 0
3
Begin fade Gtr. 1: w/ Rhy. Fig. 1 (5 times) Gtr. 2
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
slight P.M.
5 5 5 5 5 5 5 5 8 5 5 5 8 5 5 5 8 5
5 5 8 5 5 5 8 5 5 5 8 5
5 5 8 5 5 5 8 5 5 5 8 5
5 5 8 5 5 5 8 5 5 5 8 5
Fade out Gtr. 1: w/ Rhy. Fill 2
Gtr. 1: w/ Rhy. Fig. 1
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
slight P.M.
5 5 5 5 5 8 5 5 5 8 5 5 5 8 5
12
5 5 5 5 5 8 5 5 5 8 5 5 5 8 5
5 5 8 5 5 5 8 5 5 5 8 5
5 5 8 5 5 5 8 5 5 5 8 5
from The Best of ZZ Top
Beer Drinkers & Hell Raisers Words and Music by Billy F Gibbons, Dusty Hill and Frank Lee Beard
Intro Moderate Blues Rock q = 144 Gm7
Gtr. 3 (dist.)
mf
8 7
8 7
8 7
8 7
8 7
Gtr. 2 (clean) Riff A
End Riff A
mf
P.M.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Rhy. Fig. 1
P.M.
mf
P.M.
3 3 3
3
3
P.M.
P.M.
3 3 3 3 3
3 3 3 3 3
P.M.
3 3
3 3
3 3 3
3
P.M.
3 3 3 3
3 3 3
8 7
End Rhy. Fig. 1
8 7
3
3
3
3
3
3
3
4
5
3 0
3 1
3 3 3
3
P.M. P.M. P.M.
Gtr. 1 (dist.)
8 7
μ
3 3
3
3 3 3
3 3
3
3 3 3
4
5
3
3 0 1
Verse Gtr. 1: w/ Rhy. Fig. 1 (3 times) Gtr. 2: w/ Riff A (3 times) 3rd time, Gtr. 4 tacet
Gm7
Gtr. 3
1. And 2. The 3. The
if crowd joint
you gets was
8 7
2nd time, Gtr. 3: w/ Rhy. Fill 2
see me walk - in’ loud when the jump - in’ like a
down band cat on
8 7
Rhy. Fill 2 Gtr. 3
8 7
the gets hot
line right, tin.
8 7
8 7
8 7
with steel
my fa gui - tar Lord, I thought the
8 7
-
v’rite hon - ky cry - in’ through floor was
8 7
8 7
Copyright © 1979 Stage Three Songs All Rights Administered by Stage Three Music (U.S.) Inc. All Rights Reserved Used by Permission
1
2nd time, Gtr. 3: w/ Rhy. Fill 2
tonk in night. the gon - na give
mind.
Well, Yeah,
in.
Riff B
8 7
μ
here be I’ll up try - in’ to cov - er like A sound - in’ a lot
8 7
12
Rhy. Fill 1A
End Rhy. Fill 1A
End Rhy. Fill 1
2
with sio - nal,
beer drink Beer
End Riff B
ers
3
ers,
hell hell
13 12
13 12
13 12
13 12
P.M.
3
3
3
3
3
and hell
and
13 12
my but ’cause
8 7
drink ers drink -
3
3
3
3
3
3
3
3
3
3
3
Rhy. Fig. 2 P.M. P.M. P.M. P.M. P.M. P.M. 5
3
-
time fight, gres -
8 7
10
5
P.M.
-
Chorus Cm7
3
Rhy. Fill 1
Riff C
P.M.
Gtr. 1
Riff C1
Gtr. 2
8 7
of din - ner and a bunch of Oh, can fine. cool ’cause they’s just Beer ev - ’ry - thing’s tight. and we’re ex - per - i - men - tal pro - fes - sion - al.
Gtr. 3
a - round sup - per the cor ner a house con
8 7
2nd time, Gtr. 3: w/ Rhy. Fill 2
8 8
3 8
8
8 8 8 8 8
8 8 8 8 8
8 8 8 8 8
8 8 8
8 8
8
Gm7
rais rais rais
-
ers, ers, ers,
yeah.
Dm7
Mm,
8 7
8 7
8 7
yeah.
Cm7
ba - by, don’t you wan - na
8 7
oh, oh, oh, Oh, well, Mm,
yeah.
8 7
15 14
13 12
13 12
15 14
come
with
5
3
3
P.M.
3
3
3
P.M.
3
3
P.M.
3 3 3
3
3
3
P.M.
3
3 3
3
3
3
P.M.
3
3 3
3 3 3
3 3 3
3
3
P.M.
3
3 3
3
5
5
P.M.
3 3
3 3 3
3 3 3
5
5
5
P.M.
10 10 3
10 10
5
5
Gm7
10 10 10
10
μ
8 7
3
P.M.
8 8 8
8
8 7
8 7
P.M.
8 8 8 8 8
μ
End Riff C1
play it
boy!
8 7
P.M. 3 3 0 3 4 5 3 4 5 End Riff C
P.M.
3
3
P.M.
3
3
3
P.M.
3 3 3
3
3
3 3
3
3
3
3
3
3
1
3
3
1
3
3
1
3
0
3
P.M. P.M. P.M. 3 3 3 3 3 0 3 3 4 5 3 4 5
End Rhy. Fig. 2
3
3
8 8 8
Ah,
3
2.
3
10 10 10 10 10 10
me?
3
P.M.
1.
T o Coda
3
3
0 1
3
Guitar Solo Gtr. 1: w/ Rhy. Fig. 1 (3 times) Gtr. 2: w/ Riff A (3 times) Gtr. 3: w/ Riff B (3 times)
Gtr. 4 (dist.)
Gm7
f
6
8 8
8
8
6
8
8
6
8
8
8
6
6
7
6
8
7
3
5
5
6
8
5
7
1/4
8
1/4
6
8
8
7
3
1
0 0
3
5
P.M.
5
6
8
1
6
8
8
Cm7
1 hold bend
5
5
5
5
5
X
Gm7
8
7
6
semi-harm.
3
3
5
8
7
3
1
6
Gtr. 1: w/ Rhy. Fig. 2 Gtrs. 2 & 3: w/ Riffs C & C1
μ
1
Gtrs. 1 & 2: w/ Rhy. Fills 1 & 1A
X
*
5
3
5
3
0
5
5
3
0
3
hold bend T*
1
6
5
5
3
5
5
3
5
10
10
1
5
5
5
3
1/4
3
5
3
6
3
6
3
5
3
3
5
*Vib. executed w/ L.H.
Dm7
3
3
5
4
4
5
Cm7
3
3
5
1
5
3
1
5
Gm7
5
3
1
5
5
5
5
3
5
3
3
1
5
3
1
3
5
3 3
3
6
3
3
5
3
μ
3
Gtr. 1: w/ Rhy. Fig. 1 (3 times) Gtr. 2: w/ Riff A (3 times) Gtr. 3: w/ Riff B (3 times)
3 3
3 3
3
5
5
6
Gm7
3
8
6
1/4 6
6
8
8
1/4
6
1
6
grad. bend
8
hold bend T
8
1
13
8
8
6
8
1
0 0
3
5
8
6
5
3
7
7
Cm7
7
9
8
8
10
8
8 8
8
6 6
Cm7
5
5
5
3
3
0
5
Gm7
8
8
7
8
11
8
10
8
11
8
5
7
8
8
10
6
8
8
0
5
0
8
F#
5
8
Dm7
6
8
7
7
6
*Harmonic & open 3rd string sound simultaneously.
6
3
6
7
3
3
5
1
D.S. al Coda
Gm7
8
3
*Harm.
1
6
3
P.H.
11
1 8 8
6
Pitches: E
8
1
5
6
8
6
7
Gtr. 1: w/ Rhy. Fig. 2 Gtrs. 2 & 3: w/ Riffs C & C1
μ
P.M.
Gtrs. 1 & 2: w/ Rhy. Fills 1 & 1A
6
8
7
5
P.S. 1 1/2
10
10
8
10
1 1/2
1 1/2 10
X
5
Coda
Outro-Guitar Solo
Gtr. 1: w/ Rhy. Fig. 2 (lsat meas.) Gtr. 3: w/ Riff C1 (last meas.)
Gtr. 1: w/ Rhy. Fig. 1 (till fade) Gtr. 2: w/ Riff A (till fade) Gtr. 3: w/ Riff B (till fade)
μ
8v a
Gtr. 2
Gtr. 4
P.M.
8
7
1 T
13
8
0
1
13
8
1
15
15
18
8
T
1
8
13
8
1
13
8
hold bend
8
6
6
8
6
7
6
7
T
6
1 8
5
1
15
18
18
P.S.
1
1
15
18
8
13
1 T 8
1 T
13
8
8
1 T
13
8
3
T 13
1 8
T
8
1 18
13
8
13
5
3
5
5 5
3 3
5
3
5
sim. T
8
T
1
13
8
T
1
13
T
1 8
1 T
13
8
1 T
13
8
8
1 T
13
8
6
8
8
6 8 6
7
13
8
1 T
13
8
1 T
13
8
13
(8)
8
3 3
10
T 13
1
1/2
T
1
13
1
13
hold bend 1 T
T
1
13
13
3
15
18
T
X
1 1
3
T
1
13
1
15
18
T
1
1 T 8
3
5
8
6
4
3
1
1 18
3
3
15
3
loco
Gm7
5
5 5
3
5
5
5
8 6
7
5
7
8 6
7
8 6
7
3
1
3
8 6
1
5
1/2
1
5
5
5
3
5
3
5 5
3
3
5
3
5
5
3
3
5
4
3
1
1
3
6 8
3
8
8
6 6
8 7
8
8
6
8 7
3
3
8
6
8
6
8
8
8
3
3
3
1
6 6
3
3
5
3
3
5
5
3
5
3
5
5
5
5
5
13
hold bend 1 T 8
13
5
13
3
5
1 8
5
3 3
5
4
3
3
5
3
8
7
6
5 7
3
7 5
3
5 5
3
3
5
1/2
1
2
3
3
1
3
3
6
7
5
1
T 13
5
5
sim. 1 T 8
5
3 5
5
5
3
hold bend 1 T 8
6
1/2
3
1/2
1
3
3
5
3
3
1
5 5
5
3
3
5
3
Begin fade
3
1
8
3
8
8
8
8
8
8
1
6
8
6
8
7
6
8
6
8
6
8
8
8
8
1 8
7
1/2
T 13
6
3
8
Fade out
1/2
6
7
from ZZ Top - Fandango!
Blue Jean Blues Words and Music by Billy F Gibbons, Dusty Hill and Frank Lee Beard
Intro Slowly q. = 45
μ
Gtr. 1 (slight dist.)
mp
w/ pick & finger let ring
9
** Bm
7
8
9
7
5
p
*Doubled throughout
7
5
0
3
**Chord symbols reflect implied harmony.
G
Bm
3
9
9
3
3 1
7 9
9
7
9
9
9
7
10
9
0
3 4 4 2
9
7
3
G
grad. release
9
3 4 4 2
7
3 4 4 2
1/2
5
0
3
7
7
w/ pick let ring 9
3
0
0
9
3
7
*Gtr. 2 (clean)
Bm
G
Copyright © 1975 Stage Three Songs Copyright Renewed All Rights Administered by Stage Three Music (U.S.) Inc. All Rights Reserved Used by Permission
3
9
0
1
Verse Gtr. 1 tacet
Bm
G
3 3
1. I done ran
in - to my
Rhy. Fig. 1
ba - by,
0
3
Bm
G
Gtr. 1
rake
1
3 4 4 2
3
1/2
10 9
9
7
9
7
7
9
9
7
9
7
9
7
9
3
7
9
7
9 7
0
3
3
3 4 4 2
Em
-
and fi - n’lly
2
1
found
my old blue jean.
5
8 9 9 7
3
2
2
let ring
2
2
4
to my ba - by,
0
let ring
7
in
8
3 3 3
done ran
3
G 3
I
7
5
3 4 4 2
7
8
0
3
X
Gtr. 2
9
and fi - n’lly found my old blue jean.
Bm
4
3 4 4 2
G
3
Gtr. 2
Bm
4
1
0
7 8 9 9 7
3
0
Bm
G
Bm
1
7
10
9
9
3
7
9
7
9
7
9
7
9
from the
oil
3
Bm
3
9
F#5
that they was
7
3 4 4 2
0
3
9
7
3 4 4 2
tell
I could
3
9
1/2
9
9
G
mine
G
and the gas - o - line.
rake
grad. release
1/2
9 7 9
9 X X
4
2
End Rhy. Fig. 1
4
4
5
2
0
3
Guitar Solo Gtr. 2: w/ Rhy. Fig. 1
Bm
Gtr. 1
3
G
Bm
3
3
3
3
1/2
9
7
9 9
9
7
3
rake
1/2
7 9
3
G
7 10
7
7 9
9 7 9 9
7 9
10
7
1
10
X
9 9
9
7
X
3
Bm
G
3
3
10
7
10
10
7
Bm
10
9
7
7
9
9
9
3
9
9
7
9
9
9
9
3
rake
1/2
7
9
7
3
1/2
9
3
3
1/2
7
9
7
9
9
9
9
7
7
9
9
9
7
1/2
9 X X
Em
3
3
5
3
3
1/2
7 9
10
8
7
9
7
7
9
9
7
3
9
9 7 9
9
7
9 9
9
9
7
9
9
9
G
3
3
7
9
9
12
10
7
9
1
12
12
12
9
Bm
3
1
7
7
9
1
12
7
9
9
G
rake
3
3
1/2
12
12
12
9 7 9
9
7
X X
Bm
3
1/2
9
9
9
7
3
9
9
9
7
9
9
9
9
4
9
3 7
9
7
7
3
9
9
9
3
7
9
9
7
7
9
7
7
9
7
9
9
9
9
9
5
Bm
3
9
1/2
3
F#5
3
G
3
10
12
10
12
G
1 12
10
12
10
12
Interlude Bm μ
Gtr. 1
Bm
G
Bm
G
3
w/ reverb 1 12
1
7
9
0 9
7
9
7
5
7
9
3 4 4 2
0
3
7
w/ pick & finger
3 4 4 2
3 4 4 2
0
9
Gtr. 2
9
3
0
3
Verse Gtr. 2: w/ Rhy. Fig. 1
Bm
3
I
3
7
G
how
4
hap - py could one man be.
Bm
3 9
If I
7
9
9
7
5
ev - er get back my
7 9 9
Lord,
Bm
Em
G
7
jean,
3
7
7
7
3 7
3
7
7
7
rake
3
7
3
1
7
7
10 7
10
9
X
9 9
9
blue
7
3
ev - er get back my blue
Gtr. 1
3
Bm
2. If
7
G
5
9
9
9
9
jean,
9
9
9
9
G
3
Lord,
0
how hap - py
be?
1/2
9
could one man
3
9
7 9
5
Bm
G
Bm
rake
10
G
1
X X
F#5
Bm
3
’Cause if I get back those blue
G
3
jeans,
you know my
ba
3 3
-
by
be bring - ing ’em
home
10
Guitar Solo Bm
G
Bm
G
to me.
3
14
Gtr. 2
12
15
12
3
3
3
w/ slapback delay 1
15 12
10
7
10
1/4
10
3
3
3
1/2
7
10
7
9
1/2
9 7 9
9
7
9
Riff A
2
6
3
13
9
7 9
9
7 9
9
End Riff A
3
0
2
3
0
Gtr. 2: w/ Riff A (till fade)
Bm
Gtr. 1
3
3
3 1
9
7
9
7
9
3
3
1
1/2
3
1
1/2
1
1/2
3
1
1/2
3
Bm
7
9
9
7
9
9
9
17 15 17
16
9
7
5
3
15
16
17
9
7
9
1 1 0 12 10
G
12
0
7
3
3
loco 15ma Bm
3
1
19 18
19
7
Bm
G
3
9
0
7
3
3
1/2
12
1 1/2
19
19
1
1/2
3
1 1/2
3
3
1/2
9
3
1
1/2
G
3
3
9
9
10
9
9
Bm
3
G
16
15
1
15 17
17
16
16
15
G
1
17
17
1 17
P.H. 1/2
12
12 10 12
12
Pitch: B
Bm
G
3
3
3
3
3
P.M. 1
10
7
7
9
9
7
9
7
9
Bm
9
0
G
string noise
pick against string
rake
1 hold bend T 9
12
1/2
X
X
9 X X
3
7
9
7
9
9
9
9
7
9
9
12
Bm
3
T 1 hold bend
9
9
3
1/2
10
9
9
7
9
7
G
3 3 3 3 3
9 7 9
9
7
9
9
9
9
7 5 7
w/ pick & finger
0
0
7
9
5 7 5 7 5 7 5 7
7
Bm
G
3 let ring 3
9
0
0
7
7
9
7
5
7
9
0 7
7
Begin fade Bm
7
7
0
0
0
0
0
0
7
7
7
7
7
7
7
9
0
0
0
0
7
9
7
9
9
0 7
Bm
3 1/2
7 7
9
9
7
9
9
10
0
0
9
7
9
7
5
7
9
X
7
0
9
7
9
7
5
7
w/ pick
7
7
G
3
3
7 0
9
3 1/4
9
9
9
7
9
7
9
7
9
7 7
9
7
9
9
G
3
1
1/4
10
10
7
7
G
3
7
7
10
0
7
10
3
10
Bm
3
7
3
3
0
3
9
1/2
10
7
7
0
3
9
Bm
9
1/2
7
3
1
10
0
3 let ring
5
0
G
7
3
0 7
3
3
3
1
9
9
Bm 3
7
8
5
7
9
9
7 9
7
6
9
7
7
9
9
7
5
5
3 3 3 3
7
7
3
5
7
7
9
7
7
9
7
9
9
9
7
9
9
7
7
5
7
7
8
Fade out
G
7 9
7 9
7 9
from ZZ Top’s First Album
Brown Sugar Words and Music by Billy F Gibbons
Intro Free time ** E
*Gtr. 1 (dist.)
__ = 3
f
mf mp P.M.
mp let ring 1
0 0
3
1/4
2
2
0
2 0
3
mf
1/4
f
1
X
0 0
2
0
3
X
2
2
0
2
3
*Set vol. knob at 3/4 volume. **Chord symbols reflect basic harmony.
My
3 3
mp
P.M. let ring
0
2
0
2
3
0
0
2
0
3
man, there’s some - thin’ gon - na change
friends they all
told
me,
1/2
1/2
f
mf
2
0
your
3
life.
3
2
2
2 3
3
4
3
5
4
5
3
3
5
Copyright © 1970 Stage Three Songs Copyright Renewed All Rights Administered by Stage Three Music (U.S.) Inc. All Rights Reserved Used by Permission
3
3
3
slight P.H.
4
3 4
2
0
0 2 0
2
0
0 2 0
2
0
1
mp
0
2
P.M. let ring
man,
3
X X
2 0
3
2 0
your
4 0
P.M.
2 0
4 0
4 0
2 0
2 0
4 0
mf
4 0
0
1/2
1/2
f
mf
mp
f
3
it just gon - na change
4 0
4 0
4 0
*P.M. 5th string only.
2
5
1/2
X X X
that
brown
sug - ar,
4 5
4 6
4 0
4 0
6 0
3
Free time
my
life.
P.M. 1/2
4 0
have
E
P.M.
2 0
4
mp
3
mf
2
2 0
5
3
A
*
3
1/2
2
4 0
1/2
3
man,
3
4
P.M.
1/2
2 0
3
f
2
0 3
Got - ta 3
2 0
2
q = 76 B7
3
2 0
4 0
life.
Free time
there’s some - thin’ gon - na change
me,
1/2
E
told
1/2
3
3
3
friends they all
P.M.
1/2
0
My
mf
2
3
f
2
0
3
P.M.
Slow q = 76 A
5 0
5 0
4 0
4 0
2 0
0
4 4 0
4 0
2 0
3
1/2
0
mp f mf P.M. let ring 2
3
2
0
2
0
2 3
0
0
f
2
3 3 3
3
4
5
4
3
5
3
4
4
2
0
2
0
P.M. P.M.
Man, I
4 0
2 3
X X
got - ta have
1/2
0
3
0
2
0
3
3
0
3
3
that brown sug - ar,
man,
1/2
A
2
q = 76 B7
3
3
mf
0
3
3
P.M. let ring
5
3
it
just gon - na make me feel
2 0
2 2 0
f
0
4 0
so
mp
1/2
4 0
4 5
4 6
4 0
4 0
6 0
3
2 0
4 0
4 0
2 0
Free time
right.
mf
f P.M.
P.M.
1/2
X X
0
X X
2 0
X X
1/2
0
3
1/4
2 2
2
0
2
X X X
3
0
2
0
2
3
1/4
2
X
X X X
0
3
3
5
4
2
3
f
P.M.
mf
4
5
5
3
Oo.
E
0
0
3
3
5
5
5
2 3
3 4
4
2
0
0
2
3
=
Oh
yeah.
3
mf
let ring
0
2
0
2
0
0
2
0
0
2
0
2
12
12
*Vol. swell to full volume.
f
P.M.
P.M.
0
X X
6 6
X X X
X X X
7 7
6 6
0
3
5
7
**Two gtrs. arr. for one.
12
and it’s
0
0
0
0
P.M.
0 0
4
0
0
0
0
3
0
0
2 0
0
0
0 3
0
12
14
0
P.M.
0
0
0
X X
X X
P.M. 0
X X X
0
X X X
0
3
life.
0
3
0
3
0
0
5
7
X X
0
2 0
7 7
D5
P.M. 0
6 6
0
my
2 0
12 12
0
D5
12 12
P.M.
2
14
1. There’s
gon - na change
G5
5 0
15
G5
P.M. 0
E
P.M. good,
15
Play 3 times
0
0
D5
12 12
Verse E Rhy. Fig. 1
12 15
**Gtrs. 1 & 2
*
1
0
Gtr. 3 (dist.)
Gtr. 1
some - thin’ make me feel
3
12
0
f 1/2
2
Moderately q = 107 E G5
3 3
0
0
X X X
X X X
3
0
X X
6 6
7 7
5
7
E
G5
P.M.
X X X X
X X X X X X
0
P.M.
G5
5
X X
6 6
0
X X X X X X
3
0
0
6 6
0
0
0
P.M.
0
0
my
0
12 12
0
X X X
X X X
0
P.M.
0 0
6 6
2
0 0
got - ta
5
5
P.M.
0 0
3
0
0
have some of that
0
0
3
B5
brown
B6 B5
sug - ar,
End Rhy. Fig. 1
P.M.
4 4
4 2
4 4
2
4 4
9 7
11 7
9 7
P.M.
2 3
0
2
2 0
2
0
B6
7 7
0
2 0
0
0
0
X X X X
3
3
I
0
0
P.M.
7
0
3
T o Coda D5 B5
Fill 1 Gtrs. 1 & 2
0
0
Oh,
11 11
0
0
7 7 0
0
G5
5
0
P.M.
0
E
0
2
7
P.M. 0
0
D5
0
0
P.M.
12 12
and it’s gon - na change
P.M.
P.M.
5
good,
0
0
3
some - thin’ make me feel
7 7
6 6
P.M.
0
life.
E
0
0
Oh, There’s
12 12 0
2nd time, Gtrs. 1 & 2: w/ Fill 1
D5
0
0
0
9 7
11 7
9 7
11 7
9 7
2
2 0
0
3
5
A5
A6
A5
got
die.
to try
it be - fore
let ring
P.M.
2 0
4 0
2
E
4 4
2 2
2 2
I
7 5
9 5
7 5
7 5
9 5
E
G5
0
3
0
0
7
5
7 7
6 6
D5
X X X X X X
0
0
0
3
12 12
11 11
3
P.M.
P.M.
7 5
D5
X X X X
2 0
G
P.M. P.M. 1/2 3
5
X X X X
6 6
0
P.M.
7
0
0
X X X X X X
0
3
7 7
5
7
Verse Gtr. 3: w/ Rhy. Fig. 1
E
2. Man, it
sure
do
save
me,
Gtrs. 1 & 2
0
0
0
P.M.
when there’s no
E
2 0
2 0
0
0
0
P.M.
G5
0
0
D5
3
0
0
Man, it sure
me,
E
do
P.M. P.M. 0
X X X X X X
3
0
5
7
save
P.M.
3
0
0
X X X
X X X
P.M.
0
0
0
0
0
0
3
0
0
0
5
7
when there’s no
0
3
place left
for
2 0
D5
me.
2
0
6
0
for
G5
place left
2 0
0
0
3
G5
me.
D5
E
X X X
0
A5
X X X
0
3
A6
5
A5
’cause it’s just
Gtr. 3
0
X X X
X X X
0
gon - na set
me
free.
P.M.
1/2
G5
3
0
3
0
12 12
7 5
9 5
7 5
7 5
P.M.
7 5
9 5
Guitar Solo E5
7
X X X
0
7 5
0
0
X X X
μ
let ring
3
4
3
3 3
P.M.
9 7 0
9 7 0
let ring
4
3
3 3
4
3
3 3
let ring
4
3
let ring
3 3
4
3
3
0
3
3
4
9 7
D5
P.M.
9 7
12 12
0
P.M.
7
0
X X X
0
X X X
0
3
5
7
μ
let ring
3
9 7
G5
11 11
5
E5
11 7
E
let ring 9 5
11 7
0
ar,
11 7
9 7
7 7
6 6
9 7
0
Gtr. 3
X X
B5
X X
B6
B5
5
B6
have some of that brown sug -
D5
Gtrs. 1 & 2
5
11 11
0
Got - ta
0
3
E
2 3
B5
P.M. P.M.
7
D5
P.M. 0
G5
3
let ring
3 3
P.M.
2 2 0
2 2 0
4
3
let ring
3 3
4
3
let ring
3 3
4
3
let ring
3 3
4
3
3
3
7
E5
μ
let ring
3
4
3
3
4
3
9 7 0
9 7 0
P.M.
3
3
3
4
3
let ring
3
3
4
3
let ring
3 3
3
4
3
5
μ
3
3
4
4
X
5
P.M.
9 9
9 9 0
4
5
3
2 2 0
2 2 0
3
4
3
let ring
3
3
4
3
5
5
X X X X
0
P.M.
3
12
5
15
15
12
15
14
12
9 9
X X X X
X X X X
9 9
9 9
7 7
9 9
9 9
9 9
X X X X
9
0
1/2
14
0
9 9
14
14
12
14
14
14
0
X X X X
P.M.
9 9 9
X X X X
X X X X
P.M.
9 9
X X X X
9 9
14
12
9 9
14
12
14
14
X X X X
9 9
9 9
14
12
14
1
0
X X X X
9 9
14
14
12
9 9 0
1
P.M.
9 9
P.M.
1
12
P.M.
7 7
P.M.
1
12
14
9 9 0
8
1/2
12
14
P.M.
7 7
14
D5 E5
12 14
5
1
3
14 14
5
1/2
E5
1
3
D5
1
P.M. P.M.
P.M.
5
D5 E5
let ring
P.M.
5
Gtrs. 1 & 2
3
D5 E5
7 7
let ring
Gtr. 3
let ring
E5
X X X X
X X X X
12
steady gliss.
9 9
9 9
A5
B5/A
D5
4 4
E5
rake
5 5
4 4
0
12
14
12
4 4
14
P.M.
2 2
0
4 4
0
5 5
4 4
0
X
15
14
12
14
14
P.M.
9 9
X X X X
9 9 0
0
X X X X
9 9
X X X X
9 9
14
9 9
12
14
7 7
14
14
2 2
14
steady gliss.
0
X X X X
A5
12
9 9
B5/A
X X X X
C5/A
X X X X
14
P.M.
14
14
12
14
P.M.
let ring
4 4
2
4 4
2
2
14
12
14
14
14
2
12
P.M.
4 4
14
4 4
4 4
14
1
14
P.M.
14
let ring
X X
0
2 2
0
4 4
4 4
0
15 14
14
5 5
9 9
B5/A A5
P.M.
12
1
15
14
9 9
let ring
15
14
9 9
1
12
P.M.
P.M.
9 9
1
14
14
12
0
B5
14
12
4 4
1/2
P.M.
P.M.
14
12
14
12
0
1
12
14
P.M.
P.M.
15
D5 E5
1
12
A5
let ring
2 2
B5/A
14
P.M.
X
7 7
C5/A
1
14
15
12
let ring
0
14
P.M.
P.M.
B5/A
14
Rhy. Fig. 2
2 2
A5
1/2
14
B5/A
12
C5/A
4 4
12
End Rhy. Fig. 2
P.M.
2 2 0
9
D5 E5
D5 E5
1
15 12 15 15
15
P.M.
7 7
9 9
P.M.
9 9 0
D5
0
E5
9 9
9 9
7 7
9 9
9 9 0
17 19
16
18
0
A5
let ring
0
15
14
14
14
9 9
7 7
9 9
12
12
P.M. X 9 X X 9 X 9 X X 9 X X X X X X
9 9 0
0
17
15 17 15
15 16
9 9
7 7
9 9
9 9 0
B5/A
A5
0
B5/A
12
C5/A
12
14
let ring 1
1
14
15 14
12 14
14 14 14
1 14 14
9 9
14 14
B5/A A5
12
14
16
9 9
14
15 15 15 15 15 15
12
0
X 9 X X 9 X 9 X X 9 X X X X X X
gliss.
9 9
D5 E5
12 14
A5
1 17
14
steady
1/2
14 14
12
9 9
1
14
7 7
14
P.M.
0
B5
1/2
1/2 1/2
14 14
14 14
D5 E5
1/2
12 13 14
14
1
14 14
9 9
E5
X 9 X X 9 X 9 X X 9 X X X X X X
1/2
1
D5
X 9 X X 9 X 9 X X 9 X X X X X X
1/2 1/2
E5
P.M.
C5/A
15
P.M. P.M.
B5/A
Gtr. 3
10
14
X 9 X X 9 X 9 X X 9 X X X X X X
Gtrs. 1 & 2: w/ Rhy. Fig. 2
14
12
X 9 X X 9 X 9 X X 9 X X X X X X
P.M.
0
12
1
P.M.
9 9
14 14
let ring hold bend
P.M. P.M.
P.M.
7 7
12
14
D5
17 19
12 14
14 14
E5
let ring
let ring
D5
14
12
12
B5/A
1 1/2 17
12 14 14 14
14
C5/A
1 1/2 17
12
B5/A A5
1 1/2 17
14
1 1/2 17
D5
E5
E5
Gtr. 3
17
17
P.M.
7 7
9 9
15 17 17
16
17
12 14
12 12 12 12 12 12 14 14 X 12
X X
9 9 0
X X X X
0
9 9
X X X X
X X X X
9 9
9 9
7 7
9 9
9 9 0
12 12
5
steady gliss. P.M. P.M. X X X X
0
P.M.
P.M. P.M. P.M.
Gtrs. 1 & 2
15 17
Interlude E5
D5
9 9
X X X X
X X X X
9 9
2 0
0
0
3
2
0
3
0
P.M. P.M. P.M. P.M. P.M. 4 5 5 5 5 4 X 4 X 4 4 0 2 2 X 2 X 2
0
0
0
3
0
9 9
Play 6 times
3
0
0
0
3
0
3
B6
0
0
A5
0
3
0
0
4 4
4 4
0
P.M.
4 4
4 4
0
0
0
C5/A
P.M.
P.M. let ring
2 2
0
B5/A
let ring P.M.
2 2
3
5 5
B5/A
4 4
5 5
A5
2 2
0
3
0
G
P.M.
2 2
X X
P.S.
X X
0
0
X X X
X X X
4 2
6 6
3
E
6 2
Riff A1
P.M.
0
5
7
4 2
6 2
0 0
D5
12 12
X X X X
6 6
7 7
0
Riff A
P.M. 0
4 2
End Riff A1
7 7
0
6 2
G5
†
†Played behind the beat.
P.M. 0
6 6
D5
3
B6
0
E
0
0
B5
0
P.M. P.M. P.M. P.M. 2 2 2 2 0 4 2 0 0 2
0
B5
0
X X X
X X X
3
0
End Riff A
5
7
11
D.S. al Coda
Gtrs. 1 & 2: w/ Riff A (2 times) Gtr. 3: w/ Riff A1 (2 times)
E
G5
D5
E
G5
D5
3. Oh,
Coda
B5
have
that,
B6
P.M.
4 4
2
Gtrs. 1 & 2
P.M.
9 7
got
to
be - fore
4 4
2
9 7
11 7
11 7
9 7
9 7
11 7
D5
2 2
0
4 4
I
P.S.
5 5
4 4
0
X X
0 0
2 0
2 0
4 0
2 0
2 0
2 0
4 0
E
G5
0
4
Outro-Guitar Solo E
D5
0
X X X
0
X X X
3
0
5
0
0
X X X
X X X
X X
0
X X X
X X X
3
0
7
0
0
X X X
X X X
7 7
2 0
5
X X
3
P.M. P.M. 0
try
2 0
12
A5
P.M. P.M. P.M.
die.
A6
P.M. P.M. let ring
ar,
A5
-
4 4
4 2
0
G5
P.M.
sug
B6
E
that brown
Gtr. 3
B5
there’s
3
0
0
0
3
0
Riff B
P.M.
5
7
5 3
0
P.M. 2
0
0
0
3
0
End Riff B
2
3
0
Gtrs. 1 & 2: w/ Riff B (till fade)
Gtr. 3
P.M.
0
3
X
4
3
0
let ring
5 0
3
3
3
3 3
3
4
let ring
3 3
3
4
let ring
3
3
4
3
let ring
3
4
3
3
let ring
3 3
3
4
3
3
0
3 P.M. P.M. P.M. P.M. P.M. P.M. let ring 3
4
3 3 3
4 4 4 4 3 2 0 2 2
0
2
2
0 2
2
0 2
2
0 2
0 2
2
2
0 2
2
0 2
2
2 2
0 2
0 2 4
3 5
3
4
1 1/2 5
5
3
5
P.M.
3
5
5
5
3
5
3
5
4
5
3
5
X 5
4
Begin fade
P.M.
5 5
5 3 5 5
4
3 5
4
5 5
3 5
5
14 14
14
12 14
15
14
14
4
3
5
3
4
5
5 3
3
5
3
4
5
5
3
5
5
3
5
5 5
4
3
1 1/2
5 3 5 5
5
1/2
15 12
15
15
15
15 X 12
14
Fade out
1
15
5
let ring 1
3
1 1/2
1 1/2
1
P.M.
15 14
14
3
12
1
14 14
14
12 14
12 15 12
14
12
12 14
14
12
14
12
13
from Greatest Hits
Cheap Sunglasses Words and Music by Billy F Gibbons, Dusty Hill and Frank Lee Beard Intro Moderately q = 96 ** Gm7
F6
G5
Bb6
C5
Gm7
F6
G5
Bb6
Rhy. Fig. 1
* Gtr. 1 (clean)
* Gtr. 2 (dist.) Rhy. Fig. 1A divisi
5 6 7
C5
End Rhy. Fig. 1
mf
5 1
5 3
mf
6 7 8
5
1
* Gtrs. 1 & 2 both doubled throughout. ** Chord symbols reflect overall harmony.
5 3
5 3
5 3
5 1
5 3
End Rhy. Fig. 1A
5 6 7
6 7 8
5
5 3
1
5 3
5 3
Verse Gtrs. 1 & 2: w/ Rhy. Figs. 1 & 1A
Gm7
F6 G5
Gtrs. 1 & 2: w/ Rhy. Figs. 1 & 1A (3 times)
Bb6 C5 Gm7
F6 G5
Bb6
C5
Gm7
wake 2. Spied go 3. Now,
up a
1. When you
Gm7
F6
light has fol - lowed thick
Gm7
get up sweat - er e - ven
your hurt her all black
F6
G5
G5
out of bed kind a tight. know your name.
head, night. frames,
C5 Gm7
μ
go get your - self real - ly knocked me out Rhine - stone shades
Gtr. 2 divisi Gtr. 1
5 6 7 5 3
Gm7
the her the
F6
some cheap was her cheap or cheap
sun sun sun
-
5 6 7
6 7 8
Gtr. 2 divisi
in the morn lit - tle thing out and get
in’
and
you
so
glass glass glass
-
es. es. es.
G5
F6
G5
G5
Gm7
-
the I
and your - self
some
Bb6
do Le dark
C5
C5
when you and her they won’t
vi’s
F6
G5
Bb6 C5
and es try to beat the mass and that was sweet as mo - las - ses. Now, what ’cause they come class - es: in two
in’
Gtr. 1 tacet
6 7 8
Bb6
Bb6 C5
Gtr. 2
Rhy. Fill 1 Gtr. 1
F6
thing fine
G5
first funk - y glass
is hit that street a run She had a West - Coast strut And the choice is up to you
2nd time, Gtrs. 1 & 2: w/ Rhy. Fill 1
Gm7
C5
In with
Bb6
Bb6
F6
G5
Bb6
C5
Bb6
Oh,
Rhy. Fig. 2
5 3
5 1
5 3
5 3
5 1
5 3
5 1
1
5 3
Copyright © 1979 Stage Three Songs All Rights Administered by Stage Three Music (U.S.) Inc. All Rights Reserved Used by Permission
1
T o Coda
G5
F6
G5
Bb6 C5
Bb6
yeah.
Oh,
5 3
G5
5 3
5 1
5 3
5 3
5 3
G5
Bb6 C5
5 1
1
5 3
5 3
5 1
5 3
5 3
5 3
G5
1
5 3
End Rhy. Fig. 2
5 1
5 3
5 1
5 3
Interlude Gtr. 2 tacet
F/G
E/G
Rhy. Fig. 3
* Gtr. 3
F/G
E/G
End Rhy. Fig. 3
mf 8 10 10
8 10 10
7 9 9
8 10 10
8 10 10
7 9 9
* Elec. piano arr. for gtr.
Gtr. 4 (dist.)
mp
F/G
E/G
Guitar Solo Gtr. 4 Cm7
mf
8
10
Gtr. 1
Rhy. Fig. 4
let ring
3 3 3 3
2
4 5
10
E/G
-4 1/2
pp
delay off w/ bar
-2
-4 1/2
10
10
X X X X
4 3 5
4 3 5
8
10
grad. dive
12
12
-4 1/2
12
-6
F/G
w/ bar
12
12
-4 1/2 -4 1/2 ** Set for quarter-note regeneration w/ 3 repeats.
Gtr. 3: w/ Rhy. Fig. 3
w/ bar
12
12
Gtr. 4
** w/ delay w/ bar
8
-3 1/2
10
let ring
3 3
8
8
10
4 3 5 3
3
3 3 3 3
4 5
10
yeah.
5 1
F6
Oh,
G5
Bb6
yeah.
5 1
F6
10
8
10
X X X X
4 3 5
4 3 5
9
8
6
let ring
4 3 5 3
3 3
3
8
10
let ring
3 3 3 3
4 5
10
8
10
X X X X
4 3 5
4 3 5
Bb
6
8
3 3 3 1
8
X X X X
X X X X
let ring
4 5
10
9
let ring
4 3 5 3
4 3 5
1 1 1
8
4 3 5
3
3 3 3 3
3
1 1 1 1
1
6
4 5
X
3 3 3
X X X X
Dm7
8
6 7
5
4 3 5
4 3 5
Cm7
8
let ring
4 5
D
5
3
6 5 7 5
6 5 7 5
End Rhy. Fig. 4
6 5 7 5
6 5 7 5
8 10
10
3
6
4 3 5
3 3 3 3
5
8
X X X X
X X X X
3
9
6
8
10
P.M. 5
5 5 5 5
X
8
8
10 10
8
10
let ring
X X X X
3
8
let ring
8
P.M.
10
6
3 3 3 1
8
8
10
1
8
8
3 3 3 3
10
7 7 7 5
10
8
10
X X X X
4 3 5
4 3 5
X
X X X
let ring
4 3 5 3
3 3
5
3
5
3
5
3
X X X
X X X
3
5
3
Interlude Gtr. 1 tacet Gtr. 3: w/ Rhy. Fig. 3 (2 times)
Gtr. 4
F/G
E/G
w/ bar
F/G
E/G
-2 -3 1/2
w/ bar *
12
12
12
-6
w/ bar
w/ bar
-6
12
-6
12
12
E/G
E/G
mp w/ delay
F/G
F/G
12
12
-2 -4 1/2
-4 1/2
-3 1/2 * Depress and vibrato bar simultaneously.
mf
Guitar Solo
Gtr. 1: w/ Rhy. Fig. 4
Cm7
1/2
8
8
6
8
8
8
6
Bb
8
6
8
semi-harm. 1/2
8
8
X X
4
8
10
8
Cm7
8
8
8
8
10
8
10
6
10
8
10
8
10
8
6
8
8
8
8
P.H.
7
10
8
P.M.
10
delay off
P.H.
6
8
8
6
6
1/4
X
8
10
8
8
-6
6
8
6
8
8
P.H. 8
8
10
6
8
Dm7
Gtr. 4
D
1/2
5 5
1/2
5
5 5
3
5 5
3
1/2
3
5
5 5
Gtr. 1
5 5
7 7 7 5
X X X
3 3
5 5
5 5
5 5
10 10
X X X
X X X
X X
10 10
D.C. al Coda
G5
F6
G5
Bb6
C5
Bb6 G5
F6
G5
Bb6
C5
Gtr. 4
steady gliss.
X X
X X
P.M.
X X
X X
Riff A
P.M.
1
3
F6
G5
Bb6
C5
Bb6 G5
F6
G5 C5
15 15
8 8
X X
P.M.
3
1
X X X
P.M.
1
3
5
X X
P.M.
3
X X X
3 6
X X
5
15
3
3
X X
1
X X
5
Gtr. 2
3
G5
w/ slap-back delay
Bb6
Outro-Guitar Solo
G5
X X
3 3
Gtr. 1: w/ Rhy. Fig. 2 Gtr. 4 tacet
Coda
1/2
Interlude
3 3
5
X X
1
5
P.M.
1
3
3 3
P.M.
3
5
5 5
5
3 3
1
3
P.M.
3
X X
3
1
1
3
3
1
0
1/2 1
5 5
5 5
5 5
3
5
3
P.M.
1
3
1
3
1
3
1
3
1
0
5
X X
X X
1
15 15
P.M.
X X
3
P.M.
3
1
3
6
3
6
P.M.
3
1
1
3
6
1
1
X X
3
3
5 5
3
3 3
P.M.
3
1
1
3
3
1
1
3
3
Gtr. 2: w/ Riff A (4 1/2 times)
X X
3 3
X X
3 3
X X
3 3
X X 5
5
X X
3
X X
X X
3
X X
X X
X X
X X
X X
X X
X X
X X
X X
X X
5 5
X X
rake
1
1
X X
X X
X X
X X
X X
X X
X X
10
5 5
X X
X X
6
5
X X
X X
P.M.
X X
X X
X X
X X
X X
X X
X X
3
X X
5
X
5
6
3 6
3 6
X X
3
2
10 X X
5 5
8 8
8 8
5 5
5
8 8
5
3
3 0
8 8
1/2
1
3
5
1/2
3 6
3
X
X X
1
3 3 0
1
3
X X
5
5
1/4
6
5 5
0
1/2 1
P.M.
5
1
X X
3
End Riff A
Gtr. 4
P.M.
5
3
3 3
6
6
5
3
5
3
P.M. 1
6
3 6
6
3 6
3
3 3
X X
X X
X X
3 3
5 5
5 5
5
5
2
1
5 5
3
1
3
5
3
3
5
3
5
3 3
5
5 5
55
X X
5
5
3
3
5
5
1
1
5
1/2
3
5
3
4
6 6
10 10
6 6
10 10
3
5
5
1/2
1
5 5
3 3
3
5
3
5
3
X X
5
Gtr. 2: w/ Riff A (1st meas.) (8 times)
10 10
10 10
5 5
5 5
5
Harm. 1
3
3
6
8 8
5
3 3
8
3 6
5
3 3 3
X X
5 5 5
5
X X X
5
X X X
X X X
X X X
X X X
10 5 5
5 5
Pitches: G D
3 3 3
X X
X X X
0
3 3 3
X X
X X X
5 5 5
X X X
3 3 3
X X
3 3 3
X X
X X X
X X
5 5
X X
3 3
3 3 3
X X
X X
X X
5 5
X X
X X
5 5
X X
poco rit.
X X
5 5
3 3 X X
3 3 3
X X
3 3
X X
X X
3 3
3 3 3
X X
X X
X X
X X
X X
5 5
X X
5 5 5
3 3
3 3 3
X X
X X
X X
5 5
3 3
Band tacet
μ
P.M.
1/4
X X
X X
3 3 3
X X
X X
3 3 3
X X
X X
3 3 3
X X
X X
5 5
3 3 X X
X X
3 3 3
X X
X X
3 3 3
X X
X X
3 3 3
X X
X X
5 5
3 3
5 5
3 3
5
3
1
3
7
from ZZ Top - Rio Grande Mud
Chevrolet
Words and Music by Billy F Gibbons
Intro Moderately q = 110 *E Gtr. 1 (slight dist.)
μ
1/2
15
12
14
14
Gtr. 2 (slight dist.)
mf 12
A
12
14
12
14
14
0
mf 1/2
12
E
15
12 14
μ
1/2
15
12 14
X
0
3
4
2 2
*Chord symbols reflect basic harmony.
12
14
14
12
14
1/2
14
14
14
12
14
A
E
A
w/ pick & finger
2
4
2
0
0
2
4
2
0
1
0
3
2
0
3
4
2 0
1
4
Copyright © 1972 Music Of Stage Three Copyright Renewed All Rights Administered by Stage Three Music (US) Inc., a BMG Chrysalis company All Rights Reserved Used by Permission
1
E
A
1. In
2 0
2
4
2
0
0
2
4
2
0
1
let ring w/ pick & finger
0
2
2
2
X
X
2
X X
for - ty - one
0
with
A
my
Strat
by
the
door,
we
was
Dsus4
2
2
2 4
2 4
2 2
2 2
2
2 0
go - in’
for
to
the
5
0
2 4
0
5
coun - try
7 0
let ring
3
D
let ring
2 4
let ring
0
flat
P.M.
0
Verse E
2
2 4 0
3
a
7
7 0
4
4
7
7
μ
what
we came
I’m
sure you’ll smell the
0
2 3
trees
in
the
air.
X X
2 4
2 2
2 2
1/4
2
for.
A
E
2 4
The
2 2
0
2 2
0
2 4
2 2
1/4
2
0
2
2 3
0
3
3
4
2
2
4
Interlude
μ
best
of
mo - tor cruis - es,
just
let ring
2 2
5 0
7 5
let ring
0
5
7 0
7 0
4
E
the
joy
7
to
get
1/4
2
E
0 0
2
w/ pick & finger
4
7
2
4
2
2
4
2
3
A
there.
D
0
0
0
0
1
0 3
0
3
w/ pick & finger
1/4
2
0
Dsus4
2
4
2
0
0
2
4
2
0
1
4
2 0
3
4
0
3
Verse
E
2. I
was
ap - proach - in’
P.M.
2 0
2
2
2
2
2
0
3
4
Dsus4
let ring
5
0
7 0
let ring
0
4
5
7 0
4
0
2 2
2 2
4
0
4
7
2 4
0
gin.
let ring
2 2
0
2 2
2
2
μ
flag
7
cot - ton
E
me
1/4
2
4
0
in.
He
asked
2
P.M.
2
0
1/4
2
2 0
0
0 3
if
3
the
0
3
man Berk - man try’n’ to
0
by
P.M.
4
D
old
2 4
There was
Si - mon - ton down
P.M.
0
A
3
4
I
2 4
would stay
0
4
2
a
while and
2 2
2 2
2 2
3
4
if
I
need - ed
I
said, “No
gas.
let ring P.M. 0
4
0
2 0
D
2 0
0
thanks. An - y - how,
7
5
4
0
I
don’t drive too
7
fast.”
1/4
2
0
w/ pick & finger
2 2
2 3
let ring
E
let ring
0
μ
Dsus4
A
w/ pick & finger
1/4
2 2
2
2
7
5
0
4
0
Interlude E
7
2
2
0 3
0
Hal - le
w/ pick & finger P.M.
4
2
0
0
4
2
0
1
3
0
w/ pick & finger
4
2
0
0
4
2
0
1
4
4
-
lu -
2 2
3
A
2 0
2
2
2
0
5
Chorus
E
P.M.
hal
le - lu
-
2 2
0
0
4
2 2
0
4 4
P.M.
0
E
-
hal
P.M.
jah,
0
-
le - lu
4 4
0
2 2
4 4
6
4 4
2
2
2
4 4
0
0
-
2 2
4 4
ride
my
2 2
2
2 2
4 4
P.M.
0
0
2
Dsus4
0
6 6
6 6
ride
my
let ring
P.M.
4 4
2 2
jah,
2 2
2
A
P.M.
2
jah,
B
Chev - ro - let.
Hal- le - lu -
P.M.
4 0
-
2 2
4 4
2 2
7 0
0
0
5
5
2
4 4
6 6
4 4
Chev -
7 0
4 4
2
2
4
6 6
4
6 6
4 4
4 4 2
2
μ
E
ro - let.
7
1/4
2
0 3
4 4
2
D
0
6 6
7
let ring
0
4 4
2
jah,
A
7
0
-
1/4
2
0 3
0
Interlude E
A
E
A
Mm.
loco
15ma
Gtr. 3 (slight dist.)
mf P.H.
15
*Gtrs. 1 & 2
slight P.M.
2 0
3
4
2
2 3
0
2
4
0
3
4
14
2 0
2
1
2 3
2
4
*Composite arrangement
Guitar Solo E
Gtr. 3
X X
12
A
E
Gtr. 1
12
14
12 14
12 14
12 14
12 12
12 14
14
12
4
2
slight P.M. Gtr. 2
2 0
3
4
2
2 0
2 3
w/ pick & finger
12
2 0
7
14
12
14
2
4
11
slight P.M.
3
15
14
12
2 0
14
3
4
2
14
7
w/ pick & finger 1
1
12
14
14
12
14
14
12
12
2 3
E
2
4
2 0
let ring
9 9
11
11
11
9
X
11
2 3
9
X
9
X
9
11
9 9 X 9 9 11
X
X X
9
11
E
X X 9 9
0
3
4
2 0
2
slight P.M.
14
let ring
12 14
12
3
9
E
1
12 12 12 12 12 14
12
12
14 14
4
2 3
0
3
A
11
X
4
15
15
14
14
2
X
2 0
15
14
14
12 12 14
3
12 14
4
12 12
2 3
1/4
1
X 15
10
2
4
1
X
2 3
3
12
1/4
1
let ring 1/4 1/4 slight P.M. 2 3
2 0
15 15 14 14
2
4
12
14
slight P.M.
A
14 14 14
14
3
X X X X 9
11
2
4
2
8
2 0
12
let ring
2 0
2
4
12 12 12 14 14 14
A
3
12 12 14
12
slight P.M.
2 0
12
let ring
P.M.
14
Gtr. 1
1/4
12 14
A
E
A
Gtr. 3
Gtr. 2 tacet
2
E
12 12
let ring 1
12
15
14
let ring
A
X 14
12
14
12 14
12
12
12 14
E
1/4
12
2 3
2 2
4
2 0
A
Harm.
14 14
X 12
2 3
w/ pick & finger let ring 1
12
14
15
P.M.
12
12 12
X 14 X 12
2
4
2 3
3
X
2 2
4
3
0
3
E
4
14
12
12 12 14
14
3 let ring
12
12
2 3
let ring P.M.
P.M.
let ring 1/4 1/4 slight P.M. slight P.M. 2 0
X X
A
12
12
12
2 0
E
0 0 0
2
4
12 12
X X
11
10
slight P.M.
2 0
14
2 2
2 0
12
12
12
10
11
2 3
2
4
A
Gtr. 4 (slight dist.)
f 8
Gtr. 3
Gtr. 1
12
slight P.M.
2 0
12
w/ pick & finger
15
14
7
14
3
12 14
4
12
2 2
10
12 14
15
12 14
15
14
10
2 0
2 3
4
2
w/ pick & finger
2 2
9
Interlude
E
Gtr. 3 tacet
A
P.M.
9
2
2
2
0
12
13
w/ pick & finger P.M.
4
2
0
0
4
2
0
1
3
E
w/ pick & finger
2
0
2
2 0
4
A
3. I
Gtr. 4
X
X
X
X
X 2
Gtr. 2
0
0
P.M.
2
Gtr. 1
w/ pick & finger
4
2
0
0
4
2
0
1
3
10
4
2 0
2
2
0
2
2
2
2
Verse E
took
the
road
down
the
Cin
A
-
co
through
that
3
3
5
3
4
4
6
4
5 6
2 2
2 2
2
2
w/ clean tone w/ pick & finger
5 4
3
P.M.
0
2 4
0
2 2
4
6
2 4
P.M.
2 2
0
2
2 4
0
Gtr. 4 tacet
red
Braz - os
Gtr. 2
5
0
Gtr. 1
7 0
let ring
0
5
7
5
E
Riv - er - land.
let ring
μ
let ring 0
4
1/4
7
2
4
7
hit
that
P.M.
free - way
0
1/4
0
12
2 0
0
2
2
sun -
0
P.M.
2 3
4 0
at
1
2
0 3
Done
D
Dsus4
0
0
P.M.
4 0
0
2 2
2 2
11
A
Dsus4
-
set,
now
big
the
cit - y
lights
are
at
μ
E
hand.
Oh, oh,
oh.
D
w/ pick & finger
1/4
2 0
0
P.M.
0
0
2 2
2 4
2 2
0
7
2
2
0 3
7
5
Interlude E
4
0
let ring
P.M.
2 4
7
4
0
7
0
7 5
2
1/4
2
0
3
w/ pick & finger
4
2
0
0
4
2
0
1
3
w/ pick & finger
P.M.
4
2
0
0
4
2
0
1
0
12
4
3
4
2 0
2
2 0
2 2
Hal - le
w/ pick & finger
2
A
-
lu -
2
Chorus
E
-
jah,
hal
-
le
-
A
lu
-
2
P.M.
0
B
ride
P.M.
4
0
0
my
Chev
P.M.
2 2
-
2 2
4
0
0
ro - let.
jah,
X X X
0
2 4
2
4
2 2
2 4
0
jah,
hal
-
2
E
-
let ring
0
Hal - le - lu
le - lu -
w/ pick & finger
4
4
6
4
P.M.
2
P.M.
4 2
6 6
4 2
4 4
6 6
4 4
X X
4
2
2
4
X
4
P.M.
4 2
6 6
4 2
4 4
6 6
4 4
4 4 0
0
12
12
9
9
P.M.
2 X 4
0
2 2
2 4
2 2
13
-
Dsus4
jah,
ride
my
D
Chev
-
E
ro - let.
μ
A
1/4
w/ pick & finger
2 2
5
0
P.M.
0
0
0
2 2
2 2
4
w/ pick & finger
4
2
0
0
4
2
0
1
4
2
0
0
4
2
0
1 3
2 0
14
2
2
A
2
4
2
0
0
4
2
0
1 3
2
4
2
0
0
2
4
2
0
1
3
4
3
0
E
A
2
4
2
0
0
2
4
2
0
1
2
4
2
0
0
2
4
2
0
1
2
E9
w/ pick & finger
X
4
2 0
w/ pick & finger
0
2
4
w/ pick & finger
2 3
4
3
0
w/ pick & finger
2
1/4
2
2
2 0
4
7
4
0
0
w/ pick & finger
2
2 0
4
0
E
3
2
0
w/ pick & finger
A
2
3
7
5
7
4
0
0
Outro E
2 0
5
let ring
P.M.
2 4
7
X
0
3
4
2 0
6
5
3
6
4
3
4
2 0
4
2 0
from The Best of ZZ Top
Francine Words and Music by Billy F Gibbons, Kenny Cordray and Steve Perrone F
C 5fr
5fr
31 2
Intro Moderate Rock q = 125 * C5 Riff A **Gtrs. 2 & 3 (Drums) (dist.)
f
11 12
Rhy. Fig. 1
Gtr. 1 (dist.)
mf
P.M.
P.M.
5 5
3
10 11
10 12
11 12
10 11
10 10
9 10 9 10
10 10 10
10 11
10 10
10 12
9 10 9 10
P.M.
5 5
3
P.M.
5 5
3
3
P.M.
5 5
P.M.
5 5
3
P.M.
5 5
3
P.M.
5 5
3
P.M.
5 5
3
P.M.
5 5
3
P.M.
5 5
3
P.M.
5 5
3
3
P.M.
5 5
P.M.
5 5
3
End Rhy. Fig. 1
P.M.
5 5
3
5 5
3
3
3 5
*Chord symbols reflect basic harmony.
P.M.
P.M.
5 5
3
Gtrs. 2 & 3: w/ Riff A Gtr. 1 Rhy. Fig. 2
10 10 10
**Composite arrangement
End Riff A
10 11
1 11
5 5
3
P.M.
5 5
3
P.M.
P.M.
5 5
3
P.M.
5 5
3
P.M.
5 5
3
3
5
P.M.
5 5
3
P.M.
3
5 5
3
P.M.
5 5
3
P.M.
5 5
3
P.M.
5 5
3
3
P.M.
5 5
C5
1. Got a girl, 2. Oh, Fran - cine, 3.My Fran - cine Gtr. 3
Fran cis, thir -
her name’s oh, Fran just turned
cine, why teen.
P.M.
3
3 5
3
And I How I And I
3
5
love love love
P.M.
5 5
3
fin - est thing seen. you ev - er do you love me and make me cry? She’s my an - gel - ic queen. teen - age
5 5
3
Verse Gtr. 1: w/ Rhy. Fig. 2
End Rhy. Fig. 2
P.M.
3 3
3 5
3
Gtr. 2
P.M.
3
P.M.
3
3
P.M.
P.M.
3
3
3
3
3
P.M.
3
P.M.
3
3
P.M.
3
3
P.M.
3
1
2
3
P.M.
3
3
P.M.
3
3
P.M.
3
3
3
Copyright © 1972 INDIA INK MUSIC and EMI APRIL MUSIC INC. Copyright Renewed All Rights for INDIA INK MUSIC Controlled and Administered by ALMO MUSIC CORP. All Rights Reserved Used by Permission
3
3
P.M.
P.M.
3
P.M.
3
3
3
3
0
1
Chorus
G5
her. her. her. Gtrs. 2 & 3
She’s all that
let ring
0
0
She’s all that
0
need need need
6 5 7
6 5 7
6 5 7
0
3
5
5 5
5
5 5
3
5 5
3
F
P.M.
P.M.
6 5 7
5 5
5 7
5
5 5
P.M.
5 5
3
P.M.
5 5
3
P.M.
5 5
3
C/F
P.M.
5 5
3
5 5
3
F
need.
let ring
Gtr. 2
0
I
6 5 7
0
6 5 7
5
6 5 7
End Rhy. Fill 1
let ring
6 5 7
X X
5
Rhy. Fill 1
5 5
5
7
6 5
3
Gtr. 1
P.M.
P.M.
P.M.
P.M.
P.M.
5 5 3
3
5 5
5 5
3
3
5 5
3
5 5
P.M.
5 5
3
3
P.M.
5 5
3
5 5
3
5
3
Interlude
Gtr. 1: w/ Rhy. Fig. 1 Gtr. 2: w/ Riff A
10 11
2
I I I
let ring
5 5
C5 ToCoda
let ring
F
C/F
let ring
P.M.
Gtr. 3 tacet
her. her. her.
C5
P.M.
3
Gtr. 3
0
G5
1.
F
And How And
Gtr. 2
5 5 3
3rd time, Gtr. 2: w/ Rhy. Fill 1
C/F
3
Gtrs. 2 & 3
F
want.
0
3
Gtr. 1
I
Gtr. 3 tacet
C5
11 12
10 10 10
10 11
10 12
10 10
9 10 9 10
10 10
12 12
10 10
10 11
10 12
10 10
9 9
10 10
2.
If
I
ev - er caught her with Stev - ie
let ring
6 5 7
6 5 7
6 5 7
6 5
7
10 10 8
P.M.
10 10
P.M.
10 10
8
P.M.
10 10
8
And if
10 10
8
6 5 7
5 5
7
P.M.
P.M.
10 10 8
10 10
8
10 10
10 10
8
10 10
8
8
P.M.
10 10
8
8
I’d throw her back
in
yeah.
6 5 7
P.M.
10 10
8
6 5 7
P.M.
10 10
8
10 10
P.M. 0 0 X 3
8
P.M.
10 10
8
10 10
8
P.M.
5 5
3
P.M.
5 5
10 10
P.M.
5 5
3
my
10 10
P.M.
8 8 5
5
I’d call her dad - dy and get
8 7 5
8
8
5
6 5 7
10 10
7
6 5
6 5
P.M.
pen - i - ten - tia - ry,
G5
P.M.
the
5 5
P.M.
C5
let ring
5 5 5
let ring
P.M.
P.M.
10 10
8
6 5 7
moth - er’s son,
6 5 7
P.M.
P.M.
10 10
8
P.M.
I caught her with my
F
P.M.
F
P.,
5 5
P.M.
C/F
Bridge
F
gun.
3
5 5
8 7 5
8 7 5
P.M.
P.M.
0 0 X 3
0 0 X 3
0 0 X 3
5 5
3
8 7 5
P.M.
Interlude Gtrs. 2 & 3: w/ Riff A Gtr. 1
P.M.
P.M.
f
C5
P.M.
P.M.
P.M.
P.M.
P.M.
P.M.
Gtr. 4 (dist.)
P.M.
P.M.
Gtr. 1 P.M. divisi
P.M.
P.M.
3
5 5
3
5 5
3
5 5
3
5 5
3
5 5
3
5 5
3
5 5
3
5 5
3
5 5
3
5 5
3
5 5
3
5 5
3
P.M.
5 5
3
P.M.
5 5
3
P.M.
5 5
3
8 5 5
3
Gtrs. 2&3
Gtr. 4
Guitar Solo F
grad. bend
grad. bend
1
1
1/2
8
11
P.M.
P.M.
10 10 8
10 10
8
P.M.
10 10
8
1
8
11
11
Gtr. 1
P.M.
10 10
8
P.M.
10 10
8
10 10
P.M.
10 10
8
P.M.
10 10
8
8v a
P.H. 1
8
11
11
5 5
3
10
10
P.M.
P.M.
10 10
8
1
P.M.
C
3
9
P.M.
5 5
3
8
P.M.
5 5
3
P.M.
5 5
3
10
P.M.
5 5
10
8
P.M.
5 5
3
P.M.
5 5
3
3
5 5
Gtr. 5 (dist.)
f
P.M.
P.M.
P.M.
3 1
5 1
P.M.
P.M.
P.M.
P.M.
P.M.
P.M.
P.M.
P.M.
P.M.
P.M.
P.M.
P.M.
P.M.
3 1
3 1
5 1
5 1
3 1
5 1
let ring
1
8
11
10
P.M.
5 1
loco F
P.M.
3 1
11 8
10
P.M.
P.M.
8
8
P.M.
3 1
5 1
3 1
3 1
3 1
5 1
5 3
5 3
(cont. in notation) 10
10 10
10
8
8
10
P.M.
P.M.
P.M.
7 3
5 3
5 3
7 3
7 3
5 3
Gtr. 4 tacet
G5
10 10
8 7
5 3
7 3
7 3
5 3
5 3
7 3
7 3
Gtrs. 1 & 5 tacet
D
Gtr. 3
10
P.M.
7 3
7
7
7
Gtr. 5 divisi
7
8 7
10 10 7
7
7
Gtr. 1
7
8 7
7
7
*
10 10 8
10 10
8
10 10
8
10 10
8
10 10
8
10 10
8
10 10
8
10 10
8
10 10
12 12 10 5 3 *Gtr. 1 to left of slash in tab.
P.M.
Gtr. 2
P.M.
P.M.
P.M.
P.M.
P.M.
P.M.
let ring
P.M.
8 7 3 1
3 1
5 1
5 1
3 1
3 1
5 1
5 1
3 1
3 1
5 1
5 1
3 1
3 1
5 1
7 7
5 1
10 7
7 7
8 7
7 7
10 7
7 7
8 7
7 7
Interlude Gtr. 1: w/ Rhy. Fig. 2 Gtrs. 2 & 3: w/ Riff A
C5
4
D.S. al Coda
Coda
C5
F
C/F
F
Uh,
C/F
And
I
uh.
F
C/F
G5
love
her.
Gtr. 3
Rhy. Fig. 3B
H.H. let ring
Gtr. 2
let ring
6 5 7
6 5 7
5
let ring
6 5 7
X X
5
6 5 7
5
Rhy. Fig. 3A
let ring
5 5 5
5
4 16
5 17
5 17
6 5 7
5 5 5
0
0 3
Gtr. 1
P.M.
3
P.M.
5 5
5 5
5 5
3
let ring
5 17
0
5 17
0
P.M.
P.M.
5 5
3
She’s
all
that
I
P.M.
5 5
3
C5
5 5
5 5
Rhy. Fig. 3
5
5 5 3
P.M.
3
3
5 3
C/F
F
C/F
want.
F And
4 16
H.H. let ring
4 16
P.M.
3
C/F
I
need
Rhy. Fig. 3B End
X X X
X X X
X X X
X X X
let ring
3A End Rhy. Fig. let ring
6 5 7
6 5 7
6 5 7
6 5 7
0
X X X
X X X
X X X
X X X
5
X X
5
X X X
X X X
X X X
X X X
5
X X X
5 5 5
5
X X X
X X X
6 5 7
5 5 5
3
5 5 3
P.M.
3
P.M.
5 5
3
P.M.
5 5
3
3
5 5
3
P.M.
P.M.
P.M.
5 5
5 5
3
End Rhy. Fig. 3
P.M.
5 5
3
5 5
5
3
5
5
Gtr. 1: w/ Rhy. Fig. 3 (5 times) Gtr. 2: w/ Rhy. Fig. 3A (3 times) Gtr. 3: w/ Rhy. Fig. 3B
G5
her.
She’s
8v a
Voc. Fig. 1
all
that
I
(Whew.)
her,
Gtr. 3
F
C/F
8v a
H.H. let ring
( 3 15 ) 5 17
C5
Gtr. 3
5 17
5 17
8v a
And
I
F
C/F
3 15
5 17
5 17
need
she’s
all
want.
that
I
C5
F
8v a
loco
5 17
5 17
5 17
3 15
she’s
all
that
I
3 15
4 16
5 17
5 17
C/F
5 17
3 15
And
I
F
C/F
G5
love
5 17
loco
H.H. let ring
4 16
5 17
5 17
her,
3 15 5 17
Gtr. 2
3
6
H.H. let ring
C/F
H.H. let ring
F
love
End Voc. Fig. 1
C/F
I
her,
F
And
G5
C/F
need.
H.H. let ring
(3(15))
X X
C/F
F
5 17
3 15
3 15
F
C/F
4 16
5 17
F
H.H. let ring
5 17
C5
Bkgd. Voc.: w/ Voc. Fig. 1 (2 times)
G5
5
3
need.
she’s
all
that
I
3 15
3
F
I
3 15
5 17
let ring
6 5 7
6 5 7
5
X X
5
6 5 7
6 5 7
let ring
5
need
5 17
5 17
C/F
And
3 15
5 5 5
5
6 5 7
5 5 5
* Voc. begin fade
** C5
*
3
loco
5 17
her,
C/F
H.H. let ring
3
G5
F
C/F
want.
5 17
5
3
5 17
4 16
5 17
F
8v a
H.H. let ring
(3(15))
C5
she’s
all that I
need.
F
C/F
F
C5
8v a
C/F
H.H. let ring
4 16
5 17
4 16
1
Outro
G5
loco
5 17
4 16 5 17
let ring
0
3
5 17
5 17
X X X
6 5 7
6 5 7
5
5 17
3 15
let ring
X X X
5
5 17
X X X
6 5 7
3 15
5 17
8 8 5
5 5
5
8 8 5
** Voc. fade out
5 17
4 16
let ring
0 3
5 17
let ring
0
H.H. let ring
5 17
let ring
3
Gtr. 1: w/ Rhy. Fig. 3 (till fade)
3 15
3 15
5 17
0
5
3
1
3 15
0
0
3 15
C5
8v a
C/F
F
C/F
H.H. let ring
5 17
F
5 17
3 15
5 17
5(17)
6 5 7
5 17
5 17
let ring
X X X
3 15
6 5 7
5 5
X X X
let ring
6 5 7
6 5 7
5 5
let ring 8
8
9
3
7
G5
loco
C5
H.H. let ring
4 16
3 15
4 16
5 17
let ring
0
0
0
3
loco
5 17
0
G5
loco
5 17
5 17
0
0
5 17
0
8
5 17
let ring
6 5 7
6 5 7
5
X X X
5
let ring
6 5 7
5 17
5 17
F C/F
6 5 7
let ring
5
6 5 7
5
5
5 5
5
Begin fade
C5
F
C/F
H.H. let ring
5 17
5 17
C/F
3 15
4 16
F
8v a
0
5 17
let ring
6 5 7
5 5
3 3
5 17
3 15
6 5 7
5
3 15
5 17
let ring
3 3
5
5 17
F C/F
6 5 7
5 5
6 5 7
5
6 5 7
5
5
5 5
3
4 16
3 15 5 17
let ring
3
3 15
X X X
0
H.H. let ring
1
5 17
5 17
3
C/F
H.H. let ring
5 17
4 16
let ring
F
5 17
H.H. let ring
C/F
3
G5
5 17
3 15
5 17
F
8v a
5 17
4 16
let ring
0
0 1
3
0
Fade out
C5
8v a
F
H.H. let ring
3 15
3 15
C/F
5 17
5 17
3 3
5 5
6 5 7
6 5 7
5 5
C/F
5 17
5 17
5 17
let ring
F
F C/F
3 15
let ring
3 3
5 5
6 5 7
6 5 7
5 5
5
6 5 7
5 5
from ZZ Top’s First Album
Goin’ Down to Mexico Words and Music by Billy F Gibbons, Bill Ham and Dusty Hill Bb7
A7
G5
5fr 1234
Intro Moderately slow q = 81
Bb5 C5
1234
f 3 3
5 5
X X
5 5
5 5
X X
5 5
Verse 2nd time, Gtr. 1: w/ Fill 1
G5
5 5
Bb5
Gtr. 2
1
5 3
G5
5
3
X X
5 3
5 3
X X
5 3
3 3
5 3
*T = Thumb on 6th string Fill 1
Gtr. 1
1
T
X X
5 3
5 5
5
7
It was Giv - in’ She was a
3
5
5
X X X
X X
5 3
3
5
5 3
X X
3 3
5 5
Copyright © 1970 Stage Three Songs Copyright Renewed All Rights Administered by Stage Three Music (U.S.) Inc. All Rights Reserved Used by Permission
3
5
5 3
3 1
5
G5 Bb5 C5
5 5
was
trou - ble on the rise. good things for the poor. long for - got - ten name.
3
1. I
T
3 3
3
Bb5
End Rhy. Fill 1
P.M. *T
3 1
there was do - in’ with a
3
3
Rhy. Fill 1
F5
μ
2nd & 3rd times, Gtr. 1: w/ Fill 2
G5 Bb5 C5
on my way down to Mex - i - co, was he, fine and fan - cy man 3. Nine - teen star For - ty mov - ie
Gtr. 1
Bb5 C5
3 5 X 5 5 X 5 5 3 5 X 5 5 X 5 5
*Composite arrangement
F5
T3 4 1 1
Play 3 times
*Gtrs. 1 & 2 (dist.)
4fr
5 3
5 3
T
3 3
X X
5 3
3 3
5 5
5 5
1
F5 G5
Bb5
G5 Bb5 C5
than I’d left be - hind, more for free, his rock - in’ Eigh - ty- eight in her pleat - ed dress, mess
noth - in’ rides in sex - y
Fill 2
T
5 3
X X
5 3
3
5
5 3
X X
5 3
3 3
5 3
X X
5 3
5 5
turned a - round and lit came my turn he got - ten lines she
a said missed
cig - a - rette, to me, her cue
3 1
wiped the “Have I and left
5
7
3
5 3
6
P.M.
5
7
Fill 3
Gtr. 1
3
2
5
X X
5 3
3
5 3
8 3
5
5
6
P.M.
Fill 4
7 3
Gtr. 1
3
5
5 3
X X
5 3
T
3 3
5 3
X X
5 5
5 5
3 3
5 3
my boots. dust off of be - fore?” seen your face at home. a glass of wine
When I said, She was
3
let ring let ring X X
5 3
3
5
P.M.
5 3
P.M.
3rd time, Gtr. 2: w/ Rhy. Fill 2
C7
P.M.
3
5 5
I When it With for -
5
2nd time, Gtr. 1: w/ Fill 3 3rd time, Gtr. 1: w/ Fill 4
sur - prise. for more. to fame.
T
3 3
G5 Bb5 C5
3
T
Bb5
P.M.
which was much to my they could not hope hang - in’ on still
3
3 1
End Fill 2
3
F5 G5
7
5 3
let ring let ring X X
5 3
6
5
7
5 3
3
8 3
5
7 3
5
6
Rhy. Fill 2
let ring let ring
Gtr. 2
P.M.
5 3
X X
5 3
6
7
5
3
3
8 3
5
7 3
5
5 3
7
F5 G5
Bb5
up
a
G5
Bb5 C5
P.M.
3
T
5 3
X X
5 3
3
5
5 3
X X
5 3
3 3
5 3
X X
knew it from a Could we
was no dis - tant both be
3 3
G5 Bb5 C5
use. shore. wrong?
It’s So, So,
T
5 3
Bb5
3
T
T o Coda
5
P.M.
3 1
I I’m
3
G5
saw the crowd, I wrong, you must be that I was. song
head “Oh, no, sing - in’ the same
1
F5
2nd & 3rd times, Gtr. 2: w/ Rhy. Fill 1
5 5
5 5
3 1
5 3
X X
5 3
5 3
X X
5 3
5 3
T
3 3
X X
3 3
5 3
5 5
5 5
1.
D7
been
the
for, oh, so
long,
same
way
C7
Bb5
it
looks like I’m
3
sing - in’ the
5
3
P.M.
P.M.
7 5
let ring let ring X X
7 5
8
9
7
5
7 5
10 5
7
9 5
7
8
9
5 3
same
old
song.
1
X X
5 3
6
7
P.M.
5
1
1
let ring 1
3 3
3
Gtr. 1 tacet
Bb5 C5
Bb5 C5
Gtr. 2
3 3
5 5
X X
5 5
5 5
X X
5 5
5 5
X X
μ
2. A
X X
3 3
5 5
X X
5 5
5 5
X X
5 5
5 5
5
5
7
2.
D7
if you don’t
mind, I’ll just
move
C7
a - long
but
it
looks
like I’m
0 X 3
5
let ring let ring
P.M.
7 5
Gtr. 1
X X
7 5
8
7
9
7 5
5
10 5
7
Bb7
(cont. in notation)
Gtr. 2
3 3
4
5 5
X X
5 5
5 5
(cont. in slashes) P.M.
X X
5 5
5 5
7 6 5 6
9 5
7
7 5
Interlude Faster q = 168 A7 Gtr. 2
P.M.
Gtr. 1
6 5 4 5
sing - in’ the
Gtr. 1
Gtr. 2
Bb5
same
old
song.”
3
(cont. in slashes)
1
5 3
5 3
6
7
let ring
5
3 3
1
5
0
5 5
7 7
0
0
Bb7
P.M. P.M.
P.M.
0
0
0
0
7 7
5 5
0
Gtr. 2 tacet
A7
P.M.
1/2
0
A
Gtr. 1
P.M.
Gtr. 2
mf
3
5
C
D
5
0
mf
0
0
0
0
3
5
0
0
0
3
5
7
0
0
5
5
0
3
D
0
0
A
3
C
1/2
5
3
D
A
C
0
0
0
3
5
D
G
3
3
0
0
3
5
3
5
3
C
0
A7
0
3
0
0
0
1/2
0
mp
1/2
Guitar Solo
7
0
A
0
P.M.
0
P.M.
0
0
5
7
0
0
3
5
3
5
0
5
7
7
0
3
5
3
0
5
7
0
0
0
3
5
let ring
P.M.
Riff A
0
3
5
7
1
7
0
0
5
5
7
0
1/2
8
5
7
7
End Riff A
0
3
5
3
5
Gtr. 2: w/ Riff A (3 times)
Gtr. 1
1
7
5
7
7
let ring
5
7
5
7
5
7
5
10
8
8
10
8
9
7
5
7
5
7
5
9
3
let ring 1
8
5
5
7
7
3
5
*Gtr. 2: w/ Riff A (11 times)
5
5
5
7
7 8
8 9
7 8
8 9
let ring
7
7
5
7
7
X
P.M. 1/4
5
7
9
*played f .
1/2
7
5
7
7
5 5
7
7
7
9
6
7
5
7
7
5
5
7
7 8
7
8 9
7
9
7
5
7
7
5
5
7 8
7
5
5
7
7
P.M.
5
9
5 7
7
let ring
7 9
5
let ring
let ring
8 8 9
7
1/4
let ring 7 7 8
P.M.
5
5
8 9
7 8
1/2
1/2
7
7
5
7
7
1/4
8 9
9
7
5
5 5
7
5
7
7
5
7
7
1/2
X X
8 9
7 8
9
7
5
5
5
7
7
8
Gtr. 1
8 9
7 8
8 9
5
9
Gtr. 2
0
0
0
3
5
C7
let ring
P.M.
5 3
3
6
7
5
5
7
7
let ring
X
7
8 9
7 8
7
9
7
1
5
8
7
5
5
5
1/2
8
7
9
7
9
5
7
1/4
5
7
7
5
7
5
7
3
D7
7
5
7
Bb5
5
7
5
7
5
7
5
4
let ring
0
3
5
3
7 5
5
X X
7 5
8
1
7
7 5
5
10 5
7
9 5
7
8
9
D.S. al Coda
Bb5
3
5
3
5
5
5
3 3
9
μ
X X X
1
let ring
0
5
P.M.
0
0 X 1
3
7
5
7
9
7
P.M.
1/2 7 8
5
1/2
5
3
5
3
5
5 5
5
X X X
μ
C5
3
5
3 3
5
7
5 5
3
5
3 3
5
7
5 5
7
Coda
D7
C7
hand
in
hand
we
walked
a - long,
each of
us
P.M.
3
let ring
same
let ring P.M.
7 5
X X
7 5
8
7
9
7 5
5
10 5
7
9 5
7
5 3
5 3
3
6
song.
1
let ring
5
7
let ring
7 5
old
1
sing - in’ the
0 X 3
5
3 3
1
Outro Gtr. 1 tacet
Gtr. 2
Bb5
C5
3 3
Bb5
5 5
X X
5 5
5 5
5 5
X X
5 5
3 3
X X
5 5
5 5
Gtr. 2
3 6
5 5
6 let ring
3
8
3
6 6
3 3
3
5
3
3 3
5 5
X X
5 5
5 5
3 3
5
5
5
3
6
1
3
3
6
5
mp slight P.M.
3
4
5
3
let ring
P.M.
1
3
let ring 1
6
5 5
(cont. in slashes)
5 5
5 5
Gtr. 1
rit.
X X
X X
5
4
3
1
3
3
6
3
3
5
5 5
5 5
Free time G5
Bb5 C5
3 3
C5
from The Best of ZZ Top
Heard It on the X Words and Music by Billy F Gibbons, Dusty Hill and Frank Lee Beard
1.
Intro Fast Blues Rock q = 228 A5 C5 A5
2. Yeah!
G5
C5 A5
G5
C5 A5
G5
D5 C5 A5 C5
G5
D5 C5 A5 C5
G5
*Gtrs. 1 & 2 (slight dist.)
Rhy. Fig. 1
f
End Rhy. Fig. 1
P.M.
2 2 0
5 5
2 2
P.M.
2 2
0
P.M.
2 0 2 0
5 5
2 2
2 2
0
3
P.M.
P.M.
2 0 2 0
5 5
2 2
2 2
0
3
P.M.
2 0 2 0
P.M.
7 7
5 5
5 5
0
3
P.M.
0 0
7 7
5 5
0
5 5
0 0
*Composite arrangement
Verse Gtrs. 1 & 2: w/ Rhy. Fig. 1 (3 times)
C5 A5
C5 A5
coast lis -
talk if
re - mem thank
Doc
Je watts
coast to
G5
in’ you
’bout don’t
line ra -
G5
that
out
it’s
Gtrs. 1 & 2
P.M.
5 5
2 2
0
P.M.
2 2
2 2
0 0 3
back who
B.
C5 A5
law sure you
X won’t
in
C5 A5
that’s the first
in
C5
is
cut - tin’ get to
5 5
7 7
P.M.
A5
P.M.
2 2
2 2
0 0 3
D5
-
ty - six? the
line.
-
ty ’ry
-
G5
C5 A5 C5
0
With
D5 C5 A5 C5
D5 C5 A5 C5
Copyright © 1975 Stage Three Songs Copyright Renewed All Rights Administered by Stage Three Music (U.S.) Inc. All Rights Reserved Used by Permission
G5
the in’
0 0
from So
G5
there, night.
I’m ’Cause
D5 C5 A5 C5
air. right. Rhy. Fill 1
P.M.
5 5
G5
Oh,
P.M.
5 5
G5
licks. kind.
through feel -
G5
my its
0
coun ev
G5
learned of
G5
2 2
A5
ev - ’ry each and
most
I one
where
C5
nine - teen - six stepped a - cross
G5
A5
G5
to line, di - o
A5
C5 A5
and your
ber - tor
C5
G5
hill - bil - ly blues, took con - trol,
he
1.
-
C5
sus,
A5
G5
to ten
C5 A5
C5
Coun - try lots of
C5 A5
G5
1. Do you can all
2. We
7 7
5 5
0
End Rhy. Fill 1
5 5 X
3
2
1
μ
An
Gtr. 1 Rhy Fig. 2
D5
-
y
-
D5
where,
3 2 0
F5
μ
0
1
-
3 2 0
3 2 0
3 2 0
5 4
1/2
0
1
’ry
-
E5
where,
y’all,
let ring
I
1/4
2 0
3
End Rhy. Fig. 2A
2 0
0
1/4 1/4
3 3
0 0
4
2
0
End Rhy. Fig. 2
0
G5
2
0
Gtr. 2 Rhy. Fig. 2A
E5
ev
3 2 0
3
y’all,
3 2 0
0
2 0
0
0
Chorus
C5
heard
G5
C5
it,
I
5 5
heard
C5
it,
I
Rhy. Fig. 3
G5
0 0
5 5
heard
G5
it
on
0 0
5 5
A5
the
X.
End Rhy. Fig. 3
P.M.
0 0
2 2
2
3
Rhy. Fig. 3A
5 5
P.M.
0 0
0 0 3
2
3
5 5
5 5
P.M.
0 0
0 0 3
2 2 3
0
End Rhy. Fig. 3A
P.M.
0 0
2 3
0
C5
5 5
1.
G5
C5
0 0
G5
5 5
C5
Harm. *don't pick
0 0
G5
A5
μ
loco
**8va
5 5
5 5
P.M.
0 0
5 5
P.M.
0 0
0 0
5 5
Gtrs. 1 & 2
2 2
G5
0 0
0
0 0
C5 A5
P.M.
2 2
5 5
2 2
0 0
2 2
G5
0 0
3
0
3
4
P.M.
2 2
3
4
2 2
C5 A5
2 2
3
P.M.
5 5
P.M.
3
P.M.
5 5
P.M.
3
Interlude C5 A5
0
*After striking open strings on beat 2 1/2, lightly touch w/ L.H. finger. **Refers to harm. only
2 2 3
0
G5
P.M.
0 0
5 5
2 2
3
D5 C5 A5 C5
2 2
0
2 2
0 0
P.M.
G5
P.M.
7 7
5 5
0
3
5 5
0 0
2.
Guitar Solo ***Gtrs. 1 & 2: w/ Rhy. Fig. 1 (3 3/4 times)
C5
G5
A5
2 2
C5 A5
G5
C5
A5
G5
Gtr. 3 (slight dist.)
Gtrs. 1 & 2
P.M.
0 0
f
w/ slide & wah-wah (as filter)
2 2 3
2 2
14
14
14
14
14
***Gtr. 2: w/ wah-wah as filter, till end.
3
2.
1. , 3.
C5 A5
G5
14
14
14
D5 C5 A5
D5
12
13
14
F5
7 7
7 7
C5 D5 C5 A5
G5
12 13
17
13
14
6
5
5 5
G
0 0
2 2
D5 C5 A5 C5
7 7 7
9 9 9
5 5
0 0
C
0 0
2 2
5 5
0 0
10
X
G5
E
9 9 9
8
G
17
Gtr. 2: w/ Rhy. Fig. 2 (last meas.)
G
12 13
E
C
D
Gtrs. 1 & 2: w/ Rhy. Figs. 3 & 3A
C
Gtrs. 1 & 2: w/ Rhy. Fill 1
G5
steady gliss.
Gtrs. 1 & 2: w/ Rhy. Figs. 2 & 2A
μ
C5
4.
0 0
7
9 9 9
A
w/o slide
2 2
3
C
Gtr. 3
5 5
G
C
0 0
2 2
0 0
Gtrs. 1 & 2
5 5
P.M.
0 0
0 0 3
4
5 5
G
5 5
C
0 0
2 2
0 0
P.M.
0 0
0 0 3
5 5
G
5 5
0 0
A
2 2
P.M.
0 0
2 2
3
Interlude Gtr. 3 tacet
A5 G5
A5
Gtrs. 1 & 2
G5
C5 A5
P.M.
2 2
P.M.
0 0
2 2
2 2
0 0
3
2 2
0
2 2
G5
5 5
5 5
7 7
P.M.
2 2
P.M.
2 2
0
2 2
P.M.
0 0
G5
P.M.
5 5
2 2
0
3
2 2
2 2
0
2 2
P.M.
0 0
G5
P.M.
0 0
5 5
2 2
2 2
5 5
0
0 0
D5 C5 A5 C5
P.M.
2 2
0
3
5 5
3
P.M.
2 2
P.M.
C5 A5
0 0
2 2
3
C5 A5
P.M.
2 2
D5 C5 A5 C5
5 5
G5
G5
P.M.
C5 A5
3
C5 A5
G5
G5
P.M.
0 0
7 7
5 5
5 5
0
3
0 0
Half-time feel
μ
0
2
0
0
1
1
1
2
2
3
3
3
4
0
4
0
3
3
3
2
2
2
1
1
1
0
0
0
3
3
2
2
End half-time feel Free time
E5
1
1
0
0
0
4
4
Outro A Tempo C5 A5
4
G5
P.M.
5 5
2 2
3
3
2
2
1
1
0
Repeat and fade
3
0
P.M.
2 2
2 2
0 0
C5 A5
P.M.
5 5 3
G5
2 2
0
P.M.
2 2
2 2
0 0
C5 A5
2 2
0
2 2
2 2
0 0
G5
P.M.
7 7 3
D5 C5 A5 C5
P.M.
P.M.
5 5 3
G5
5 5
0
5 5
0 0
5
from Degüello
I Thank You Words and Music by Isaac Hayes and David Porter
Intro Moderate Rock q = 110 *Am7
D/A
Am7
G5/A
Gtr. 1 (slight dist.)
A
Am7
mf
D/A
Am7
7 7 7
5 5 5
** P.M. w/ chorus
0
5 5 5
0
0
7 7 7
0
5 5 5
0
0
0 0
0
0
0
0
2 2 2
0
5 5 5
0
0
0
0
* Chord symbols reflect implied harmony. ** P.M. applies to downstem notes only (next 4 meas.).
μ
A5
Gtr. 2 (dist.)
0 0
8 5
8 5
mf 1
8
7
Gtr. 1
8
7
7
7
8 7
1/2
8
P.M.
7
5
7
7
0
0
7
7
slight P.M.
0
0
0
Gtr. 2 tacet
F#5
G5
G#5
You
Gtr. 1
7
7
0
0
7
7
0
0
7
7
0
0
7
7
1
2
slight P.M.
0
0
0
Copyright © 1968 ALMO MUSIC CORP. and WALDEN MUSIC, INC. Copyright Renewed All Rights Reserved Used by Permission
4
5 3
6 4
1
Chorus Am7
D/A
Am7
did - n’t have to
love
Gtr. 3 (slight dist.)
Rhy. Fig. 1
mf
w/ chorus
let ring
5 5 5
0
me like you
let ring
7 7 7
0
D/A
did,
but you did,
let ring
5 5 5
0
Am7
7 7 7
D
did,
let ring
0
but you
E
and
I
Am7
thank
you.
0
6 7
4 5
5 5 5
0
End Rhy. Fig. 1
let ring
5 5 5
You
D/A
let ring
0
7 7 7
Gtr. 1
Riff A
slight P.M.
0
7
0
7
0
0
7
7
0
0
7
7
0
7
0
7
0
End Riff A
slight P.M.
7
5
7
5
5
0
0
7
7
0
0
7
Gtr. 1: w/ Riff A Gtr. 3: w/ Rhy. Fig. 1
Am7
did
Am7
did,
2
-
n’t
have
to
love
E
D
D/A
Am7
me
like
you
did,
but
you
Am7
and
I
thank
D/A
did,
D/A
you.
but
you
7
Verse Gtr. 1: w/ Riff A (1st 2 meas.) (2 times)
Am7
1. But
D/A
you took your
Gtr. 2
Am7
love
to
some - one
D5/A
Am7
else.
I
D/A
Am7
D5/A
would - n’t know what it meant to
be
loved
to
death.
* 1/2
8 7
7
5
5
7
*Roll back vol. knob. Gtr. 3 Rhy. Fig. 2
let ring
5 5 5
0
0
let ring
let ring sim.
7 7 7
5 5
0
7 7
0
5 5 5
0
7 7 7
0
5 5
0
7 7
0
Gtr. 2 tacet
Am7
D/A
Am7
D5/A
Em7
You made me
feel
like I’ve nev
-
er
felt,
kiss - es
Gtr. 2
good I
hol - ler
G#5
for
help.
You
let ring
5 5 5
0
had to
G5
5 7
so
F#5
3
1
5
Gtr. 3
3
0
7 7 7
5 5
0
0
7 8 7
7 7
7 8 7
0
7 8 7
0
End Rhy. Fig. 2
0
Gtr. 1
slight P.M.
0
0
7
7
0
0
7
7
0
0
7
7
0
0
7
Riff B
7
2 0
0
2
4 0
0
0
0
0
1
2
End Riff B
5 3
6 4
3
Chorus Gtr. 1: w/ Riff A (2 times) Gtr. 3: w/ Rhy. Fig. 1 (2 times)
Am7
D/A
did - n’t
have
to
squeeze
Am7
thank
D/A
Am7
you.
you
did,
but
you
did,
but
you
did,
Am7
but
You
Am7
it,
D/A
D/A
did - n’t
have
to
hold
E
D
Am7
and
I
D/A
it,
but
you
did,
but
you
did,
but
you
Verse Gtr. 1: w/ Riff A (1st 2 meas.) (3 times) Gtr. 3: w/ Rhy. Fig. 2
Am7
E
D
and
I
thank
you.
D/A
did, Gtr. 2
Am7
2. Ev
Am7
7
5
D/A
-
’ry
D/A
day
was
1/2
7
7
Am7
D5/A
some
-
thing
Am7
You
put
on
your
new.
5
bag
7
and
your
Am7
D/A
fine
to -
do.
p 8
10
Gtr. 1: w/ Riff B
Am7
D/A
You
grad. bend 1 1/2
10
4
got
me
try
-
Am7
ing
D5/A
new
things
Em7
F#5
too,
just
mf
8
so
I
can keep
up
5
5
with
G5
you.
G#5
Guitar Solo
A5
G5
Gtr. 2
1/2
7 7
7 7
* f
5 5
7
5
A5
5
5
Gtr. 1: w/ Riff C (2 times)
D5
5
7
1/2
7 7
7 7
7
X
X
5 5
7
X
*Vol. knob full Gtr. 1 Riff C
0
0
7
7
slight P.M.
G5
1/4
5
5
Em7
7
5 3
5
7
X
X
7
6
7
7
G5
D5
1/4
5
1/4
1/4
5
1/2
7
7
7
E
7
7
Chorus A5
G#5
P.H.
7
7
G5
1
5
7
5
5
7
7
0
Pitches: E Gtr. 3
5 5
F#5
1
1
5
7 7
5
0
8v a
5
7 7
7
1/2
Gtr. 2
5
3
0 5
A5
7
0
1/4
5
0
D5
Gtr. 2
End Riff C
You
did - n’t have
to
shake
loco
μ
it,
but
you
1/2
5
7
7
Eb
E
let ring
7 8 7 0 Gtr. 1
slight P.M.
2 0
0
2 0
0
2
2
4 2
4 1
2
5 3
6 4
0
5
Gtr. 2 tacet
did,
but
you
did,
but
you
did,
Gtr. 3
Gtr. 1
and
I
thank
you.
E
D
You
6 7
4 5
7
5
Gtr. 1: w/ Riff A Gtr. 3: w/ Rhy. Fig. 1
Am7
D/A
did - n’t have
to
make
Am7
it
like
you
D/A
did,
but
you
did,
Am7
but
you
E
D
Am7
and
thank
did,
I
D/A
you.
Verse Gtr. 1: w/ Riff A (1st 2 meas.) (3 times) Gtr. 3: w/ Rhy. Fig. 2
Am7
3. All
of
my
D/A
life
Gtr. 2
I’ve
Am7
been
short
-
changed.
D5/A
Am7
With - out
3
your
love,
D/A
3 3
ba
-
by,
it’s
a
mp 1/2
7
7
Am7
D5/A
cry
-
ing
shame.
5
6
Am7
But
now
I
5
7
3
know
D/A
what
the
5
fel - las
Am7
talk - ing
a -
D5/A
bout
5
7
6
Outro Gtr. 1: w/ Riff B
Gtr. 1: w/ Riff C (till fade) Gtr. 2 tacet
Em7
when
they
say
that
they
F#5
been
turned
G5
out.
G#5
I
want
to
A5
thank
you.
Gtr. 3
*
w/ slide
*
7
0
5
7
5
7 7
7
*Vibrato causes notes to sound.
G5
D5
to
5
7
thank
0
5
G5
5
0
I
6
5
3
0
0
0
5
7
5
5
7
7
5
7
D5
D5
0 5
0
I
7
want
to
0
9
7
5
0
7
5
5
9
7
7
5 7
7
2
3
4
5
want
to
2
3
0
you.
0
thank
0
5
A5
G5
A5
you.
G5
D5
Yes,
3
G5
you.
5
want
thank
I
A5
5
0
5
A5
7 7 7
5
7
5
7
D5
7
7
5
7
7
4
7
A5
5
5
G5
7
5
7
7
G5
D5
5
3
0
4
3
A5
4
G5
0
0
5
5
3
G5
D5
7
7
0
2
3
1
2
2
2
D5
6
7
5
6
5
7 7
3
5
5 5
7 7
7 7
0
0
2
3
0
4
2
3
5
0
7
5
2
1
0
3
0
4
0
0
0
0
2
3
3
5
7
0
4
3
0
3
0
1
7
0
3
* 7
G5
*
7
5
7
7 7
6
0
7
6
7
0
5
5
7
1
3
0
5
5
2
2
2
2
* *
6
7
0
2
2
D5
0
3
5
7
A5
0
3
4
5 1
0
1
0
0
D5
A5
5 5
D5
4
2
G5
D5
*As before
8
0
5
G5
A5
5
3
0 0
G5
0
G5
2
1
A5
A5
5
0
let ring
7
3
7
7
5
7
4
let ring
Begin fade
2
0
0
A5
3
0
5
D5
4
A5
7 7 7
7
5 5 5
4
5
0
*As before
D5
6
8
5
Fade out
A5
7
7
5
7
7
6
5
7
7
7
0
from Deguello
I’m Bad, I’m Nationwide Words and Music by Billy F Gibbons, Dusty Hill and Frank Lee Beard F/A
C 5fr
5fr
312
Intro Moderately q = 104
C5
Gtr. 1 (elec.)
C6
f
w/ dist.
1
F5/C C5
11
11
8
f
8
10
10
10 8
10 8
12 8
B5/F#
8 8
10 10 8
10 8
12 8
10 8
C5
C6
C5
1
11
11
8
10
10 10 8
8 10
8
6
8
8 8
8 8
C6 C5
1
8
10
w/ dist. P.M.
Bb5/F
X X
*Gtr. 2 (elec.)
C6 C5
1
8
111
8
10
10 10
8
10
6
P.M.
8 8
9 9
10 8
10 8
12 8
8
10
let ring 10 8
10 8
12 8
10
*Set vol. knob at 3/4 volume.
Slower q = 80
Faster q = 104
8va
μ (C7)
(F5) Eb5
Gtr. 1
1
Gtr. 3 tacet
C5
C6 C5
C6 C5
1/2
8
10
3 *Gtrs. 2 & 3
11 11 11 12 12 12 *Gtr. 3 (acous.) - played f .
3
10 11
11 11 11 12 12 12
10 11
10
Gtr. 2 3
11 11 11 12 12 12
10
8 8
X 10 X X 10 X X 8 X
8
10
8
1
C6 C5
8
X
10
10
X
18
15
P.M. P.M. P.M. X X X 10 X 8
10 12 10 8 8
X X X
10 X 10 X 8 X
Copyright © 1979 Stage Three Songs All Rights Administered by Stage Three Music (U.S.) Inc. All Rights Reserved Used by Permission
8
10 10 10 10 12 10 8 8 8
X 10 X X 10 X X 8 X
8
10 10 10 10 12 10 8 8 8
1
Verse
C6
Gtr. 1 tacet
C5
*
1. Well,
I
was
C6 F5/C C5
C6 F5/C
C5
roll - in’ down the
road
in
some
C6 F5/C C5
cold
blue
C6
steel,
C5
I
had
a
8va
20
18
steady gliss.
18
X X X
10 10 8
10 10
8
let ring
P.M.
X X X
10 8
12 8
12 8
10 8
10 8
12 8
10 8
C6
C5
in
the
P.M.
10 10
12 8
10 8
10 8
8 8
10 8
10 8
8 8
10 8
12 8
8 8
10 8
*w/ slow flanger
F5
F6
F5
F6
F5
blues man
Gtr. 2
in
the
back and
a
C5
beau -
10 8
12 8
10 8
P.M.
X X
2
10 8
12 8
C6 F5/C C5
the
10 8
C6
mid - dle of
10 8
night.
We
10 8
10 8
8 8
10 8
12 8
ti - cian
10 8
at
the
wheel.
C6 F5/C
C5
C6 F5/C C5
We
go - in’ down
-
town
X X
10 8
10 8
10 8
C5
12 8
C5
P.M.
X X
C6 F5/C
12 8
F5
8 8
F6
10 8
F5
12 8
F6
8 8
F5
laugh - in’
and
I’m
jok - in’
and
we
X X
10 8
12 8
10 8
10 8
10 8
12 8
10 8
10 8
12 8
8 8
10 8
C7
C6 F5/C C5
feel - in’
al - right.
10 8
10 10
12 8
C6
C5
Oh, I’m
bad,
8 8 8
12 12 8
8 8
10 8
10 8
12 8
10 8
Chorus ** F
Rhy. Fig. 1 *Gtr. 1
C
*** loco
w/ bar
*P.M. 4th string only, next 6 meas. Gtr. 2
let ring
5 5 5
11 10 12
X X
10 8
8
† let ring
P.M.
12 8
10 8
10 8
10 10 8
10 10 8
12 8
**Chord symbols reflect basic harmony (next 6 meas.)
na
-
***
tion - wide.
12 8
12 8
10 8
10 8
10 8
10 10
let ring
w/ bar
6 5 7
7
6
***Omit staccato when recalling Rhy. Fig. 1.
I’m
w/ reverb w/ fingers w/ bar
11 10 12
X X
10 8
10 8
12 8
8 8
0 0 0
6 5 7
10 8
†3rd string only.
†† let ring
10 10 8
12 8
††4th string only.
F
Yes,
I’m
bad,
w/ bar let ring
10 10 8
10 8
12 8
let ring P.M.
8 8
10 8
10 8
12 8
10 10
X X
10 8
12 8
na
-
tion - wide.
End Rhy. Fig. 1
5 5 5
8
10 8
10 8
12 8
10 8
w/ bar
let ring
11 10 12
11 10 12
I’m
2
***
w/ bar
1
6 7
10 10 8
6
Verse Slower q = 80 Gtr. 1 tacet
C5
C6 F5/C C5
C6 C5
μ (C7)
3 let ring Gtrs. 2 & 3
Gtr. 2
P.M.
10 8
12 8
8 8
10 8
10 8
12 8
10
11 11 11 12 12 12
10 8
Faster q = 104
3
(F5) Eb5
3
Gtr. 3 tacet
C5 C6 F5/C C5
C6
2. Eas - in’ down the high - way
in
a
Gtr. 2
P.M.
10 11
11 11 11 12 12 12
10 11
11 11 11 12 12 12
10
8 8
X X
10 8
12 8
8
10 8
10 8
12 8
8
3
C5
new
C5
C6
Ca - dil - lac,
F6
fox
in
F5
had
three more
10 10
X X
10 8
12 8
10 8
10 8
10 8
12 8
10 8
C6
C5
12 8
8 8
10 8
10 8
12 8
C6
C5
dress - es,
C6 F5/C
wear - in’
C5
C6
C5
spike - heel
shoes,
X X
10 8
12 8
10 8
10 8
10 8
12 8
8 8
10 8
10 8
12 8
10 8
10 8
10 8
12 8
10 8
P.M.
in
the
X X
10 8
12 8
8
F5
F6
F5
they
C5
10 8
10 8
I
front,
C6
C5
fine
sport - in’ short
F5
a
F6
had
F5
I
P.M.
C5
C6 F5/C
smok - in’ Luck - y
C6
back.
C5
They
10 10 8
10 8
12 8
10 8
F6
F5
Strikes and wear - in’
X X
10 8
12 8
10 8
10 8
10 8
12 8
10 8
Chorus Gtr. 1: w/ Rhy. Fig. 1
Cm7
C6
C5
C6
too.
’Cause we
F5
F6
F5
F6
F5
12 8
8
10 8
10 10 8
12 8
F5
X X
10 8
12 8
10 8
8
10 8
na
-
tion - wide.
10 10 8
12 8
F6 Bb5/F
we
*let ring
X X X
10 8
bad,
P.M.
8 8
F6
ny - lons
C5
10 8
12 8
10 8
8
10 8
12 8
8 8
F6
F5
*As before
C5
C6 F5/C C5
C6
C5
C6
C5
C6 Bb5/F
Yeah, we
let ring
P.M.
X X
4
10 8
12 8
8 8
10 8
10 8
12 8
10 10 8
12 8
8
10 8
10 8
12 8
F6
F5
bad,
10 8
F5
8 8
10 8
12 8
10 8
8
10 8
10 8
12 8
10 10 8
Slower q = 80
C5
we
na - tion - wide.
C6 F5/C C5
C6
C5
Faster q = 104
μ
F
Eb5
3 3 3 Gtrs. 2 & 3
P.M.
11 12
10 10 8
10 8
6
10 8
12 8
8 8
10 8
10 8
12 8
11 12
11 12
11 12
10 11
11 12
11 12
10 11
11 12
11 12
11 12
10 10
8 8
10 8
Guitar Solo Gtr. 3 tacet
C5
*Gtr. 1
reverb off
Eb5
w/ pick & fingers 1/2 1
10 10
10 10
*Two gtrs. arr. for one. Gtr. 2
8 8
10
10 8
X X
8
X X X X X X
3
Eb 3
6
6
F5/C 3
P.M. let ring
5 1
X X X X X X
X X X X X X
C5
10
**T
X X
F5/C
3
5
5
3
3
5
5
3
3
5
5
3
3
5
5
3
10 10 X 8
X X
10 8
X X
8
X X X X X X
X X X X X X
X X X X X X
3
5
3
T
8 8
5
3
P.M. T
8 8 8
10 10 X 8
**T = Thumb on 6th string
C5
Eb5
1/2
P.M. 1
10 10
10 10
8 8
10
10
T
10 8
8
X X X X X X
X X X X X X
X X X X X X
F5
8 8
P.M.
1
P.M. X X X X X X
F5/A
10 10
3
1
3
3
3
1
3
3
3
1
let ring
11
12
10
3
3
1
3
3
3 3
T
10 12
6
5
C5
Eb5/C F5/C
1/2
10 10
10 10
P.M.
8
10
P.M. 1
C5
6
Eb5/C
6
6
F5/C 3
P.M. let ring
5
10
1
X X X X X X
X X X X X X
X X X X X X
X X X X X X
5
3
5
3
5
3
5
3
5
3
5
3
5
3
5
3
5
3
3
5
3
5
3
3
8
X X X X X X
X X X X X X
X X X X X X
X X X X X X
10 10 X 8
P.M.
T
10 8
10 8
8
C5
10 10
10 10
8 8
10
X X
X X X X X X
X X X X X X
X X X X X X
X X X X X X
T
10 8
C5
1/2 P.M.
8
P.M.
1 1
3
3
8
1 1
3
8 8
10
3 3
3
1 1
3
3 3
3
1 1
3
10 10 X 8
X X
11
12
6
10 8
3
3
let ring
5 1
X X
X X X X X X
X X X X X X
X X X X X X
X X X X X X
8
F5 3
P.M.
8 8 X 8
6
Eb5/C 6
3
5 3
5 3
5 3
5 3
5 3
5
5
3
5
5
3
3
8
X X X X X X
X X X X X X
X X X X X X
X X X X X X
10 10 X 8
X X
10 8
X X
8 8 X 8
3
5
3
T
10 8
T
10
C5 6
10
12
3 3
3
let ring
T
10
3 3
Eb5/C F5/C
10 10
10 10
P.M.
1
3 3
8 8 X 8
P.M.
1
X X
F5/A
10
10 8
F5/C
1
X X
X X
1/2
10 10 X 8
Eb5
8 8 X 8
5
3
10 10
C5
Eb5/C
1
10 10
10 10
8
10
10 8
10
1
X X
X X X X X X
X X X X X X
X X X X X X
X X X X X X
8
P.M.
T
X X
F5/A
1/2
F5
1 1
3
3 3
3
1 1
3
3 3
3
1 1
3
3 3
3
1 1
3
8 8 X 8
10 10
X X
10 12
11
let ring
3 3
3
T
10
10
12
6
Gtr. 4: w/ Rhy. Fig. 2 (7 times)
F/A
Rhy. Fig. 2
Gtr. 4 (elec.)
C
f
w/ dist.
P.M. Gtr. 1
8
Gtr. 2
8
10
P.M.
1/2
10 8
Eb5
10
8
10 8
X X
8
F5/C
X X X X X X
8 8 8
F5/C
8
X X X X X X
X X X X X X
1/4
10
10 10
10
1/2
8
10
10
T
X X
10 8
X X
8
X X X X X X
X X X X X X
X X X X X X
X X X X X X
C5
P.M. T
8 8
Eb
10 10 X 8
F5/C
1/2
10
T
X X
7 7 7
C5
10
X X X X X X
8
1/2
slight P.H.
P.M.
10 8
8
T
10 8
Eb5
1/2
3 3
C5
End Rhy. Fig. 2
10
8
10
10
10
8
10
9
8
6
8
P.M. T
8 8
10 10 X 8
X X
10 8
X X
8
X X X X X X
X X X X X X
X X X X X X
X X X X X X
6
P.M. T
8 8 8
10 10 X 8
7
P.M.
1
1
3
3
F5
P.M.
1/4
3
Eb5/C
X X
10 8
X X
8
X X X X X X
slight P.H. P.M.
3
8 8 X 8
1
1
1
3
3
1
3
1
X X
C5
X X X X X X
X X X X X X
8
3
X X X X X X
X X X X X X
P.M.
10
8
10 8
X X
10 8
F5/A
1/2
8
10
8
8
X X
8
11
12
10
C5
10 10 X 8
C6
F5/C
X X
10 8
10
P.M.
8
1/4
10 10
10 10
8
C5
X X X X X X
Bb5/F
T
8 8
10 10 X 8
Eb5
F5
P.M.
8
X X X X X X
X X X X X X
10 8
P.M.
8 8
10 10
B5/F#
10
8
10
8
10 8
12 8
8 8
10 8
10 8
12 8
10 8
10 8
8
8
8 8
9
P.M.
6
10
10 12
P.M.
10
X X X X X X
8
C6
1
11
X X
C5
P.M.
let ring
8 8 X 8
X X
X X X X X X
X X X X X X
P.M.
P.M.
X X X X X X
3/4
T
X X X X X X
3
3
P.M.
10 8
1
F5/C
3
3
X X
F5/C
1
10 10
Eb5/C
T
C5
X X X X X X
X X X X X X
P.M.
Eb5
1/4
3
T
X X X X X X
1
1
C5
C5
8 8
8 8
9 9
Slower q = 80
C6 F5/C C5
P.M.
P.M.
1/2 1 10 10
9
C6 C5
Faster q = 104
10 10
8
0 0
10
C5
μ (C7)
Gtr. 3 tacet
(F5) Eb5
C5
1/4
10 10
10
12 8
8 8
10 8
10 8
12 8
10 11
11 11 11 12 12 12
10 11
11 11 11 12 12 12
10
8 8
10
Eb5 F5/C
1 10 10
10
8
11 11 11 12 12 12 10 8
1/2
8
Gtr. 2 3 3 3 let ring T
P.M.
1
Gtrs. 2 & 3
Eb5 C5
C5
Eb5/C μ
X X
10 8
X X
10 8
C5
X X X X X X
X X X X X X
X X X X X X
P.M. X X X X X X
8 8
8
10
15
10 8
X X
10 8
X X X X X X
X X X X X X
X X X X X X
X X X X X X
8 8 X 8
X X X X X X
X X X X X X
X X X X X X
X X X X X X
10 10 X 8
X X
C6 F5/C
C5
10 8
X X
10 8
20 18
18
P.M. 8 8 X 8
I
18
X X
X X X X X X
X X X X X X
X X X X X X
X X X X X X
T
10 X 8
was
1/2
P.M.
T
8
10 10
X X
1
10 10
Eb5 μ
3. Well,
8va
10
10 8
X X
F5
F6
10 8
8 8
10
Verse Gtr. 1 tacet
C5
C6 F5/C C5
mov - in’ down the Gtr. 2
road
in
my
V - Eight
C6 F5/C C5
Ford,
C6
C5
I
had
a
10 8
10 8
12 8
8 8
10 8
10 8
12 8
8 8
10 8
10 8
12 8
8 8
10 8
10 8
12 8
10 8
P.M.
F5
F6 Bb5/F
shine
on
my boots,
I
had
my
X X
10 8
12 8
8
10 8
10 8
12 8
8 8
9
Cm7
C5
side - burns
let ring
P.M.
8 8
8
10 10 8
low.
7
8
C6 F5/C C5
C6 F5/C
With
my
New York
10 8
12 8
8 8
X X
10 8
12 8
8 8
C6
C5
C6
C5
and
my
gold tooth
10 8
12 8
8 8
10 8
10 8
12 8
8
10 8
10 8
12 8
10 8
brim
10 8
C5
dis
-
C5
C6 F5/C
played,
no -
Chorus Gtr. 1: w/ Rhy. Fig. 1
F5
F6 Bb5/F
F6 Bb5/F
bod - y
gave
me
trou - ble ’cause they
C6
C5
C6
know
I
got
it
C5
F5
C5
made.
I’m
F6
F5
F6
F5
bad,
X X
10 8
*let ring
P.M.
X X
10 8
12 8
8 8
10 8
10 8
12 8
8 8
10 8
10 8
12 8
10 8
8
10 8
12 8
10 8
12 8
10 8
8
10 8
12 8
10 10 8 *As before
F5
F6 F5/C
C5
F6
I’m
na
-
C6
C5
C6
C5
C6
Girl, I’m
10 8
10 8
let ring
P.M.
10 8
F5
10 8
8
F6
bad,
10 8
12 8
F5
F6
bad,
8 8
10 8
12 8
8
10 8
10 8
12 8
10 8
10 8
10 10 8
12 8
bad,
10 8
I’m
na
-
10 8
C6
8
F5
10 8
**
10 8
C5
12 8
C6
8 8
C5
12 8
10
Yeah.
10 8
12 8
8 8
10 8
10 8
let ring
P.M.
10 10 8
X X
**Vol. swell to full volume.
10
12 8
tion - wide.
bad,
C5
P.M.
10 8
8
F5
bad,
12 8
12 8
C6 Bb5/F
tion - wide.
let ring 10 10 8
C5
Outro-Guitar Solo Slower q = 80
μ (C7)
Faster q = 104
(F5) Eb5
Gtrs. 2 & 3 tacet
Cm7
loco
f
F
10
8
8 10
8
8
10
string noise
P.M.
X X
8
10
F
*w/ slight dist. & octaver 1/2
8 10 8
Cm7
3
1
3
*Octaver set for one octave below. Gtrs. 2 & 3
3
3
3
Rhy. Fig. 3 Gtr. 7 (elec.)
4 3 5
6 5 7
mf
4 3 5
4 3 5
6 5 7
w/ clean tone w/ fingers
11 11 11 12 12 12
10 11
11 11 11 12 12 12
Gtr. 6 (elec.)
10 11
11 11 11 12 12 12
10
4 3 5
4 3 5
4 3 5
8 8
3
3
F
3
1
4 3 5
4 3 5
X
3
3
3
1
3
1
3
3
3
3
4 3 5
4 3 5
6 5 7
3
3
1
3
3 3
3
3
3
3
3
1
3
1
3
1
Gtrs. 5, 6 & 7 tacet
μ
**Gtr. 9 (elec.)
f w/ neck/mid p.u. w/ slight dist. 1/2
10
8
8
**w/ Fender Strat style pickup configuration. End Rhy. Fig. 3
Riff B ***Gtr. 8 (elec.)
End Riff B
f
w/ dist. P.M. throughout
1/4
3
3
3
3
1/4
1
3
1/4
Cm7
f
3 3
End Riff A
Riff A
w/ slight dist. P.M. throughout
4 3 5
4 3 5
3
3
1
3
2
1
0
1
2
3
1
3
2
1
0
1
2
***Bass arr. for gtr.
11
P.M.
Gtr. 7: w/ Rhy. Fig. 3
Gtr. 9
10
w/ bar +1/2
F
11 12
11 12
8
10
12
3
3
3
3
3
3
Cm7
P.M.
Riff C
Gtr. 6
10
1/4
3
1
3
1/4
8
P.M.
8
10
F
Cm7
8
8
8
10
10
3
3
3
3
3
3
1/4
3
1
1
3
Gtr. 8: w/ Riff B
Cm7
F5
μ
8
8 8
10
8 8
10
3
3
3
3
8 8
10
8 8
10
8 8
10
3
3
3
3
Gtr. 6: w/ Riff A (2 times) Gtr. 7: w/ Rhy. Fig. 3 (1st 2 meas., 2 times) Gtr. 9 tacet
Cm7
F
Gtr. 5
F
3
3
3
1
3
3
3
1
3
Cm7
3
F
Gtr. 5
Gtr. 9 divisi
1
3
1/2 rake
10
10
8
10
8
10
8
8
8
1
3
1
3
3
10 8 10 10
10
10
8
10 8
10 8 10
F
P.M.
1
10 8
10
0
F Cm7
Gtr. 9
8
10
8
Cm7
10
P.M.
1
Gtr. 5 tacet Gtr. 6: w/ Riff C Gtr. 7: w/ Rhy. Fig. 3
10
1
P.M.
X
8
10
End Riff C
10
1
8 8
10
Cm7
P.M. P.M. 1/2
8 8
10
3
Cm7
8 8
10
1/4
1
8 8
10
F
1/4 1/2
10 10
10
10 10
1/4 1/2
1/4 1/2
10 10
10
8
10
X X
Gtr. 8: w/ Riff B
Cm7
P.M.
F
12
8 11
8 8 10
8
Gtr. 6: w/ Riff A (2 times) Gtr. 7: w/ Rhy. Fig. 3 (1st 2 meas., 2 times) Gtr. 9 tacet
μ
10
8
10
8
Cm7
Gtr. 5
F
P.M. 1
11
8
10
10
P.M.
10
8
10
8
10
8
8
10
10
8
10
Cm7
P.M.
8 11 8
8
11
11
8
11 8
11 12
12
11 8 11
11
10
8
1/4
10
8
10
Gtr. 6
8
10 8
10
1/2
10
10
8
3
3
3
3
1
3
10
10
3
3
1/4
8
F
3
3
3
7
3
10
6
3
P.M. P.M. P.M.
Gtr. 8: w/ Riff B
F
1/2
8
10
3
1/4
8
Cm7
8
10 8 10
3
10
8
3
Cm7
F
10
3
8 10
10
P.M.
10
8
Cm7
1
F
P.M. 10 11
11
P.M.
8
P.M. P.M. 1 P.M.
F
1
8
Cm7
Cm7
1
8
Gtr. 5 tacet Gtr. 7: w/ Rhy. Fig. 3
Gtr. 9
F
Gtr. 7: w/ Rhy. Fig. 3 (till fade)
μ
Cm7
F
8
10
8
10
10
8
10 9
8
6
1/4
3
3
3
3
3
3
3
1
3
8
6
8
1 3
3
1
1
3
1
3
3 3
1
3
3
3
3
1
3
3
1
3
3
3 1
3
3
1/4
1
3
Begin fade
Cm7
Cm7
1
F
3
1
1
3
3
3
3
3
3
1
1
3
3
3
3
1
3
1
3
3
1
F
3
3
3
3
3
3
3
3
3
1
3
1
3
1
1
3
3
3
1
1/4
1
3
13
5
3
5
5
4
3
1
3
8
Gtr. 6: w/ Riff C (last 3 meas.)
Cm7
F
Cm7
10
8
1
8
Cm7 Gtr. 9
10
10
3
3
3
11 10
10
10
8 8
10 11
F
10
Cm7
8 10
1/4
1
3
3
μ
8
10
10 11 10
11 12
3
P.M.
grad. release
10 10
Gtr. 8: w/ Riff B
F
11
3
8
10
hold bend
10
X
10
11 12
8
8
10
1/4
let ring
P.M.
8
Gtr. 9
10
F
3
5
3
Cm7
Gtr. 8: w/ Riff B
μ
10 11
10
10 10 11
8
11 12
F
11 12
Gtr. 6
1/4
1
3
1/2
3
3
11 12
10 11 10
3
3
3
14
3
Cm7
3
10 11 10
3
3
1
3
1/2
3
3
3
3
8
10 11
10
3
3
1/2
1
1/2
3
3
3
1/2
3
1
μ
10
3
1
Fade out
F
3
11 12
from The Best of ZZ Top
Jesus Just Left Chicago Words and Music by Billy F Gibbons, Dusty Hill and Frank Beard
G5
C5 5fr 11
Gtrs. 1 & 3: Tuning: (low to high) E-G-D-G-B-E
Intro Slow Blues q = 72
Gtr. 1 (dist.)
f
1/4
3
*Gtr. 3 (clean)
= 3
rake
** G
C/G
5
X
3
X
f
1/4
0 0 0 0
C
C/G
5
0 0 0 0
1/4
0
1 0 2
3
1 0 2
*Two gtrs. arr. for one.
Gtr. 2 (dist.)
mf
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
P.M.
8 6
8 6
8 6
**Chord symbols reflect basic harmony.
Copyright © 1973 Songs of Mosaic Copyright Renewed All Rights Reserved Used by Permission
1
Verse 2nd time, Gtr. 1 tacet
G
1. Je 2. Took
C/G
3
sus a
3
G
3
C/G
just left Chi - ca go, jump through Mis - sis - sip - pi,
3
3
for New He’s bound wa - ter turned to mud - dy
and well,
3
wine.
P.M.
0
Fig. 1A Rhy.
0 0 0 0
Rhy. Fig. 1
1 0 2
0 0 0 0
1 0 2
0
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
P.M.
2
5 3
5 3
5 3
5 3
5 3
2nd time, Gtr. 1: w/ Fill 1
G
Or
C/G
-
G
C/G
leans.
Well,
3
now,
1/4
3
0 0 0 0
1 0 2
0
5
0 0 0
1 0 2
5
5
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
P.M.
5 3
Fill 1 Gtr. 1
3
P.M.
1/4
3 5
5
3
Gtr. 1 tacet
C
*
F/C
3
Je - sus Took a
just jump
left through
3
sip - pi,
5 5 5 5
3
Chi - ca Mis sis -
Gtr. 3
C
3
F/C
and
go,
6 5 7
5
3
He’s mud - dy
5 5 5
6 5 7
3
bound wa - ter
for turned
to
3
New Or wine.
-
0
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
Gtr. 2
P.M.
*Sung behind the beat.
2nd time, Gtr. 1: w/ Fill 2
G
C/G
G
C/G
leans.
Hey,
G
yeah,
C/G
yeah. Hey,
0 0 0 0
End Rhy. Fig. 1A
1 0 2
0
0 0 0
1 0 2
yeah.
0 0 0
1 0 2
Rhy. Fill 1
0
End Rhy. Fill 1
End Rhy. Fig. 1
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
P.M.
Fill 2 Gtr. 1
3
4
5
A
C
3
3
3
Work - in’ from one end to the oth - er, Then out to Cal - i - for - nia
Gtr. 1
1.
G5
3
3
and all points in through the for - est and the
be - tween. pine.
3
3
let ring
let ring
1/2
1/4
3 let ring
3 0
0
3
0 3
0 0
3
3
3
3
3
3
2
2
0 0
1
Gtr. 3
2 2 2 2
5 5 5 5
Rhy. Fig. 2A
End Rhy. Fig. 2A
0
Gtr. 2
Rhy. Fig. 2
2 2 0
5 5 3
6
5 5 5 5 5 5 5 5 End Rhy. Fig. 2
3
5 3
5 3
5 3
5 3
P.M.
3
5 3
5 3
5 3
5 3
3
3
3
3
3
3
3
3
2.
Gtr. 2: w/ Rhy. Fig. 2 (last 2 meas.)
3
Ah,
Gtr. 1
let ring
3
3 3
3
let ring
3 0
3
3 3
2
let ring
1/4
3 2
1
take
with
3
3
3
3
you
3
3
Je - sus.
3
1/4
3
0
me
let ring
3 3
3
2
2
1
3
0
Gtr. 3
P.M.
(cont. in slashes)
0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
0 0
5
Guitar Solo Gtr. 2: w/ Rhy. Fig. 1
G5 Gtr. 3
Gtr. 1
8 11
8 11
3
P.M.
3
8 11
3 let ring P.S. 1 8 8 11 11 5 3 3 X 0 5 3 X
P.M.
C5
0
3
3
5
3
1
5
1
3
5
6
3
6
6
3
hold bend
6
3
5
3
5
3
5
6
5
1
1/2
3
5 5
G5
3
1
5
1
6
5
P.M.
1/2
8 11 0
3
0
5 5
3
6 5
6
3
3
1/4
3
1
6
3
3
1
8 11 5
3
3
8 11
6
5
Gtrs. 2 & 3: w/ Rhy. Figs. 2 & 2A
P.M.
A5
3
5
1
3
6
1
5
5
3
5
G5
3 3 3
3 3
C5
5
5
5
3
5
let ring
3
let ring 1/4
3 3
3
5
3
3
3 0
0
3
3
3
3
3
2
2
1
Gtr. 2: w/ Rhy. Fig. 2 (last 2 meas.)
let ring
3
3
let ring
3
3 let ring let ring
3
3
3 let ring let ring
1/4
3
3 0
0
3
3 3
2
1
3 3
3
1/4
3 2
3
3 0
0
3
3 3
1/4
3
2
2
1
3 3
3 0
0
3
3 3
2
3 2
1
3
Verse Gtrs. 2 & 3: w/ Rhy. Figs. 1 & 1A
G
3. You
3
might
not
C/G
3 see
Him
in
per -
G
son,
C/G
3
3
3
but
He’ll
see
you
just
the
3
same.
1
0 0 0
5
7
G
C/G
G
3 3
C
You
3
might
not
3
0
F/C
3 see
Him
in
per -
3
0
3
C
3
but
3
1/2
1
3
5
3
3
0
0
F/C
son,
3
3
3
C/G
He’ll
see
you
just
the
same.
3
3
5
5
X X
Gtr. 3: w/ Rhy. Fill 1
G
C/G
G
C/G
3
3
3
Yeah.
1
5
8
3
3
3
3
Gtrs. 2 & 3: w/ Rhy. Figs. 2 & 2A
A
C
3
You
3
don’t
have
to
3
wor - ry
G5
’cause
3
tak - in’ care
3
3
3
of bus’ - ness
is
His
name.
3
let ring 1/2
let ring
1/4
0
0 0
3
3
Gtr. 2: w/ Rhy. Fig. 2 (last 2 meas.)
3
3
3
let ring
3
3 3
0
3 3
2
3 2
3
3
3
let ring
X
3
1
3
3
3
0
3
2
3
let ring 1/4
3
1/4
3
1
3
3 2
3
3 3
0
3 3
2
2
1
3
0
Outro-Guitar Solo Gtr. 2: w/ Rhy. Fig. 1 (till fade)
G5
3
3
8 11
X X
1
0
5
3
3
P.S.
8 11
3
1
5
5
1
6
3
6
3
5
3
3
5
3
5
3
5
3
5
3
6
9
3
3
3
1
6
3
3
5
3
5
3
3
5
3
5
let ring
3
5
3
3
3
5
5
6
7
6
6
5 6
6 7
3
8
8
8
8
8
8
8
G5
5
A5
6
3
3
5
5
5
5
5
5
5
3
5
3
5
5
3
5
3
5
3
6 7
5
3
6
8
8
8
7
3
5
3
3
1 3
3
5
3
5
5
3
3
5
3
3
3
0
1
0 0
1 3 3
Fade out
C5
G5
3
3
1
5
3
5
5
3
3 3
10
5
7
1
5
6 7
3 3
3
1
5
6
6 7
1
3
8
3
8
3
6
Begin fade
3
3
C5
3 5
0
from ZZ Top - Rio Grande Mud
Just Got Paid
Words and Music by Billy F Gibbons and Bill Ham Open E tuning: (low to high) E-B-E-G#-B-E
Intro Moderately q = 98 * Em7
Riff A Gtr. 1 (slight dist.)
mf
3
P.M.
P.M.
3
5
0
0
P.M.
5
P.M.
3
0
5
0
3
5
0
3
Gtr. 2 (slight dist.)
w/ slide P.M.
5
12
11
12
12
10
12
3
5
0
3
5
5
3
steady gliss.
12
12
5
p
4 3 5 5
3
Em7
p
10
3
3
mf
Gtr. 1
5
End Riff A
*Chord symbols reflect implied harmony.
Am7
10
3
5
mf ** 11
10
12
11
11.5
12
**Slide positioned halfway between the 11th & 12th frets.
Riff B mf P.M. P.M. P.M. P.M. P.M. P.M. P.M. P.M. P.M. P.M. P.M. P.M. 3 5
3 0
0
5
0
3
0
5
3 0
5
3 5
3 0
0
5
3 0
0
5
3 0
5
Copyright © 1972 Stage Three Songs Copyright Renewed All Rights Administered by Stage Three Music (U.S.) Inc. All Rights Reserved Used by Permisson
3 5
3 0
0
5
0
3
0
5
3 0
5
1
loco
8va
19 12
19
10
10
12
End Riff B P.M. P.M. P.M. P.M. P.M. P.M. P.M. P.M. P.M. P.M. P.M. P.M.
3
3
5
0
0
5
3
0
5
0
3
0
5
3
3
5
0
5
0
3
0
0
5
3
Verse
*E
1. Just
got
paid
to - day,
got
me
a
pock - et
3
12 12
12 12
12 12
10 10
of
5
0
3
0
5
0
3
5
0
change.
10 10 10
10 10 10
10 10 10 13 14
10 10
0
P.M.
12 12
3
5
Em7
full
10 10 10
10 10 10
12 12
12 12 12
12 12 12
D
5
0
14
10 10
12
P.M.
3
5
P.M.
3 0
0
P.M.
5
P.M.
3
0
0
5
3
0
5
*Chord symbols reflect overall harmony.
E
Said I
just
P.M.
3 5
2
P.M.
3 0
0
P.M.
5
0
P.M.
3
0
got
paid
5
3 0
12
12 12
Riff C 3
5
D
to - day,
12
12 12
got
me
a
10
pock - et
full
10
10
12
12
P.M.
12 12
12 12
12 12
12 12
10 10
10 10
10 10 10 13 14
10
14
Em7
If you be
slight P.M.
12
10
10.5
12
-
3 0
0
5
0
3
5
0
3 0
5
3 5
A5
and take my
0
5
0
3
0
5
3 0
just
5 5 5 5
3 3 3
Rhy. Fig. 1
3 3
3 3
5
pay.
5 5 5 5
5 5 5 5
3 0
day,
Em7
step on my shoes
lieve like work - in’ hard all
2.5 2.5 2.5
12
End Riff C P.M. P.M. P.M. P.M. P.M. P.M. P.M. P.M.
3 5
of change.
G5
10.5
10
10.5
10
10 12
10
10.5
10
10 12 10 12
P.M. P.M. P.M. P.M. P.M. P.M. P.M. P.M.
End Rhy. Fig. 1
5 5
5 5 5
3 5
3 0
0
5
0
3
0
5
3 0
5
3 5
3 0
0
5
0
3
0
5
3 0
5
Verse
Gtr. 1: w/ Riff C (2 times)
E
D
2. I was
Gtr. 2
12
born
my
pa - pa’s son,
when I
12 12
12 12
hit
the ground
10 10 10
I
10 10
was
Em7
on
the run.
P.M.
10 10
10
3
Had
one
glad hand and the oth - er be - hind.
12 12
You can
have
12 12
12 12
12 12
10 10
G5
When the
hound
dog
3
3
A5
hand
Em7
5
5
3
14
10 10
10 10
14
all
10 10
3
3
4
P.M.
5
P.M.
3 0
0
P.M.
5
0
X
X X
X X
5 5 5
12
night,
12
11.5
10
11.5
11
12
2
a
stick my
11
0
right.
10
11
10
11
10
12
P.M.
Gtr. 1
11
in the black of
12
A5
Gtr. 2
in my pock - et, ev -’ry - thing’s
4
mine.
bark
let ring
3
yours, just give me
Gtr. 1: w/ Rhy. Fig. 1
Em7
3
D
E
10 12 11
10
10
12
11 10 11
10
12
11
11
10
10
12
9
7
pp
Guitar Solo A
E7
12
10 11
10
12
10
mf
14 12
A
12 X 12 14 X
12 12 12
A
don’t pick
12
10
12
12
11 11 11
12
12 12 12
10 11
13 13 12 12 14 14 12 12
P.M.
12
10
12
12
let ring
14
12
11
12
12 10
let ring
14 12
10
12
12 12 12
10
11
10
12
11
12
10
A
10
12
15
12
12 14
12
10
11
12
12
12 12 12
12
12 12
14
11
10
11
12
10
let ring
12
11
12
X
E7
12 11
12
12
15 15
XXX X X X 12 XXX
X X X X X X
10
12
12 12
12 12 12
E7
12
10
12
12
let ring
12 12 14
P.M.
13 12
12
12
15 12 15 12 14 12 12 12 12
10
11
14 12 12 12
A
11
13 12
15 15 15 15
10
12 14 12
11.5
let ring
E7
12
13 12 12 14
12
12 12 12 12
12
let ring
E7
11
15 15 12
10
11 10
15 15
X X X X X X
E7
11
P.M.
10
12
11
12
let ring
13 12 12
10
A
P.M.
12
12
14 12
A
12
let ring let ring
10
E7
let ring
E7
12
15 15
5 5
10.5
11
let ring
10.5
5 5 5 5
A
12 12 14
12
15 15 12 12
12
5
A
E7
11 10
12
10
10
11
10
11
12
12
12
A
10
12
let ring
12 14 12
let ring
X X X X X X X X X
13 12
A
15
12
10
10
X X X
13 12 12 14 14 12 12
15 15
17 17
17 17
15 15
let ring
6
X X 12 X X 12 X X
X X X
A
12 12 12
12
12
13 14
15
12
10
12
X X X
12 12
14 12 12 12
11
12
12 14
13 12
10
12
12 12
11 10
12 12
12 12
12
11 11
12 12
11
X X X
X X X
12
15 15 14 12
12
12
10
10
X X
12 12
15
15
10
12
let ring
12 12 12 12 12 12 12 12
X 12
E7
12
11
11
12 12
15 15
15
11.5 12
12 14 12
13 12
12
12
17
X X X
X X X X X X X X X
14 12 12 12
17
7
12
11
15
15
15 15 12
12
E7
17
10
10
let ring let ring
12
11 11
12
A
12 12 10
A
X X X X
E7
12 12 12
12
12
10
12 X X X 14 X X X
15 10 12
12
let ring
8 8
10
12
E7
12 12
let ring
let ring
X X X
12
15
12
E7
15
let ring
12 12
11
10
12
13 12 12 14 14 12
A
11
12 12
10.5
15 15
12 12
E7
12
A
E7
12
12
14
let ring
let ring
12 12
14
13 12
X X X
X X X
X X X
13 12
15 15
12 12
12
A
E7
14
15
16
14
10
12
12
11
10
12
14
X X
A
X X
15
X X
E7
15
17 17 17 17
15 15
17 17
11
12 14
11
A
10
11
11
let ring
X 12 X 12 14
10
12
11
12
12
10
12
XXX 12 X X X 12 14 XXX
15 15 12
12
13 12
10
12 11
X X
X X
X X
X X
X X
12 10
12
10
15 15 12
12 12
12
11 12
10
12
X X X
13 12 12 12 14
11 11
X X X X X X
12 12
10
12
12 14
12
11
X X X
12 12
15 15
12 12
12
E7
10
11
10
11 10 12 12
let ring
13 12
10
12
12 12
10
15 15
12 12
A
12
E7
11
10
12
E7
12
12
A
11
12
10
14
14 12
10
12
12
let ring
10 11
12 14
10
17
X X X X X X
17
A
let ring
X X X X X X
E7
E7
10
17
12 12
12
12
15 15 12 12
12 12
11
11
12
12
let ring
12
10
11
A
X X
12
10
12
15 15
12 14
let ring
13 X X 12 X X
X X
E7
let ring
13 12
A
X X
12 14
15 15 12
12
let ring
12
13 12 12 12 14
let ring
X X X X X X X X X
12 14 12
15 15 15 15 12
12 12
7
A
E7
11
12
A
11
10
12
12 12
14
X X X
X X X
X X X
X X X
14 12
12
11
12
10
11
10
8
11
let ring
13 12
let ring
6
12
A7
5
5
5
4
5
4
15 15 12
12
12
12
13 12
14
X X
5
3
let ring
X X X
6 X 5 5 X X 7
3
5
5 7 5 5 5
8 8
5 5
10
10 10
10
5 5
3
4
7
X X X X X X X X X
6 5
15
15.5
5 5 5
5 5
3
mp
8 8
6 5 5 7 5
X X X
12 14
8 10
5
10
10
8
12 12 12
12
12
12
3
5
5
5
3
9
5
5
5 5
7
let ring
6 5 5 7 5
X X X X X X X X X X X X
6 5
8 8
5 5
5
don’t pick
12
12
13
7
10
12 12
12 12
12 12
12
11
12
11.5
12 12
12 X X
mp let ring let ring 6 5 5 5 7
A7
let ring
X
6
let ring
8
D
Interlude E
A7
4
5
let ring let ring
D
5
5
X X
A7
let ring
D
5
15
12
D
E7
X X X X X X X X X X X X
X X 5 X 7 5
8 8 5
5
12 12
12 X X 12 X X
12 12
12 12
12 12 14
12 12
12 12
11
11
12
let ring
12 12
12 12
12 12
12 12 14
p
w/ slap back delay
12 12 11
10
12
12
12
12
10 10
let ring
12 12
12 12
12 12
12 12
12 12 12 12 14
11.5 11.5
12
11 12
10
12 12
12 12
12 12
12 12
12 12 14
12 12
12 12
12 12 12 12 14
B5 μ
f
6
5
6
7
mf
7 7 7
5
6
7
12 12
5
7
5
7
7 7 7 7
7 7 7 7
12 12
12 12
B5
12 12
12 12
12 12 12 12 14
12 12
μ
10
12
12 12
12 12 12 12 14
10 10 10
10
12 12
12 12
12 12
B5 μ 8va
let ring
12 12
11
12
12 12
10
pp
11.5 11.5
12 12
12
let ring
p let ring let ring 12 12
10
8
10
11
12
12 12
delay off
11.5 11.5
12
loco 8va
12 12
15
P.M.
4 4 4 4
7
7
7 7
7
6
14 6
5
5
6
5
19
19
19 17
17
18
10
0
7 7 7
7 7 7
9
B7
Gtr. 1: w/ Riff A
μ
8va
22
22
w/ slapback delay
21
20
22
loco
*
21
Em7
20
10
5
11
10
11
10
11
*Gliss. w/ slide contacting frets.
10 10 7 7 7
Gtr. 1: w/ Riff B
Gtr. 2
11
12
12
11
10
11
12
8 12
12 10
12
3. I
12
12
Verse Gtr. 1: w/ Riff C (2 times) Gtr. 2 tacet
E
D
just
got
got
** pp
11 10
full
of
0
Said,
“Yes, I do,
p
Em7
10
man, my bag is full.”
10
10
10
8
It’s the
mf
9
change.
D
“Black sheep, black, do you got some wool?” Gtr. 2
me a pock - et
paid to - day,
E
Em7
17
**Vol. swell Gtr. 1: w/ Rhy. Fig. 1
G5
root of
e
-
vil and you know the
let ring
2
10
3
3
3
3
1
rest,
A5
but it’s
way a - head
15
14 12
0 4 4
5 5
5
of what’s sec - ond best.
let ring
15
Em7
5
3
17
17
17
7
11
11 12
10
10
12
11
Outro D5
Gtr. 2
E5
D5
10 10 10
12
D5
3
3
3
E5
9
10
3
3
3
3
D5
3
10
3
3
3
9
10
18
5
10
3
3
3
7
5
5
3
7
3
9
10
3
3
3
3
3
3
10
3
4
3
3
3
3
3
3
3
5
6
7
5
5
7
9
10
3
3
3
3
3
3
3
3
5
mf
pp
fdbk.
9.5 9.5
E5 μ
don’t pick
9 9
3
D5
μ
*p
3
E5 μ
10
19
9
3
10
7
E5
7
5
3
D5
3
9
3
6
Gtr. 1
mp 9 9 9
E5
10 10
don’t pick
10 10
*Vol. swell
3
3
3
3
3
3
3
3
Pitch: E
5
11
from ZZ Top - Rio Grande Mud
Ko Ko Blue
Words and Music by Billy F Gibbons, Dusty Hill and Frank Lee Beard
Intro Moderately q = 117
*Am7
Gmaj7 Am
D5 C5 A5
Am7 Gmaj7 Am
D5 C5
A5
Am7 Gmaj7 Am
D5 C5 A5
Am7 Gmaj9 Am
D5 C5 A5
Gtr. 1 (dist.)
mf
8 9
7 7
5 5
5 7 7
8 9
7 7
5 5
7 5 7
8 9
7 7
5 5
8 9
7 5 7
10 11
8 9
7 5 7
8 9
8 9
8 9
Gtr. 2 (dist.)
mf 8 9
7 7
5 5 5 7
5 7 7
7 7
5 5 5 7
5 7
7 0
7 7
5 5 5 7
5 7 7
10 11
5 5 5 7
5 7 7
*Chord symbols reflect overall harmony.
A7(no3rd)
C
A7(no3rd)
C
A7(no3rd)
C
A7(no3rd)
C
1. One,
P.M.
8 9
8 8 9 9
5
8 9
8 8 9 9
P.M.
5 5
8 9
X X
8 9
8 X 9 X
XXX 5 XXX 5
P.M.
8 8 9 9
5 5
8 X XXX 0 9 X X0
X XX X
P.M.
X X
8 8 9 9
5 5
P.M.
8 9
8 8 9 9
8 9
8 8 9 9
5 5
P.M.
X X
5 5
X XX X
Copyright © 1972 Music Of Stage Three Copyright Renewed All Rights Administered by Stage Three Music (US) Inc., a BMG Chrysalis company All Rights Reserved Used by Permission
8 9
8 8 9 9
X X
5 5
X
1
Verse
A7(no3rd)
C
A7(no3rd)
gon - na roll - ing a quite
Rhy. Fig. 1 *Gtrs. 1 & 2
two, what you ’n’ cold, man, Wil - ly, he’s
hot bil ly
do? low, guy
A7(no3rd)
Can you come and juk - ing down to eat - ing some, uh,
from
8 8 9 9
5 5
8 9
C
5 5
8 9
C
8 9
Uh, Mm,
P.M.
8 8 9 9
A7(no3rd)
see me to - night? twelve mid - night. Ko Ko pie.
P.M.
P.M.
8 9
C
End Rhy. Fig. 1
P.M.
1/4
8 9
5 5
8 9
1/4
8 8 9 9
5 5
*Composite arrangement
Gtrs. 1 & 2: w/ Rhy. Fig. 1
A7(no3rd)
C
Black, ice she’s
Chorus D5
D6 D5
D6 D5
you
Gtr. 1
P.M.
7 5
7 5
9 5
7 5
7 5
7 5
9 5
7 5
Gtr. 2
P.M.
7 5
2
7 5
9 5
7 5
7 5
7 5
9 5
right feel al you know what that means. you ask her twice.
if
I could get to see her,
C A7(no3rd)
7 5
I
D6 D5
know I’d try to please her.
7 5
X X
7
7 5
9 5
7 5
7 5
7 5
7 5
9 5
7 5
7 5
7 5
8
9
7 7 5 5
C
D/A
Oh,
my
C5
Ko
7 7
5 5
8 9
7 7
7 7
5 5
If
Ko.
Don’t
3
C
C#5 A5
7 7
A7(no3rd)
if you could in broad day - light. got a fla - vor you’ll like. think I Ask him and he’ll tes ti - fy.
A7(no3rd)
white, cream, nice
A7(no3rd)
3
4
7
P.M. 5 3
3
4
2 2 0
3
0
2
D5
D6
D5
D6
try
to
ask
me
why
D5
she
D6
set
D5
my
soul
D6
D5
A7(no3rd)
on
D/A
fire.
Oh,
my
P.M.
7 5
7 5
9 5
7 5
7 5
7 5
9 5
7 5
P.M.
7 5
7 5
9 5
7 5
7 5
7 5
9 5
7 5
7 5
7 5
9 5
7 5
7 5
7 5
7 5
9 5
7 5
7 5
9 5
7 5
7 5
X X
7 7
7 7
8 9
X X
Blue.
Ko
8 9
7 5
Ko
Riff A
7 7
7 7
4 4
5 5
To Coda 1 To Coda 2
C5
A7(no3rd)
End Riff A
3
3
4
7
P.M. 5 3
3
4
2 2 0
D/A
Oh,
my
Ko
8 9
Ko
C5
C#5 A5
8 9 0
Blue.
7 7
7 7
4 4
3
C#5 A5
7 7
7 7
5 5
3
4
7
P.M. 5 3
3
4
2 2 0
5 7
0
5 7
3
D.S. al Coda 1 Interlude A7(no3rd)
C
A7(no3rd)
C
A7(no3rd)
C
A7(no3rd)
C
2. Oo,
P.M.
P.M. 1/4
8 9
8 9
8 9
X
8 9
8 9
End Rhy. Fig. 2
P.M.
X X
5 5
Rhy. Fig. 2
8 8 9 9
5 5
X
X X
8 9
8 9
5
P.M.
8 9
8 8 9 9
8 8 9 9
P.M.
8 8 9 9
X X
5 5
X X
8 9
8 8 9 9
5 5
P.M.
5 5
X
X
8 9
8 8 9 9
5 5
X
Coda 1 Interlude A7(no3rd)
P.M.
X X
X
8 9
8 9
5 7
P.M.
8 X
4
Riff B
P.M.
8 8 9 9
P.M.
8 9
8 9
5 7
8 8 9 9
5 7
P.M.
8 9
8 8 9 9
8 5 7
X
8 9
8 8 9 9
8 5 7
X
8 9
8 8 9 9
5 7
P.M.
8 9
X
8 9
5 7
8 9
X
P.M.
8 8 9 9
8 8 9 9
5 7
8 9
5 7
8 9
X X
P.M.
8 8 9 9
End Riff B
8 8 9 9
5 7
X
8 8 9 9
8 9
X
5 7
8 8 9 9
5 7
Harmonica Solo Gtr. 2: w/ Riff B (2 3/4 times)
A7(no3rd)
*Gtr. 3
3
f 17
16 20 17
20
3
16 20 17
20
3
16 20 17
20
3
16 20
17
20
*Harmonica arr. for gtr.
Gtr. 1
P.M.
8 9
P.M.
8 8 9 9
P.M.
X X
5 7
8 9
8 8 9 9
0
Gtr. 1: w/ Riff C (2 times)
Gtr. 3
19 22
3
17
20
20
19
3
8 8 9 9
0
8 8 9 9
5 7
0
19
17
3 1/4
17
P.M.
8 9
5 7
End Riff C
P.M.
8 9
5 7
0
Riff C
19
17
1/4
17
19
19
19
19
19 17
19
17
19
19 17
19
5
Gtr. 1: w/ Riff B (1st 2 meas,)
1/4
17 17
19
Gtr. 3
19
17
19
19
17
1/2
18
19
19
19
19
Gtr. 1
17
19
19
19
19 19
19
19
19
17
19
19
17
19
17 17
3
19
19
19
16
19 17
20
19
16
19
17
20
P.M.
8 9
16
3
19
P.M.
8 9
17
19
8 9
1/4
17
8 9
5 7
8 8 9 9
P.M.
8 9
5 7
8 8 9 9
5 7
8va
Gtr. 1: w/ Riff B (1st 3 meas.)
Gtr. 3
3
19
Gtr. 2
16
19
17
17
20
P.M.
8 9
6
8 8 9 9
19 19
19
19 19
5
7
21
19
19
19
19
P.M.
8 9
3
19 15
15
8 8 9 9
P.M.
5 7
8 9
8 8 9 9
17
14 14
Interlude Dsus4
Gtr. 3
loco
17
19 19 17 19
A7(no3rd)
mf
17 19
19
17 19
17
19
16 19 16
Gtr. 4 (dist.)
mf
5
Gtr. 1
17
19 19 19
7
7
5
5 7
19
7
7
5
7
7
5 7
5
7
7
7
7
P.M.
7
Gtr. 2
5 7
8 9
8 8 9 9
P.M.
8 9
57
8 8 9 9
5 7
P.M.
10 12
10 12 12
5 7
8 9
8 8 9 9
X 57
X
8 9
8 8 9 9
7
Dsus4
3
3
20
19
17
19
3
19
3
7
5
7
17
19
18
19
3
5
7
7
5
7
7
7
17
19
17 19
1/2
5
19
17
3 1/2
8
1/2
17
3
3
1/2
A7(no3rd)
5
7
5
7
2
P.M.
5
8
10 12 12
10 12 12
8 9
7
5
X
X 7
8 9
8 8 9 9
8 8 9 9
5 7
5 7
Dsus4
rake
19
17
5
7
19
7
17
17
X
19
19
5
5
7
7
7
17
19
17
19
5
17
19
7
5
7
19
16
19
19
7
7
P.M.
8 9
8 8 9 9
X X
8 9
X
8 8 9 9
10 12 12
10 12 12
Gtrs. 3 & 4 tacet
Am7 Gmaj7 Am
D5 C5
A5
Am7 Gmaj7 Am
D5 C5 A5
Am7 Gmaj7 Am
D5 C5 A5
Am7 Gmaj9 Am
D5 C5 A5
Gtr. 1
8 9
Gtr. 2
7 7
5 5
7 5 7
P.M.
8 9
7 7
5 5
7 5 7
8 9
7 7
5 5
7 5 7
8 9
10 11
5 5
7 5 7
P.M.
8 9
7 7
5 5 5 7
5 7
8 9 X
X
7 7
5 5 5 7
5 7
8 9 0
X X
7 7
5 5 5 7
XX 5 7 XX
8 9
10 11
8 9
5 7 5 7 5 7
9
D.S. al Coda 2 Interlude Gtr. 1: w/ Rhy. Fig. 1 Gtr. 2: w/ Rhy. Fig. 2
Gtr. 2: w/ Rhy. Fig. 1 (1st 2 meas,)
A7(no3rd)
C
A7(no3rd)
C
A7(no3rd)
C
A7(no3rd)
C
3. Mm, Hill -
Coda 2
Outro A7(no3rd) D/A
8 9
7 7
7 7
4 4 3
3
8 9
7 7
7 7
5 5
3
4 5
8 9
7 7
C5
4
2 2 0
7 7
0
8 9
7 7
4 4 3
4
7
0
P.M.
7 7 3
4
2 2 0
7 7
7 7
A7(no3rd) Riff D
3
4
7
7 7
7 7
9
0
4
5 5 3
7
0
4
2 2 0
0
0
End Riff D
7 7
C5
7 7
C#5 A5
4 4 3
3
P.M.
D/A
8 9 0
C#5 A5
4 4
3
End Rhy. Fig. 3
3
10
8 9
C#5 A5
Rhy. Fig. 3
7
5
let ring
3
3
8 9
C5
3
A7(no3rd) D/A
4
7
P.M.
A7(no3rd) D/A
3
4
7 3
7 7
P.M.
7 7
5 5
X X
3
4
2 2 0
0
0
4
7
0
Gtr. 1: w/ Riff D Gtr. 2: w/ Rhy. Fig. 3 (4 times)
A7(no3rd) D/A Gtr. 4
w/ slide
20
19
Gtr. 1: w/ Riff A (3 times)
C5
C#5 A5
* 15
10
12 12
14 14
13.5
13
A7(no3rd) D/A
14 14 14
14 14 14
11 11 11
20
C5
C#5 A5
let ring
19
10
15
12
14
14
14 14 14
14 14 14
10 10 10
*Slide positioned halfway between the 13th and 14th frets.
A7(no3rd) D/A
20
19
C/A
Gtr. 4
20
Rhy. Fig. 4
Gtr. 1
8 9
C5
C#5 A5
let ring 15
10
14
12
9 10
14 14 14
14 14
10 10
20
B/A
Bb/A
19
7 8
8 9
18
6 7
Rhy. Fig. 4A
Gtr. 2
14
A7(no3rd) D/A
7 8
C5
C#5 A5
let ring
19
15
18
10
12
14
14
14 14 14
14 14 14
10 10 10
Am
17 End Rhy. Fig. 4
5 5
End Rhy. Fig. 4A
5 7
11
1., 2., 3.
4.
Gtrs. 1 & 2: w/ Rhy. Figs. 4 & 4A (4 times)
C/A
Gtr. 4
17
20
B/A
19
A(b5)
D(b5)
A13/G
Gtr. 4
F#(b5)
Bb/A
Am
18
17
Bb/A
Am
18
17
17
8
13
Gtr. 1 3
3
3
17
18
19
17
18
19
17
18
19
17
3 Gtr. 2
3
3
5
12
6
7
5
6
7
5
6
7
5
17
5
from ZZ Top - Tres Hombres
La Grange Words and Music by Billy F Gibbons, Dusty Hill and Frank Lee Beard
= 3
Gtr. 1 (clean) * A5
mp
w/ pick & fingers
2 2
2 2
1/4
2 2
2 2
2 2
2 2
0
5 0
5 2
0
5 2
0
2 2
2 2
2 2
Ru
-
mour
spread - in’
5
2 0
5 2
0
2 2 0
2 2
1/4
2 2
2 2
that
2 2
2
2 5
-
as
5
5 2
0
2 2
2 2
town,
3
5 2
0
rake X
3
0
3
Tex
2 2 0
2 2 0
2 2
in
2 0
’round,
1/4
2 2
5 2
2 2
*Chord symbols reflect basic harmony.
Intro Moderately fast Shuffle q = 160
X
X
’bout
2 0
2 2
2 2 0
2 2 0
2 2 0
Copyright © 1973 Stage Three Songs Copyright Renewed All Rights Administered by Stage Three Music (U.S.) Inc. All Rights Reserved Used by Permission
2 2
2 0
5
3
2 0
1
that
shack
out
2 0
2 2
you
know
2 2 0
2 2 0
0
5
2 2
the
3
2 0
range.
Just
let
2 2
0
5
2
0
2
2 0
to
that
3
2 2
2 2 0
2 2 0
you
2 2
nice
girls.
2 2 0
2
2 0
go
2
3
5
2
home
wan - na
2 2
2 0
2 2 0
if
5
out
2 2
2 2
2 0
2 2
2 0
2 2 0
2 0
2 2
know
3
me
2 2
Spoken: And
2 2
Spoken: They got - ta lot - ta
5
2
2 2 0
2 2
3
2 2
2 0
2 0
2 2
Grange.
3
on
2
2 2 0
2 2 0
2 2
2 2
2 2
2 0
La
talk - in’ a - bout.
side
2 2
what I’m
-
2 2 0
2 2
3
0
5
2 2
Gtr. 1 tacet
μ
Have
mer -
2 2 0
D5
Gtr. 2 (dist.) Rhy. Fig. 1
2 2 0
2 2 0
f
2 2
2 2
C5
2 2 0
2 2
2 0
A5
A5
2 2 0
2 2 0
2 2 0
C5
D5
cy.
let ring
2 2 0
5
3
2 2
2 0
2 2
2 2
2 2
2 2 0
2 2
2 0
End Rhy. Fig. 1
let ring
3
2 2
5
Gtr. 2: w/ Rhy. Fig. 1
haw,
haw,
haw.
A5
A haw,
a haw,
haw,
C5
D5
haw,
A
C5
A5
haw.
1. Well,
D5
I
it’s
hear
fine,
Verse Gtr. 2: w/ Rhy. Fig. 1 (3 times)
A5
ten
to
get
A5 tight
if
got
the
you
your
most
C5
-
D5
self
in
C5
D5
ev
D5
-
A5
A5
a,
er - y
night,
A5
hmm,
hmm.
D5
and
the
C5
D5
hear
it’s
And
C5
time
C5
A5
I
C5
but
D5
now
3
A5
might
be
Gtr. 2
2 2
0
2 2
2 2
A5
mis - tak - en.
2 2
2 2 0
2 2
let ring
3
Hmm,
2 2
5
0
1 11
Gtr. 2
Rhy. Fig. 2
10 10
10 8
C5
10 10
10 10
8
10 10
3
10 8
4
10
2 2
10 10
10 10
2 2
11
2 2
F5
3
8
8
10
10
8
Eb5
10
10 8
8
10
8 6
8
3
8
10 10
hmm.
Eb5
11
F5
8
6
8
8
hmm,
3
11
10
2 2
3
mf
Guitar Solo C5 Gtr. 3 (dist.)
μ
D5
I
C5
8
10
10
10 10
8
6
10 10
10
8
10 10
8
10
8 6
8 10
8
10 8
End Rhy. Fig. 2
11
Gtr. 2: w/ Rhy. Fig. 2 (7 times)
C5
3
1
X
8
10
10
Eb5
10
10
C5
10
8
8
6
6
w/ pick & finger
10
11
12
11
12
11
12
8
6
8
6
8
8
1
8
8
8
8
10
C5
8
6
C5
11
8
8
8
10
8
8
10
8 10
10
10
Eb5
8
12
10
10
10
11
8
10
1/4
8
10
11
F5
3
8
10
10
C5
6
6
F5
8
8
6
9
6
8
Eb5
F5
3
3
8
Eb5
F5
1
8
8
6
10
1
11 12
11
3
8
8
10
10
10 11
11 12
11
8
10
12
8
10
Eb5
10
8
1
10
12
10
8
C5
C5
8
11
8
F5
10
let ring
3
10
10
Eb5 F5 3
8
8
w/ pick & finger
10
3
1/2
11
12
3
6
Eb5
3
3
8
8
C5
C5
3
10
F5
F5
3
8
10
8
Eb5
X
Eb5
Gtr. 3
6
10
8
C5
3
F5
8
8
8
8
10
3
3
3
w/ pick & finger
10
10
10
8
10
10
12
11
12
11
12
11
12
11
12
11
12
11
12
11
12
11
12
11
12
11
12
11
5
Eb5
3
3
F5
C5
3
3
Eb5
3
3
3
3
w/ pick & finger
11
12
11
12
11
12
3
11
12
11
12
12
3 3
C5
11
12
11
Eb5
11
12
12
11
3
3
11
12
10
8
10
8
3 3
C5
11
12
F5
3
11
12
3
12
11
F5
11
11
3
11
12
Eb5
3
11
12
C5
11
12
11
3
12
12
11
12
10
11
12
w/ pick & finger
12
11
3
3
w/ pick & finger
10
11
12
F5
11
10
11
12
12
11
11
12
Eb5
11
12
12
8
8
10
12
11
12
F5
8
9
11
10
Interlude 2nd time, Gtr. 3 tacet
8
8
A5/G
Gtr. 3
*Gtrs. 1 & 2
3
A5/F
A5
3
3
3
3
3
w/ pick & fingers
3
A5/F#
let ring
5 5
4
5 5
5 5
5 2
4
5
5
4
5
4
3
5
5
3
3
0
0
3
2 2
4
0
*Composite arrangement
Gtr. 2 tacet
A5
mp 2 2 0
6
Gtr. 1
1/4
2 2
2 2
2 2
2 2 0
2 2 0
2 0
2 5
2 0
5 2
2 2 0
5 2
2 2
2 2 0
2 2 0
2 0
2 0
2 0
2 5
2 0
5 2
2 2 0
1/4
5 2
μ
1/4
2 2
2 2
2 2
2 2
2 2
2 5
2 0
2 2 0
5 2
2 0
5 2
2 2
2 2
2 2
2 2
Outro-Guitar Solo Gtr. 1 tacet
Gtr. 2
A5
C5
D5
2 2 0
2 2
2 2
2 2
2 2 0
2 2
let ring
w/ pick
2 2 0
A5
3
2 2
5
C5
2 0
2 2
2
2 2
2 2
2 2
D5
A5
Gtr. 2: w/ Rhy. Fig. 1 (till fade)
A5
C5
D5
3
Gtr. 3
grad. bend
A5
P.H. 7
5
7
7
5
7
7
5
7
P.H. 1
8
C5
D5
4 1/2
1
8
8
8
8
3
3 1
5
8
7
7
1
7
5
E
8
D
C5
P.H. 1
1
4 1/2
8
E
1
1
5
5
7
D5
D5
5
5
7
A5
3
C5
A5
3
5
7
1
7
1
7
Pitches: G A
1
7
1
1
7
2 2
5
1
3
8
8
5
7
B C# B C# B C#
1
7
5
P.H. 1
1
5
7
8
B
A
A5
5
5
B
P.H.
P.H.
1
7
5
7
7
7
6
D5
P.H. 1
3
D E
Pitches: A
C5
let ring
P.H.
A5
3
7
semi-harm.
P.H.
Pitches: D
C5
2 2 0
D5
7
7 G
5
7
A
7
D5
3 P.H. 1
1
7
1
7
Pitches:
A
B
7
5
7
5
A
G
A
G
C5
D5
A5
7
A5
8
9
1/2
8
9
8
10
10
10
3
7
5
7
7
3 C5
3
7
E F#
10
A5
8
A
1
8
D5
1
7
semi-harm.
8
C5
P.H.
5
D5
A5
C5
3
P.H.
P.H.
5
1/4
7
5
8
5
7
5
7
7 7
1
1
5 7
5
Pitch: B
1
C5
D5
1
1
5
5
5
3
P.H.
5
7
1
7
7
P.H.
1/4
7
5
Pitch: G
P.H. 1/4
3
5
A5
D5
1/4
3
A5
1/4
3
5
5
1/4
5
C5
semi-harm.
semi-harm.
1/4
7
P.H.
7
A5
D5
C5
1/4
7
7
5
G
C5
7
1
5 5
7
G
D5
A5
P.H.
P.H. 1
7
1
7
7
7
Pitches: B
C5
7
Pitches: B C#
8
1
7
1
7
B C#
C#
D5
P.H. 1
1
7
7
B C#
B C#
F
5
B
C#
7
1
1
7
7
7
1
7
1
1
X X X
7
7
1
7
1
7
F G
7
1
G
1
7
1
7
A5
1
C5
3
5
6
5
5
10
D5
A5
8
8
P.H. 1/2
10
10
C
8
C5
X
10
D5
A5
3
8
3
5
7
5
C5
3
7
5
5
7
6
5 5
5
D5
8
A5
8 8 9
8 9 10
9
8 8 9
9 10
7 7
5 5
Begin fade
C5
D5
A5
3
C5
D5
A5
P.H.
1
1
5 5
5 5
7
7 7 8
5
7
6
5
8
8 8 9
7 7 8
8 8 9
7
5
7
8
D5
A5
3
1
7
1
1
7
A B
1
7
C5
A B
A B
2 2
2
2 0
7
7
5
7
5
5
A B
C5
5 5
5
7
D5
A5
8 8 9
8 8 9
8 8 9
7 7 8
2
7
Pitch: A
3
P.H.
7
1
1
7
7
1
7
0
C5
5
7
1
8
5
7 7
A
D5
B
A
B
A
A5
8 8 9
8 8 9
8 8 9
7 7 8
7
B
A B
7 7
5 5
8
C5
B
D5
5 5
2
2
A5
8 8 9
8 8 9
8 8 9
7 7 8
2
7 7
5 5
Fade out
C5
5 5
2 2
2
2
D5
A5
7
8 8 9
8 8 9
7 7
9
9
5 5
C5
7
7
7
D5
A5
7 7 8
8 8 9
8 8 9
8
9
8 8 9
9
9
from ZZ Top - El Loco
Pearl Necklace Words and Music by Billy F Gibbons, Dusty Hill and Frank Lee Beard
Intro Moderately fast q = 157 Gtr. 1 tacet
Esus4
E5
A5
Laughing: Ha, ha, ha, ha,
Gtr. 1 (clean)
E5
A5
ha, ha.
f
w/ heavy reverb & chorus
0 10 9 9
0 10 9 9
Rhy. Fig. 1
*Gtr. 2 (slight dist.)
mf
P.M.
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
*Doubled throughout
E5
A5
E5
A5
μ
1. She
Gtr. 2
End Rhy. Fig. 1
P.M.
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
Copyright © 1981 Stage Three Songs Copyright Renewed All Rights Administered by Stage Three Music (U.S.) Inc. All Rights Reserved Used by Permission
2 0
2 0
2 0
2 0
2 0
2 0
2 0
1
Verse
B5
F#5
E5
real - ly up - set 2. She gets a charge 3. She’s so
B5
I
with me a - gain, out of be - in’ so wierd, cold,
and
F#5
E5
did - n’t give her what she likes. digs get - tin’ down - right strange. pure as the driv - en slush.
I But And
Rhy. Fig. 2
End Rhy. Fig. 2
P.M.
4 2
4 2
4 2
4 2
4 2
4 2
4 2
4 2
2 0
2 0
2 0
2 0
2 0
2 0
2 0
4 2
2 0
4 2
4 2
4 2
4 2
4 2
4 2
4 2
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
Gtr. 2: w/ Rhy. Fig. 2
B5
F#5
E5
don’t know what to tell her, I can keep a han - dle on that’s not jew - el - ry
F#5
don’t know what to say. y - thing, an talk - in’ ’bout, she’s
Ev -’ry - thing got just this it real - ly don’t
E5
funk - y side of cost
C#m
night. de - ranged. much. that last
Gtr. 1
B5
4 5 6 6 4
Pre-Chorus
C#m
1. She was real - ly bombed 2. She was get - tin’ bombed 3. She was get - tin’ bombed
and I and I and I
B5
was real - ly blown was get - tin’ blown was get - tin’ blown
A5
P.M.
6 4
6 4
6 4
6 4
6 4
6 4
2 2 0
6 4
6 4
6 4
6 4
w/ bar
4 4 2
Gtr. 1
6 4
4 2
2 0
2 2 0
2 0
2 0
2 0
2 0
2 0
2 0
mf
Gtr. 3 (slight dist.) divisi let ring
3
P.M.
4
2
2
0
2
un - til I and she and she
4 5 6 6 4
6 4
Gtr. 2
6 4
C#m
a - way, a - way, a - way,
w/ bar
4 5 6 6 4
Gtr. 1
4 5 6 6 4
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
Gtr. 3 tacet
Gtr. 1 tacet
B5
this is what she had asked her what she want - ed, put it in her hand and this is what she had took it in her hand and this is what she had
Gtr. 1
A5
to to to
say. say. say.
4 5 6 6 4
Gtr. 2
P.M.
6 4
6 4
6 4
6 4
6 4
6 4
6 4
6 4
6 4
6 4
6 4
6 4
6 4
4 2
A pearl
2 2 0
2 2 0
4 4 2
Gtr. 3 slight P.H. w/ bar 1 1 1 1
w/ bar
4 5 6 6 4
μ
2
2
2
2 0
2 0
P.M.
2 0
2 0
2 0
2 0
2 0
2 0
2
Chorus
Gtr. 3 tacet
E5
neck
-
A5
lace.
She want
a
E5
pearl
neck
-
lace.
Gtr. 2
P.M.
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
1.
A5
She want a pearl
P.M.
2 0
2 0
2 0
2 0
2 0
2 0
A5
2 0
2 0
2 0
2 0
2.
To Coda
A5
2 0
neck - lace.
2 0
E5
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
P.M. 2 2 2 2 2 2 20 20 20 20 20 20 20 0 0 0 0 0 0
3
Guitar Solo *Am7
D7sus4
Gtr. 3
7
5
1
1
1
1
Gtr. 1
2
2
Gtr. 2
0
2
2
0
2
2
0
2
2
1
0
2
2
7
5
7
5
1
1
1
1
1
0
0
2
2
2
0
0
2
0
0
2
0
0
2
0
0
Rhy. Fig. 3
P.M.
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
7 5
7 5
7 5
7 5
7 5
7 5
7 5
7 5
*Chord symbols reflect combined harmony.
G
3
1
5
5
1 0 0
1 2
0
9
7
7
7
1
0
0
0
0
2
0
2
0
4
7 5
7 5
7 5
7 5
7 5
7 5
7 5
7
7
P.M.
7 5
5
0
7
0
9
0
2
0
0
2
0
0
2
0
0
0
2
0
5
0
0
2
0
0
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
Am7
5
5
1 2
2
1
1
1
0
0
2
2
0
2
2
2
2
P.M.
2 0
2 0
2 0
2 0
2 0
2 0
2 0
1
0
2 0
1
1
1
1
1
2
2
0
2
2
1 2
0
0
1
1
1
2
0
0
2
0
0
2
0
7 5
7 5
7 5
7 5
7 5
7 5
7 5
0
2
2
0
2
2
1
0
2
2
1
0
2
2
0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
2 0
3
1 2
0
7
7 5
2 0
2 0
0
0
1
0
0
0
0
0
2
0
7 5
2 0
7
7 5
2 0
2 0
2 0
0
2
0
0
2
0
0
2
0
0
2
0
0
5 3
5 3
5 3
5 3
5 3
5 3
5 3
5 3
2
0
0
0
2
0
0
0 2
0
9
5 3
5 3
5 3
0
5 3
2 0
7 5
2 0
B5
7 5
2 0
2
7 5
2 0
0
7 5
2 0
7 5
2 0
5
0
2 0
G
9
P.M.
7 5
2
2
2 0
0
0
7
5
7
8
8
1
End Rhy. Fig. 3
D
5
7
0
2
2
5
7
5 3
4 2
4 2
5
Interlude Gtr. 1 tacet Gtr. 2: w/ Rhy. Fig. 1
E5
A5
E5
A5
Ah.
Gtr. 3
9
D.S. al Coda (take 2nd ending)
Gtr. 3 tacet
E5
A5
E5
A5
μ
Yeah.
Coda
3 Outro-Guitar Solo Am7
D7sus4
Gtr. 3
6
7
5
7
5 5
7
5
5 5
Gtr. 1
13 14
14
Rhy. Fig. 4
12
13 14
14
12
13 14
14
12
13 14
14
12
Rhy. Fig. 5 Gtr. 2
6
2 0
2 0
2 0
2 0
13 14
12
12
13 14
12
12
13 14
12
3
7
12
13 14
12
12
7 5
7 5
7 5
7 5
5
0
G
Am7
3
2
2
3
0
5
7
5
12 12 12
12 12 12
12 12 12
12 12 12
13
14
14
5 3
5 3
5 3
7
9
7
9
7
9
7
13
12
14
14
Am7
13
12
14
14
5
7
2 0
2 0
2 0
2 0
2 0
2 0
7
End Rhy. Fig. 4
12
2 0
G 3
7
14
14
2 0
2 0
7
13
12
2 0
9
7
Gtr. 3
3
0
D7sus4
Gtr. 3
End Rhy. Fig. 5
5 3
Gtr. 1: w/ Rhy. Fig. 4 Gtr. 2: w/ Rhy. Fig. 5
5
3
7
9
5
1
7
7
5
0
1
0
5
6
5
7
6
7
Gtr. 2
2 0
2 0
2 0
2 0
P.M.
2 0
3
0
0
3
0
7
Gtr. 2: w/ Rhy. Fig. 3 (till fade)
Am7
D9sus4
9
Rhy. Fig. 6
Gtr. 1
let ring
12 12 12
let ring
13 12 14
13 14
12
12 12 12
3
3
9 7
Gtr. 3
12
14
12
14
14
12
G
7
14
7
3
let ring
12 12 12
12 12 12
10
12 12 12
12 12 12
Gtr. 3
12 12 12
12
12
13 14
11
12
8
13 12 14
15
15
13
13
3
15
13
15
15
14
10
7
5
1 8
13 14
13 12 14
End Rhy. Fig. 6
12
15
Am7
3
3 1/2
13
G
1/2 15
1
15
8
D9sus4
1 hold bend 15
14
12 12 12
12
14
15
7
13 12 14
13
let ring
Gtr. 1: w/ Rhy. Fig. 6 (till fade)
12 12 12
7
let ring
9
7
Am7
13 12 14
13
3
5
let ring
12 12 12
8
7
13 12 14
13
14
12
15
15
15
13
14
P.S.
14
X X
19
0 0
2
0 0
2
0
1
1
5
5
5
3
5
5
3
5
5
5
3
1
5
8
2
1
5
8
D9sus4
5
1
5
5
8
5
3
5
8
8
Am7
3
3
1
5
7
7
5
7
5
7
7
7
9
7
8
10
8
10
8
10
8
10
10
10
8
G
10
10
8
10
3
8
10
5
3
8
10
8
10
8
10
D9sus4
let ring
8
5
let ring
5
3
3
5
G
1
5 8
3
1
5
8
5
10
8
10
10
8
8
10 10 10 10 10 10
3
1/2
10
10
1
10
8
10
10
8
10
8
10
8
10
7
5
7
5
3
5
0 0
7
5
7
7
5
7
5
7
5
4
9
3 Am7
P.S.
2 X
7
5
5
1
1/2
7
7
5
3
6 1
7
7
5
7 7
7
7
5
7
7
5
5
7
Begin fade
Am7
7
7
5
7
5
5
7
7
5
7
5
G
7
3
D9sus4
5
7
5
7
5
4
4
5
4
7
let ring 0
0
5
7
7
5
D9sus4
5
3
3
5
3
3
5
3
5
3 3
5
3
3
5
3
5
5
3
5
5
3
3
5
3
5
3
3
5
3
3
5
3
5
3
5
Fade out
G
3
10
5
3
3
3
5
3
5
3
5
3
5
3
5
Am7 3
3
3
5
3
5
3
5
3
5
3
5
3
5
3
3
5
3
5
3
5
3
5
3
3
3
5
from ZZ Top - Tres Hombres
Precious and Grace
Words and Music by Billy F Gibbons, Dusty Hill and Frank Lee Beard Gtr. 3: Open E minor tuning: (low to high) E-B-E-G-B-E
Intro Fast q = 164
μ
*F5
G5
Gtr. 1 (dist.)
(Drums)
mf
P.M.
F5 G5
Bb5
P.M.
3
1
Gtr. 2 (dist.)
mf
P.M.
1
1
1/4
3 3
F5
F5 G5
Riff A
P.M.
P.M.
P.M.
3
1
1
3
P.M.
P.M.
P.M.
3
1
1
1
*** P.M.
F5 G5
P.M.
1
3
1
G5
F5
P.M.
2 2
3
1
G5
End Riff A
P.M.
P.M.
3 3 3
1
3
P.M.
P.M.
F5 G5
P.M.
Bb5
3 3
2 2
3
3
F5
**Slight P.M.
Bb5
G5
3
**P.M.
*Chord symbols reflect implied harmony.
G5
Bb5
2 2
3
G5
3 3
3
P.M.
3
P.M.
2 2
1
G5
1
1
3
1
G5
F5
P.M.
P.M.
3
1
3 3
3
***Slight P.M.
P.M.
1
3
P.M.
1
3
P.M.
P.M.
P.M.
3
1
1
3
P.M.
1
3
Copyright © 1973 Music Of Stage Three Copyright Renewed All Rights Administered by Stage Three Music (US) Inc., a BMG Chrysalis company All Rights Reserved Used by Permission
1/4 P.M.
1
1
3
P.M.
1
1
Verse
F5 G5
F5 G5
1. Rid - ing top 2. Nn, good God
P.M.
the Al
P.M.
Bb
3
1
P.M.
1
on we
a was
Fri go
P.M.
1
P.M.
F5 G5
-
day ing
P.M.
3
P.M.
P.M.
P.M.
3
1
1
1
3
1
1
P.M.
1
3
1
3 3
1
3
P.M.
P.M.
3
3
2 2
1
F5
slow.
P.M.
G5
night. down
Bb5
3 3 3
G5
3
3
3
Riff B
P.M.
2 2 2
1
F5
flood - way might - y,
-
G5
End Riff B
P.M.
P.M.
3
1
G5
F5
Gtr. 2: w/ Riff B
G5
F5 G5
The Yeah,
Bb5
land if
we
-
Riff C
Gtr. 1
P.M.
P.M.
2
3
1
3
F5
scape’s knew
so just
fine where
and we
P.M.
2 2
1
G5
P.M.
G5
F5 G5
Bb5
nat had
-
’ral go.
to
P.M.
P.M.
3 3
sight.
2 2
3
1
1
3
1
3
End Riff C
P.M.
P.M.
3
1
3 3
Bb5
C5
Uh,
Eb5
P.M.
P.M.
8
6
Bb5
through the down
slow fly - ing
a
P.M.
C5
dark put
P.M.
7 7
6
C5
just cruis - ing just, Cry - ing, uh,
Gtr. 1
Bb5 C5
of
*P.M.
Bb5 C5
Eb5
night. out
P.M.
7 7
8
6
6
8
6
Bb5
With with
road
8 8
8
C5
P.M.
P.M.
8
6
8 8
8
*Slight P.M.
Gtr. 2
P.M.
1
D5
Pre Pre
-
1
3
cious cious
and and
3
P.M.
1
1
P.M.
1
ev in
-
3
Grace, Grace
1
3
F5
’ry my
-
G5
thing’s flat
P.M.
5
7
5
7
5
7
5
7
P.M.
5
7
5
7
5
7
5
7
5
7
5
7
** P.M.
5
7
**Slight P.M.
5
7
7
5
5
5
5
1
G5
al head
-
P.M.
7 1
3
***P.M.
7
F5
-
3
1
3
P.M.
7 1
3
1
3
***As before
3
Bb5
G5
F5
G5
F5
G5
Bb5
right. Ford.
* P.M.
2 2
Mm,
G5
P.M.
P.M.
P.M.
P.M.
2 2
3
1
1
3
1
hmm.
3 3
F5
P.M.
P.M.
3
1
3 3
3
*Slight P.M.
P.M.
P.M.
P.M.
3
1
1
1
** P.M.
3
1
P.M.
P.M.
3
1
1
3
**Slight P.M.
Interlude
G5 Gb5 F5 G5 Gb5 F5 G5 Gb5
F5 G5 Gb5 F5 G5 Gb5 F5 D5
G5 Gb5 F5 G5 Gb5 F5 G5 Gb5
F5 G5 Gb5 F5 G5 Gb5 F5 D5
3
3
P.M.
4
5
4
3
5
4
3
5
4
P.M.
4
5
4
3
5
4
3
5
4
5
4
3
5
4
3
5
5
4
5
4
3
5
4
5
4
3
5
4
3
5
***P.M.
3
3
5
4
3
5
4
3
5
5
4
***Slight P.M.
4
3
3
5
4
3
5
4
5
4
3
5
4
3
5
F5
E5 F5
Gtr. 3 (dist.)
E5 F5
E5 F5
mf
w/ slide
8
6
Gtr. 1
1
Gtr. 2
1
0
1
0
1
0
1
1
8
8
8
8
Guitar Solo Cm
2
8
7
8
3
2
Rhy. Fig. 1
3 X 4
4 5
8
7
8
3
4 5
8
5 6
2
3 X 4
8
3
1
3 X 4
4 5
8 8
7
8
3
3 X 4
End Rhy. Fig. 1
4 5
5
Gtr. 2: w/ Rhy. Fig. 1
Gtr. 3
8
8
7
8
8
8
8 8 8
* 10
11
11
11.5
8
7
8
8
8
7 7
8
8
8
*Slide positioned halfway between the 11th and 12th frets.
Riff D
Gtr. 1
1
3
1
3
1
Bb
Gtr. 3
7
7
5 5
Gtr. 1
0
1
0
Gtr. 2
2 X 2
6
3 3
3
1
3
7
7
5
6
End Riff D
7
5
6
1
0
1 X 1
3 3
1
0
1 X 1
3 3
6
8
7
6
7
7
1
1 X 1
3 3
Gtr. 1: w/ Riff D Gtr. 2: w/ Rhy. Fig. 1
Cm
Gtr. 3
8
8
7
8
8
8
7
8
8
8
7
8
8
8
7 7
8
8
Interlude Gtr. 3 tacet
D5
C5
Bb5
A5
Gtr. 1
5
3
3
Gtr. 2
1
1
0
D5
C5
Bb5
A5
5
3
1
1
3
1
1
3
3
5
0
0
Verse Gtr. 1: w/ Riff C (1 1/2 times)
3. So,
if
F5 G5
Gtr. 2
P.M.
1
3
F5 G5
you’re
P.M.
1
3
Bb5
G5
out
roll
F5
-
ing
late
G5
some
P.M.
P.M.
P.M.
3
1
1
1/4
1
1
3
F5 G5
Bb5
G5
F5
night,
P.M.
1
3
P.H.
1 Pitch: D
3
1 A
7
G5
F5 G5
yeah,
and
you
need
a
su
P.H.
3
1
3
Pitch: A
B
A
B
I
Gtr. 1
P.M.
1 F
Bb5 C5
know
some
P.M.
Eb5
-
bod -
Gtr. 2
8
6
P.M.
1
3
1
-
nat
-
F5 G5
u
-
ral
de - light,
3
1
1
3
1
3
G
A
A
B
A
B
Bb5
they’s
just
out
C5
-
P.M.
P.H.
1
3
6
6
P.M.
P.H.
P.H.
1
1
3
8
6
1
Pre
-
cious
and
Grace,
they
gon
Get
with
P.M.
P.M.
8 8
8
P.H.
1
3
6
P.H.
3
1
G
-
Bb5
D
D5
C5
P.H.
3
1 A
8
P.H.
3
Eb5
D
7 7
Pitch: G
1
sight.
P.H.
Bb5 C5
ta
F5
I’m talk - ing to you, bro - ther.
P.H.
P.M.
G5
P.H.
C5
Bb5
P.H.
ies,
per
G5
8
P.H.
P.H.
Gtr. 1: w/ Riff A
8 8
8
-
7 7
6
1
Bb5 C5
F5
P.H.
G5
P.H.
Bb5
na
treat
you
right.
*Gtrs. 1 & 2
P.M.
5
7
5
*Composite arrangement
8
7
5
7
5
7
5
7
5
7
5
7
5
7
5
7
5
7
5
7
5
7
5
7
5
7
5
7
5
7
Outro-Guitar Solo Gtr. 1: w/ Riff C (6 times)
Gtr. 3
F5 G5
F5
G5
Bb5
F5
G5
w/ slide
15
14
15 15
15
14
G5
15 15
F5
15
Bb5
15
F5 G5
dist. off *w/ pick & finger
13
G5
15
15
15
15
15
15
13
13
15
15
14
*On a Les Paul style guitar, pick the string as close to bridge as possible while simultaneously picking the same string between the bridge and stop tailpiece with the nail of your ring finger, next 8 meas.
Gtr. 2
P.M.
1
15
1
3 B
1
F5 G5
15 15
15
15
P.M.
1
1
P.M.
3
1
P.H.
G5
13
15
13 13 13
P.M.
1
3
A
14
P.M.
3
Bb5
15
F
P.H.
Pitch: A
G5
P.H.
3
let ring
14
P.M.
3
1
F
F5
15 15 15
13 13 13
G5
15 15 15
13 13 13
15 15 15
13 13 13
F5 G5
15 15 15
Bb5
15
15
A
G5
**
w/ dist. w/ pick
steady gliss.
let ring **
15 15
8
12 12
6 6
15
**4th string sounded by slide.
P.M.
1
3
1
3
1
3
Riff E
P.M.
1 Pitch: A
P.M.
1
3
1
3
1
3
End Riff E
P.M.
1 A
9
Gtr. 3 Gtr. 2: w/ Riff E (2 times)
F5
F5
G5
let ring
15 15
15 15
10 10
Bb5
G5
F5
G5
F5 G5
8
15 15
Bb5
17
17
18
18
12
8
15
13 14
15
15
F5 G5
G5
F5
G5
F5 G5
Bb5
let ring
14
Bb5
14
15
15
15
15
15
15
14
15
15
15
14
15
15
14
15
Gtr. 2: w/ Riff B (4 times)
G5
F5
steady gliss. 13
G5
G5
F5
8va
15
15
steady gliss. *
15
13
26
*Hypothetical fret locations, next 18 meas.
G5
F5 G5
Bb5
G5
F5
8va
27
27
27
G5
F5 G5
8va
26
10
27
27
27
25
27
Bb5
27
26
27
27
25 26
F5
27
27
F5 G5
27
Bb5
26
27
27
G5
27
27
27
27
27
25 26
F5 G5
25
G5
G5
27
27
G5
27
F5
27
27
27
Bb5
G5
F5
25 26
27
27
27
20
G5
Gtr. 3
22
F5 G5
Bb5
G5
15ma
27
27
Gtr. 1
P.M.
27
P.M.
25
P.M.
2 2
1
3
1
30
F5
G5
32
25
29
29
27
30
23
P.M.
P.M.
30
P.M.
15ma
3
1
1
3
1
27
25
Gtr. 1
let ring
27
27
6
6
7
Gtr. 2
P.M. 1
3
7
P.M. 1
3
7
6
1
P.M.
P.M.
3
1
27
3 3
6 5 6
7
25
3
30
P.M.
7 7
27
P.M.
7
27
Gb7
27
3
27
F5
P.M. 2 2
3
27
G5
3 3
*G7
Gtr. 3
Bb5
F5 G5
30
P.M.
30
P.M.
6 6
6
5
9
*Bass plays G pedal, next 6 meas.
11
F7
15ma
*
30
29.5
29.5
**
29.5
28.5
28.5
28.5
28.5
28.5
8va
28.5
18
12
19
*Slide positioned halfway between the hypothetical 29th and 30th frets. **Slide positioned halfway between the hypothetical 28th and 29th frets.
let ring
*** P.M.
6 6
5
6
P.M.
5 4
6
5
P.M.
4
P.M.
5 5
5
P.M.
5
4
5
5
***2nd string only.
9
8
Free time
μ
†† Gm7
8va
rit.
19
13 13
5 5
p 8
†2nd string sounded by slide.
w/ bar
rit.
-1/4
12
13
-1 1/4
rit.
11 7
7
6
5 ††Bass plays G.
12
3 3 3
0
†
19
loco
from ZZ Top - Degüello
She Loves My Automobile Words and Music by Billy F Gibbons, Dusty Hill and Frank Beard
Intro Free time
Verse Moderately fast q = 129 2nd time, Gtr. 2 tacet
*A
1. She
A5
A6
it
“What’s
f
5 5 6 7 7 5
me, take
for
4 0
4 0
2 2 0
2 2 0
she you
love to
4 0
4 0
P.M. simile on repeat
2 2 0
2 2 0
my your
lay
D6
A5
Am7
Am7
D/A
A5
She She said,
1/4
4 0
A5
au - to - mo - bile. top on down?”
P.M.
2 0
D/A
4 0
2 0
2 0
4 0 3
2 2 0
0
P.M.
P.M.
don’t
D5
D6
2 0
love gon - na
A6
*Chord symbols reflect basic harmony.
D5
Gtr. 1 (slight dist.)
3
A5
don’t
__ =
P.M. 1/4
5 5
0
7 7 7
7 0
5 5 5
0
Copyright © 1979 Music Of Stage Three All Rights Administered by Stage Three Music (US) Inc., a BMG Chrysalis company All Rights Reserved Used by Permission
7 7 7
7 0
3
1
D5
D6
“What’s it
love gon - na
me, take
she you
for
love to
D5
D6
D5
3
my your
lay
A5
Am7
P.M. 1/4
2 0
2 0
4 0
4 0
2 0
2 0
4 0
4 0
2 0
2 0
4 0
4 0
2 0
2 0
2 2 0
4 0 3
Am7
D5/A
A5
D#5
But I
P.M.
she would said,
E5
E6
do
D5/A A5
au - to - mo - bile. top on down?”
D6
E5
E6
E5
an - y - thing just “Hon - ey, why don’t you ask
P.M.
7 7
0
E6
7 0
0
E5
E6
3
slide be me when we hit the out
to
P.M.
5 5
0
hind skirts
D6
D5
P.M.
1/4
5 5
0
7 7
7 0
8 6
9 7
9 7
11 7
11 7
9 7
9 7
11 7
11 7
9 7
9 7
1.
A5
Am7
D5/A A5 3
Am7
D5/A
A5
11 7
2. A5
11 7
9 7
Am7
9 7
D/A
11 7
A5
wheel.
Gtr. 2 (dist.)
P.M.
2 2 0
2
0
5 5
P.M.
P.M.
said,
f
10
Gtr. 1
2. She
grad. bend
13
13
P.M.
of
0
7 0
0
5 5
P.M.
0
7 7
7 0
3
1/2
1/4
7 7
town.”
the
P.M.
2
0
5 5 5
P.M.
0
7 7 7
7 0
3
Am7
D/A
A5
Gtr. 2
Guitar Solo A5
3
5
6
7 0
3
A6
A5
10
10
A6
A5
8
8
10
10
8
A6
3
10
10
2 2 0
2 2 0
A5
A5
10
9
A5
A6
3
8
8
10
10
0 0
2 2 0
8
9
P.M. 1/4
7 7 7
0
A6
P.M.
5 5 5
9
Gtr. 1
5
5
A6
3
A5
4 0
2 2 0
2 2 0
0 0
A6
4 0
A5
3
A6
D5
3
1
8
8
10
10
10
8
2 2 0
4 0
D6
10
8
10
10
8
4 0
D5
0 0
D6
1
1/2
9
2 2 0
2 2 0
0 0
10
10
10
X
0 0
2 2 0
2 2 0
0 0
2 2 0
2 2 0
2 0
P.M.
2 2 0
2 2 0
4 0
D5
D6
4 0
D5
D6
1/2
4 0
A5
A6
8
A5
1
10
10
X
4 0
X X
A6
1
10
10
2 0
A5
1
10
10
2 2 0
2 2 0
0 0
4 0
A6
2 0
4 0
A5
4 0
A6
3
1
10
2 0
1
10
4 0
10
8
10
P.M.
2 0
2 0
4 0
2 0
2 0
2 0
4 0
X X
0
0
2
2 2 0
4 0
0 0
2 2 0
2 2 0
4 0
0 0
2 2 0
2 2 0
4 0
0 0
2 2 0
2
4 0
5
3
E5
E6
*
E5
1
10
10
E6
8
10
E5
E6
E5
E6
3
5 8
5
P.M.
8
10
8
8
10
10
7
7
7 0
5
7
7
5
5
8
*Played as even eighth notes.
P.M.
1/4
11 7 0
7 0
D5/A A5
Am7
9 7 0
7 0
D5/A A5
3 P.M.
5 5
7 7
7
P.M.
7
0
9
2 2 0
5 5
0 0
D5
D6
0
7 7
7
P.M.
5 5
7
P.M.
P.M.
P.M.
6
5
7
5
5 5
7 0
D5
1/2
D6
0
A5
D5
5
5
9
7 7
7 0
12
D5
10
8
D6
10
9
8
2 0
4 0
2 0
4 0
0 0
A5
11
10
2 0
0 0
2 0
3
A6
A5
13
10
13
10
A6
11
A5
A6
1
8
let ring
*
13
D6
3
P.M. 1/4
A6
11 7 0
7 0
7
P.M.
7 7
9 7 0
7 0
1/4
7 7
11 7 0
7 0
10
1
10
12
*As before
P.M.
Am7
9 7 0
7 0
A5
11 7 0
7 0
9 7 0
1/4
2 0
2 0
4 0
4 0
2 0
2 0
4 0 3
4
1/4
2 2 0
2 2 0
4 0
0 0
2 2 0
2 2 0
4 0
0 0
2 2 0
2 2 0
4 0
0 0
2 2 0
2 2 0
4 0
3
D5
D6
D5
10
10
10
13
D6
13
10
D5
10
2 0
4 0
0 0
2 0
2 0
4 0
0 0
D5
D6
E5
10
10
12
E6
E5
E6
1
1
13
13
2 0
2 0
4 0
0 0
2 0
1
12
13
11
10 13
P.M.
2 0
D6
2 0
4 0
9 7 0
7 0
X X
11 7 0
9 7 0
7 0
11 7 0
7 0
7 0
Verse
E5
E6
E5
E6
3
3. Well
A6
A5
now,
she
don’t
care
A6
if
3 1
10
10
13
13
10
D5
D6
D5
stoned
D6
I’m
10 10 0
A5
3
or
slop
-
py
1/4
10
13
13 17
P.M.
1/4
9 7 0
11 7 0
7 0
Gtr. 2 tacet
A5
9 7 0
7 0
Am7
11 7 0
7 0
D5/A A5
2 2 0
2 2 0
X X
Am7
4 0
D/A
2 2 0
0 0
P.M.
2 2 0
4 0
A5
3
And
0
5 5
P.M.
0
7 7
7 0
P.M.
5 5 5
0
7 7 7
7 0
2 0
0 0
C#5
drunk.
Gtr. 1
2 2 0
2 0
4 0
4 0
2 0
2 0
4 0 3
D5
D6
D5
she
don’t
7 5
7 5
9 5
9 5
D6
if
I’m
7 5
7 5
9 5
0 0
care
P.M.
6 4
5
D5
stoned
D6
3
or
P.M.
slop
A5
-
py
A6
Am7
5 3
7 3
E5
E6
2 0
X X
2 0
3
she
got
the
keys
4 0
Gtr. 2
E6
2 2 0
2 2 0
E5
and there’s
P.M.
4 0
0 0
a
5 5
E6
A5
spare
wheel
the
11 7 0
9 7 0
7 0
11 7 0
7 0
7 0
9 7 0
7 0
11 7 0
7 5
trunk.
1/4
9 7 0
9 7 0
7 0
11 7 0
7 0
Long
as
3
X X
F5
3
3
7 0
E5
in
F#5
P.M.
E6
Gtr. 1
G5
drunk.
3
E5
G#5
1/4
5 3
A5
G6
G5
6 4
5 3
4 2
Am7
D/A
A5
10 11
10 11
3 1
10 11
P.M. 2 2 0
3
7 7
5 5
7 0
7 0
0
Outro-Guitar Solo
Am7
D/A
A5
C5
D5
D6
D5
8 X 9
10
D6
D5
8 X 9
10
D6
D5
8 X 9
10
D6
P.M.
10 11
9
5
7
P.M.
5 5
6
0
7 7 7
7 7
7 0
5
7
11
10 X 11
8 9
0
P.M.
3
5
9 5
5
7 5
7 5
9 5
9 5
11
10 X 11
8 9
11
10 X 11
8 9
9
7 5
7 5
7 5
9 5
9 5
7 5
9 5
3
D5
D6
1/4
D6
D5
3
X X
9 10
4 5
10
10
8
D5
D5
12
12
9 5
7 5
7 5
10
A5
9 5
A6
9 5
7 5
12
1/2
E6
9 5
5
1/4
1/2
8 7
10 12
8 7
9 5
7 5
7 5
E5
9 5
3
12
9 5
E5
P.M.
10
7
12
7
11 7
A5
A6
5
7 7
5 5
E6
7 5
9 5
E5
5
E6
3
5
5
8
5
5
8
5
5 5
7
9
9 7
9 7
11 7
11 7
9 7
7
9 7
A5
11 7
7
A6
D5
D6
9 7
D5
11 7
0 0
D6
3
1/4
1/4
1/2
8 7
7 5
5
P.M.
1/2
8 7
10
1/2
12
12
5
E6
D6
P.M.
1/2
10 10
A6
1/4
9 5
1/2
10
7 5
E5
7 5
D5
1/2
3
A5
1/4
7 5
D6
P.M.
9 5
1/2
12
7 5
D6
7 5
5
D6
10
1/4
1/2
8 7
1/4
1/2
8 7
1/4
1/2
8 7
1/4
1/2
8 7
9 5
D5
10
P.M.
5
D6
1
8 7
D6
D5
1/4 1/2
1/2
8 7
D5
1/4
1/2
8 7
1/2
8 7
5
5
5
2 0
0 0
1/4
2 2 0
2 2 0
4 0
0 0
2 2 0
2 2 0
4 0
0 0
2 2 0
2 2 0
4 0
0 0
2 2 0
2 2 0
4 0
3
2 0
4 0
0 0
2 0
2 0
4 0
7
10
9
D6
A5
A6
A5
A6
3
10
E5
10 8
8 8
10
8
3
1/2
0 10
8 10
E6
3
1/4
10
10
E6
3
1
8
E5
D5
7
5
1/4
7
7
5
D6
D5
P.M. 1/4
2 0
2 0
4 0
0 0
2 0
2 0
2 2 0
2 2 0
4 0 3
4 0
2 2 0
0 0
μ
8 7 8
1/4
8 7 8
1/4
8 7 8
1/4
8 7 8
1/4
8 7 8
*
1/4
2 2 0
4 0
0 0
A
A5
1/4
1/4
8 7 8
9 7
9 7
Bb#11
11 7
7
9 7
A
1/4
8 7 8
5 5 6 7
14
*As before
P.M.
2 2 0
8
w/ pick & fingers
0 3
0 2
1
0
9 7
11 7
3
from ZZ Top - El Loco
Tube Snake Boogie Words and Music by Billy F Gibbons, Dusty Hill and Frank Lee Beard
Intro Moderately fast q = 146
μ (Drums)
*Gtr. 1 (clean)
**E5
mf
2 0
2 0
P.M.
0 *Two gtrs. arr. for one.
2 0
4 0
0 0
2 0
2 0
4 0
0 0
2 0
4 0
0 0
2 0
2 0
4 0
0 0
**Chord symbols reflect basic harmony.
Guitar Solo
A5
Gtr. 3 (slight dist.)
0 0
3 2
0 0
2 0
4 0
2 0
2 0
4 0
0 0
f 3 2
Gtr. 1
Gtr. 2 (clean)
f
Gtr. 1 divisi
P.M.
2 0
2 0
4 0
0 0
2 0
2 0
4 0
0 0
2 0
2 0
4 0
0 0
2 0
2 0
4 0
***Gtrs. 1 & 2
P.M.
3
2 0
0 0
***Composite arrangement
Gtr. 3
let ring
3 4
3 4
0
3 2
0
3 2
0 0
P.H.
3 2
3
3
3
0 4
2
0
P.M.
2 0
2 0
4 0
2 0
2 0
4 0
0 0
2 0
2 0
4 0
2 0
2 0
4 0
0 0
2 0
2 0
4 0
2 0
2 0
4 0
0 0
Gtrs. 1 & 2
0 0
0 0
Copyright © 1981 Stage Three Songs All Rights Administered by Stage Three Music (U.S.) Inc. All Rights Reserved Used by Permission
0 0
1
E5
1/2
1
0
0 0
0 3
0
0
0 0
3
2
2
0
0
0
1/2
0 4
3
2 0
P.M.
2 0
2 0
4 0
0 0
2 0
2 0
4 0
0 0
2 0
2 0
4 0
0 0
2 0
2 0
4 0
0 0
2 0
2 0
4 0
0 0
2 0
2 0
4 0
0 0
2
4
B5
0
2
2
2
0
2
2
A5
0
2
1
Rhy. Fig. 1
P.M.
2 0
2 0
4 0
0 0
2 0
2 0
4 0
0 0
let ring
2
1 2
2 2
0
0
3
2
4
1/4
0
5
5
4 2
4 2
6 2
4 2
4 2
4 2
6 2
4 2
2 0
2 0
4 0
2 0
2 0
4 0
0 0
0 0
Verse
Gtr. 3 tacet
E5
2
2
2
P.M.
2
P.M.
2 0
*
0
0
1
2
0
2
2
2
End Rhy. Fig. 1
E5
1. I 2. I
B7#9(no3rd)
2 0
4 0
0 0
2 0
2 0
4 0
0 0
2 0
2 0
4 0
0 0
2 0
3 2 X 2
got got
a a
gal, gal,
she she
lives lives
Rhy. Fig. 2
P.M.
2 0
2 0
4 0
0 0
2 0
2 0
4 0
0 0
*w/ fast Leslie effect on vocals throughout.
2
’cross on
town. the block.
She’s She’s
the one that kind - a funk - y
F#5
G5
G#5
ly and
gets black
down socks.
when She
she like
real with her
pink
Gtrs. 1 & 2
P.M.
2 0
2 0
4 0
0 0
2 0
2 0
4 0
0 0
2 0
2 0
4 0
0 0
2 0
2 0
4 0
0 0
0
*A5
AsusÊ
A
AsusÊ
A
boo - gie, to boo - gie, Rhy. Fig. 3
Gtr. 3
dist. off
2 2 2
3 4 2
3 4 2
3
4
2
2
3 4 2
3 4 2
10 11 9
5
6
3
4
EsusÊ
E
boo - gie. boo - gie.
10 11 9
10 11 9
4
Well, Well,
2 2 2
3 4 2
E
snake snake
2
tube tube
3
EsusÊ
she do the she do the
3 4 2
E5
now now
10 11 9
10 11 9
10 11 9
9 9 9
9 9 9
10 11 9
Gtrs. 1 & 2
End Rhy. Fig. 2
2 0
2 0
P.M.
2 0
4 0
0 0
2 0
2 0
4 0
0 0
2 0
4 0
0 0
2 0
2 0
4 0
0 0
2 0
2 0
2 0
4 0
0 0
2 0
2 0
4 0
0 0
2 0
4 0
0 0
2 0
2 0
4 0
0 0
*Chord symbols reflect combined harmony, next 6 meas.
BsusÊ
B
boo - gie, boo - gie
lit - tle woo - gie,
ba ba
Gtr. 3
-
by, by,
5 6 4
5 6 4
5 6 4
4 4 4
AsusÊ
A
E5
boo - gie
woo - gie
all
night
3 4 2
3 4 2
3 4 2
long.
End Rhy. Fig. 3
B7#9(no3rd)
Gtrs. 1 & 2: w/ Rhy. Fig. 1
B5
2 2 2
3 4 2
E5
Gtrs. 1 & 2: w/ Rhy. Fig. 2
Guitar Solo
w/ dist. let ring 1/4
8
1/4
7
8
1/4
7
8
1/4
7
8
1/4
7
8
1/2
7
8
0
3
0
0
0
1
0 8
3
3
F#5
G5
G#5
1/2
A5
1
2
2
1
0
2
0
0
2
0
2
2
0 3
2
4
0
2
0
2
A5
Gtr. 3
2
0
2
0
2
0
0
3
let ring
2
0
2
0
1 2
1
2 0
2 0
4 0
2
0 0
0
0
2
2
2
0
1
2
μ
2 0
2 0
4 0
0 0
2 0
2 0
4 0
0 0
P.M.
Gtrs. 1 & 2: w/ Rhy. Fig. 2
Gtr. 3
E5
grad. bend
let ring
1/2
1/2
0
0 0
3
0
0
2 0
4 0
0 0
2 0
0
5
grad. bend semi-harm.
3
5
4
A5
2
2
2
2
2
0
0 0
5
0 0
2 0
2 0
4 0
0 0
2 0
F#5
0
3
4
2
4
0
1 2
E5
5
6
0
6
G5
G#5
7
2
1/4
4
let ring
3
1/4
3
3
2
0
2
Gtrs. 1 & 2
0
3
E5
4
0
0
4
1/2
1/4
3 2
0
2
B5
let ring
1/2
0
1
1/2
1
1
let ring
0
0
2
Gtrs. 1 & 2: w/ Rhy. Fig. 1 (1st meas.)
E5
2
0
0
6
0
3
0
3
1 2
0
0
1
1
0
3
1
2
0
2
4
0
0
2
2
2
0
1
2
2
Gtrs. 1 & 2: w/ Rhy. Fig. 1
B5
let ring
A5
4
2
0
2
0
0
2
0
0
0
let ring
0
0 0
3 4
1
B7#9(no3rd)
1/2
3 0
E5
2
0
2
2
4
3
0 3 4
0 2
0
2
0
2
2 0
Verse Gtr. 3 tacet
μ
3. I
got
a
gal,
she
lives
on
the
hill.
Gtrs. 1 & 2: w/ Rhy. Fig. 2 (last 4 meas.) Gtr. 3: w/ Rhy. Fig. 3
A5
AsusÊ
A
AsusÊ
A
boo - gie,
she
Gtrs. 1 & 2: w/ Rhy. Fig. 1
B5
BsusÊ
-
by,
boo - gie
woo - gie
A
all
do
sis
it
but
EsusÊ
tube
snake
boo - gie.
night
her
E
ter
will.
When
she
E
Well,
Blow your
long.
-
EsusÊ
E5
top,
now
B7#9(no3rd)
ba
AsusÊ
won’t
E5
the
She
B
boo - gie, lit - tle
do
blow your
(Blow your
top.
top.)
Outro-Guitar Solo Gtrs. 1 & 2: w/ Rhy. Fig. 2
E5
Gtr. 3
let ring
6
7
5
7
7
2
0
0
0
0
2
5
7
7
7
7
0
0
1/2
0
0
0
3
2
0
2
0
2
B5
3
3
0
3
0
0
3
B7#9(no3rd)
2
0
1
0
3
0
2
0
1
2
5
7
7
3
2
2
0
2
2
0
E5
0
0
0 2
2
0
3
1
2
Gtrs. 1 & 2: w/ Rhy. Fig. 2
E5
0
let ring 7
1
A5
1/2
3
0
0
1/2
3
G#5
1/4
0
0
7
G5
1/2
Gtrs. 1 & 2: w/ Rhy. Fig. 1
7
5
7
E5
7
5
7
4
let ring
1/2
3
7
7
A5
3
7
5
7
F#5
2
0
0
2
0 0
0
2
2
1/2
0
0
1/2
3
0
5
5
Fade out
0
F#5
G5
let ring
G#5
A5
1 hold bend
5
3
3
0
0
let ring 1
5
5
let ring
0
0
5
5
0
0
0 0
5
5
0
0
7
7
7
3
3
3
5
1/2
3
5
5
1/2
0
5
5
E5
3
5
0
5
0
5
5
3
0
0
5
Gtrs. 1 & 2: w/ Rhy. Fig. 1
1/4
7
7
1/4
8
A5
7
7
1/4
8
7
7
7
7
B5
1/4
8
E5
0
0
B7#9(no3rd)
8
8
0
2
2
0
F#5
2
2
G5
2
0
2
2
G#5
2
A5
2
0
2
2
let ring 1/4
2
0
3 2
0
2
0
3
2
0
3
5
5
6
5
0
5
5
0
0
0 3
0
2
0
1
2
2
0
2
2
2
0
2
2
1/2
0
0
0
3
0
3
3
5
E5
0
E5
2
Begin fade
2
1/4
Gtrs. 1 & 2: w/ Rhy. Fig. 2
Gtrs. 1 & 2: w/ Rhy. Fig. 1 (till fade)
B5
A5
let ring
5
0
0
0
5
0
5
0
5
0
5
0
5
0
0
0
5
0
0
0
5
0
5
from ZZ Top - Fandango
Tush Words and Music by Billy F Gibbons, Dusty Hill and Frank Lee Beard G5
G6
G5 tyye2
C5
C6
3fr
13
D5
14
134
13
D7
D6
3fr
5fr
14
13
G7 5fr
5fr
14
Eb9 3fr
14
D9 6fr
14
5fr
111
111
Intro Moderately fast Rock q = 146 * G7
mf P.M.
3
P.M.
P.M.
5 5
3
G5 type2
G6
P.M.
G6
3 3
1
P.M.
P.M.
(cont. in slashes)
5 5
5 5
3
G5
G6
G5
G6
3 3
3
G5
P.M. P.M. P.M. P.M.
5 5
5 5 3
3 3
5 5 3
5 5 3
G6
G5
G6
G5
G5
G6
End Rhy. Fig. 1
been
up,
P.M. P.M. P.M. P.M. 5 5
1
G6
1. I’ve
3 3 3
type2
Gtr. 1
3
5 5 3
3 3
3
3
5 5
*Chord symbols reflect implied harmony.
Rhy. Fig. 1
Gtr. 2
P.M.
3
5 5 3
3 3
3
mf
5 5
Yeah!
P.M.
P.M.
Gtr. 2 (slight dist.)
G5
5 5 3
Gtr. 1 (slight dist.)
3
3
5 5
3 3
3
Copyright © 1975 Music Of Stage Three Copyright Renewed Worldwide Rights for Music Of Stage Three Administered by BMG Chrysalis All Rights Reserved Used by Permission
5 5 3
5 5 3
3 3 3
1
1
Verse Gtr. 2: w/ Rhy. Fig. 1
G5
G6
G5
I’ve I’ve
P.M.
5 5 3
G5
been been
5 5
G5
G6
P.M.
3
5 5
3
C6
P.M.
3
5 5
3 3
3
G5
G6
G5
P.M.
P.M.
5 5 3
G6
P.M.
P.M.
5 5 3
2
3
8
5 7
G5 type2
5 5 3
3 3
5 5 3
5 5 3
G6
I
said,
P.M.
3 3
C5
3
5 5
7
5 5 3
5 5 3
F
0
open
ask
-
in’
for
much.
0
0
1
2
1
D6
take
2fr
F#
D5
Lord,
1fr
E
ain’t
5 8
3 3
3
I
7
P.M.
5 5
5 7
5 5
5 5 3
P.M.
5 5 3
G6
’round. my why Hol - ly - wood.
as,
P.M.
-
Mm.
C6
G6
G5
3
G5
G6
3 3
C5
P.M.
word, Tex
3
Rhy. Fig. 2
G5
P.M.
5 5
C5
Gtr. 2
G6
1
G5
take my Dal - las,
3 3
3
G6
G6
down, good,
P.M.
3
G5
G6
me
D7
down
-
2
D6
town,
7 5
7 5
9 5
10 5
10 5
9 5
9 5
P.M.
9 5
1.
C5
C6
C5
C6
G5
G6
G7
G6
G5
I’m
just
in’
for
some
P.M.
look -
P.M.
5 3
5 3
7 3
7 3
5 3
5 3
7 3
End Rhy. Fig. 2
Eb9
G6
tush.
2. I’ve
2
3
G5
P.M.
5 3
7 3
7 3
8 3
8 3
7 3
7 3
5 3
3
4
2.
G5
D9
G6
G5
Rhy. Fill 1A
Eb9
D9
5
been
bad,
5
1
End Rhy. Fill 1A
(cont. in notation)
Yeah.
Gtr. 3 (dist.)
mf
w/ slide
12
Rhy. Fill 1
Gtr. 1
5 3
End Rhy. Fill 1
5 3
7 3
7 3
8 3
8 3
7 3
7 3
5 3
3
4
P.M.
5
3
Guitar Solo
G5
G6
Gtr. 3
G6
G5
G6
G5
G6
12 12
12
12
12
5 3
7 3
7 3
8 3
7 3
7 3
5 3
5 3
7 3
7 3
5 3
5 3
7 3
7 3
5 3
5 3
7 3
7 3
5 3
5 3
7 3
7 3
8 3
12
G6
5 3
12 12
G5
*Gtrs. 1 & 2 Rhy. Fig. 3
12
G6
12
12
12
G5
12
0
P.M.
G7
12
12
12
*Composite arrangement
G5
G#5
12
4
12
10
10
5 3
5 3
7 3
7 3
5 3
5 3
7 3
7 3
5 3
5 3
6 4
7 5
7 5
8 6
12 12
8 6
5
G6
G5
3
0
5 5
5 5
5 5
G6
G5
G6
w/o slide
12 12
5 3
5
5 3
G5
C5
4
C6
12
G6
C5
6 4
C6
0
C5
G5
Bb5
P.M.
12
12
A5
μ
5
3
5
4
4
0
0
1
2
D5
D6
0
12 12
12
7 7
P.M.
5 3
5 3
7 3
7 3
5 3
5 3
7 3
7 3
5 3
5 3
7 3
7 3
5 3
5 3
7 3
7 3
2
D5
D6
6
7
w/ slide
3
1
7 7
7 7
3
0
5 5
7 5
7 5
9 5
9 5
7 5
7 5
9 5
9 5
C5
5 5
C6
C5
C6
5 5
3
3
0
3
5
0
G5
5 3
7 3
7 3
5 3
5 3
7 3
7 3
G7
G6
12
12
12
12
G5
10
C5
5 3
5 3
7 3
7 3
8 3
7 3
7 3
G5
8 3
C#5
D5
10
12
10
End Rhy. Fig. 3
P.M.
5 3
G6
5 3
5 3
7 5
6 4
Gtrs. 1 & 2: w/ Rhy. Fig. 3
G5
Gtr. 3
G6
G7
G6
G5
3
3
G6
G6
G5
3
3
G6
G5
G6
3
3
let ring
12
12
12
12
12
12
12
C5
12
12
12
12
C6
C5
5
C6
5
5
6
C5
μ
12
12
G5
7
5
5
5
12
12
G5
12
12
12
11
10
12
A5
Bb5
10 10
12 12
3
12
10
G5
3
11
12
12
G6
3
3
G#5
12
G6
5
12
12
G5
10
12
12
G6
11
G5
G6
15
12
12
12
15
Gtrs. 1 & 2: w/ Rhy. Fills 1 & 1A
D5
D6
D5
D6
C5
C6
3
15
15
13
18
13
3
3
15
C6
G5
G6
G7
15
C5
15
15
13
12
12 12
10 10
12
12 12
12 12
3
12 12
10 10
3
12
G5
Eb9 D9
3
12
G6
12
12
10
3
3. Take
9
me
12
14
14
back,
5
Verse Gtr. 2: w/ Rhy. Fig. 1 Gtr. 3 tacet
G5
Gtr. 1
P.M.
G6
G5
P.M.
5 5
3
G6
way
back
G5
G6
G5
home,
5 5 3
P.M.
3 3
3
5 5
1
3
5 5
3
G6
not
by
my -
self,
G5
P.M.
G6
G5
P.M.
3 3
3
5 5
1
3
G6
not
a
5 5
3
-
lone.
P.M.
3 3
3
3
Gtr. 2: w/ Rhy. Fig. 2
G5
G6
G5
G6
C5
C6
C5
C6
C5
I
Gtr. 3
15
Gtr. 1
P.M.
5 5
5 5
3 3
15
14
12
F5
ain’t
ask
F#5
-
in’
for
much.
5 3
7 3
7 3
5 3
5 3
7 3
7 3
5 3
5 3
P.M.
5 3
3
3
E5
0
0
1
2
1
2
Gtr. 3 tacet
G5
G6
G5
G6
G5
G6
G5
Mm.
Gtr. 1
P.M.
P.M.
5 5 3
6
3
3
I
P.M.
5 5
3 3
3
5 5 3
said,
P.M.
5 5
G6
3 3
5 5
D5
Lord,
0
take
D6
me
D7
down
-
D6
town,
7 5
7 5
9 5
7 5
7 5
9 5
9 5
P.M.
9 5
C5
I’m
C6
just
look -
Gtr. 3
C5
in’
for
C6
G5
some
G6
G7
G6
G5
μ
tush.
7 7
8 8
8 8
12 12
12
Gtr. 1
P.M.
5 3
5 3
7 3
7 3
Outro-Guitar Solo
G5
G6
Gtr. 3
5 3
5 3
G5
G6
7 3
12
7 3
P.M.
5 5
5 3
Gtrs. 1 & 2 5 5
G5
G6
15
12
12
12
5 3
7 3
7 3
5 3
5 3
7 3
7 3
5 3
3 3
G6
5 3
10
G5
G6
G5
G6
12
12
12
12
5 3
7 3
7 3
5 3
5 3
7 3
7 3
5 3
9
3
G5
12
12 12
12
12
5 3
7 3
7 3
5 3
5 3
7 3
7 3
X
12
Gtrs. 1 & 2
P.M.
5 3
7
G5
A5
12
12
G#5
Bb5
12
12
12 12
12
12 12
5 3
6 4
7 5
7 5
8 6
C5
C6
5
5
C5
4
C6
C5
5
5
μ
G5
6 4
G6
G5
12
12
12
G6
5 3
5 3
7 3
7 3
5 3
5 3
7 3
7 3
5 3
5 3
12
G5
12
11
12
12
12
G6
G6
12
12
12
P.M.
5 3
5 3
7 3
7 3
5 3
5 3
7 3
7 3
5 3
5 3
7 3
7 3
5 3
5 3
7 3
7 3
C6
G5
μ
C6
C5
7
5
3
3
5
20
0
P.M.
5 3
8
5 3
7 3
7 3
5 3
5 3
7 3
7 3
5 3
20
16
15
17
15
3
0
0
1
2
7
7
1
D5
7
5
D6
C5
D5
12 12
G5
4
3
12
8 6
5
P.M.
5 3
2
D6
7
7
5
7
7 5
7 5
9 5
9 5
7 5
7 5
9 5
9 5
12
12 12
Ab9
G9
12
10
11 11 11 10 11
10 10 10 9 10
from The Best of ZZ Top
Waitin’ for the Bus Words and Music by Billy F Gibbons and Dusty Hill Intro Moderate Blues q = 100
*Gtrs. 1 & 2 (dist.)
**Am7
f
7
P.M.
5
7
5 0
7 0
7 0
7
5 0
7 0
5 0
7 0
5 5 5
7 0
5 5
7
5 5 5
7
1. Have
P.M. P.M. 7
5 0
been
7 0
P.M.
5
7 0
5 0
7 0
7 0
5 5
5 5
7 0
5 0
7 0
5 0
7 0
5 5
7 0
5 5 7 0
5 0
7 0
7 0
7 0
5 0
7 0
Verse
7
5 5 5
5 5
7 0
5 5
5
P.M.
P.M.
5 0
5 0
P.M.
5
*Composite arrangement **Chord symbols reflect basic harmony.
7
Am7
mer
-
cy;
Riff A P.M.
5 5
7 0
5
7 0
5 0
7 0
7 0
5 5
5 5
7 0
P.M. P.M.
7 0
5 0
7 0
wait - in’ for the bus
7 0
all
day.
5 5
5 5
Have mer -
7 0
5
7 0
5 0
7 0
7 0
5 5
5 5
Copyright © 1973 Stage Three Songs Copyright Renewed All Rights Administered by Stage Three Music (U.S.) Inc. All Rights Reserved Used by Permission
7 0
5
7 0
5 0
7 0
7 0
5 5
5 5
7 0
1
-
cy;
D7
7 0
P.M.
5 0
7 0
5 0
Am7
7 0
7 0
been
1/4
6
5
wait -
in’
for
the
bus
all
day.
P.M.
5 0
7 0
5 0
E7
P.M. P.M. I
0 0
7
7 0
5
D7
7 0
7
5
5
7
5
C
take
home
pay.
0
2 0
let ring
7 0
5 5 5
7
my
7
6
5
7
brown
1/4
pa - per
bag
and
my
End Riff A
let ring
3
5
2 0
3
4
0
P.M. P.M.
2. Have mer -
1
2
5
Am7
7 0
got
7 0
1/4
7
5
2
7
5
3
5
7 0
0
5
7 0
7
5
5
7
5
7 0
7
7 0
7
5
5
7 0
Verse
Gtrs. 1 & 2: w/ Riff A
Am7
-
cy;
Have
Am7
mer
D7
-
old
bus
be
packed
up
tight.
cy;
Well,
2
I’m
old
bus
be
packed
up
tight.
E7
glad
just
to
get
on
and
Harmonica Solo
2nd & 3rd times, Gtr. 1: w/ Rhy. Fill 1
D7
home
let ring
Gtr. 2
1
2
0
A5
G5
D5
E5
let ring
2
5
2
7
3
5
7
12 12 12
7
1
2
2
5
2
3
0
2 2 0
14 14 14
0 0
7 7 5
7 7 5
9 7 0
14 14 14
14 14 14
5
12 12 12
3
5
3
5
5
3
3
5
1., 2.
12 12 12
12 12 12
P.M.
1/4
0
w/ slide
5
0
Am7
to - night.
Gtr. 1
C
12 12 12
14 14 14
12 12 12
P.M. P.M. P.M. * 3 3 3 5
3
5
3
5
5
3
5
3
5
3
5
5
3
5
3
5
3
5
5
3
5
*Tie note and vibrato to beat 1 of repeat.
Rhy. Fill 1 Gtr. 1
14 14 14
12 12 12
3
3.
w/o slide
Guitar Solo G7
w/ wah-wah
14 14 14
8
5
5
3
0
0
0
3
0
3
6
8
6
8
0
0
0
3
3
7
5
5
5
3
5
5
5
1/4
1
5
5
3
3
5
6
7
1
8
8
8
8
1
3
1
3
3
1
1
6
3
1
3
3
1
1
3
3
1
3
8
8
8
5
6
3 5
1
3
1
P.M.
3 0
6 3
1
8
0
1
3
3
1
1
5 5 5
1/2
3
5
6
3
1
1
3
1
3
3
1
3
1
1
1
6
3
3
8
8
3
8
1
1
6
3
1
3 3
5 5
10
3 1
10 7
10
7 7
5
1
3
P.M. P.M. 3
3
1 8
1/2 1
3
3 5
1
8
P.M.
3
3
1/2
3 0
7
3
8
P.M. P.M.
7
4
8
3
8
6
3
6 6
3
6
1
P.M. P.M. P.M. 5
6
1
1
1
1
3
1
3
1
3 3 1
1
7 0
1
7
1
7
10
7
1
7
7
10
7
10
P.M.
5
0
0
10
1
7
10
10
7
10
10
8
3
0
1/4
9
P.M.
P.M.
5
0
5
0
10
0
0
10
1
1
7
10
5
0
let ring
7 10
P.M.
1
1
7
10
5
7 0
E7
9
10
1
7
10
9
9
7 10
1
7
10
8
10
5
0
9
3
9
2
0
1
7
10
7 10
1/4
5
7
10
3
0
wah-wah off
7
5
4
7 0
P.M.
5
0
0
1/4
5
10
P.M.
10
1
7
10
P.M.
5
10
1/2
10
1/4
8
1
7
5
5
0
2
3
7
7 0
0
Am7 P.M. P.M. P.M. Interlude
Gtrs. 1 & 2
7 0
5 0
7 0
5 0
7 0
7 0
5 0
5 5 0
7 0
5 0
7
5 0
7 0
7 0
5 5
5 5
7 0
5 0
7 0
5 0
7 0
7 0
5 0
5 5
7 0
5
3. Right
on;
P.M. P.M. P.M. 7 0
5 0
7 0
5 0
7 0
5 5
7 0
5 5
7 0
5 0
7 0
5 0
7 0
7 0
5 5
5 5
7 0
5 0
7 0
5 0
7 0
7 0
5 5
5
7 0
Verse
Gtrs. 1 & 2: w/ Riff A
Am7
Right
Am7
D7
that
bus
done
D7
got
me
on;
C
Am7
Well,
back.
that
bus
done
got
in’
on
the
E7
I’ll
be
rid
-
let ring
0
6
back.
bus
till
I
me
C
Cad - il - lac.
Gtrs. 1 & 2
E5
Oo!
P.M. P.M. 2
1
2
5
2
3
0 0
7
5 0
7 0
5 0
7 0
7 0
5
5 5
7 0
5 0
7 0
5 0
5
2
3
0
from ZZ Top - Rio Grande Mud
Whiskey ’n Mama Words and Music by Billy F Gibbons, Frank Lee Beard, Dusty Hill and Bill Ham Gtr. 2: Open E tuning: (low to high) E-B-E-G#-B-E
Intro Moderately q = 108 ** F5 μ G5
Bb5
Gtr. 2 (dist.)
C5
F5
G5
Bb5
C5
mf
w/ slide
*Gtr. 1 (dist.)
mf
1
3 3 X 5
3 3
5 5
3 3 X 5
X X X X
X X X X
X X X X
3 3
3
1
3 3
1
3 3 X 5
X X X X
X X X X
X X X X
3 3
5 5
3 3
3
*Two gtrs. arr. for one. **Chord symbols reflect implied harmony.
*** F5
G5
Bb5
C5
F5
G5
Bb
C5
Gtr. 2 tacet
G5 μ
3 3
3 3
1
***Notes in parentheses sound while performing vibrato.
X X X X
3 3 X 5
X X X X
X X X X
X X X X
3 3
5 5
1
X X X X
3 3 X 5
3 3
3
X X X X
X X X X
X X X X
P.M. †T
3 3 3
5 5
3 3
5 5 3
3
†T = Thumb on 6th string
Verse F5 G5
Bb5 C5
Gtr. 1
1
3
1. I’m
Rhy. Fig. 1
so tired,
X X X X
X X X X
X X X X
X X X X
on
3 3 X 5
you
3 3
5 5
3 3 1
3
F5 G5
my
Bb5 C5
F5 G5
head.
Whis
3 3 X 5
X X X X
X X X X
X X X X
X X X X
3 3
5 5
-
3 3 1
key
Bb5 C5
ma
-
ma, you
3 3 X 5
X X X X
X X X X
X X X X
3 3
5 5
3 3
3
Copyright © 1972 Music Of Stage Three and Stage Three Songs Copyright Renewed All Rights Administered by Stage Three Music (US) Inc., a BMG Chrysalis company All Rights Reserved Used by Permission
1
F5 G5
Bb C5
should - n’t
have
1
said
3 3 X 5
X X X X
X X X X
3 3 3
5 5
F5
me
just, uh,
3 3 X 5
X X X X
X X X X
X X X X
X X X X
1
3 3
5 5
3 3 1
F5
fool with
a
Gtr. 2
whis
-
3
5
3
3 3 X 5
X X X X
X X X X
X X X X
X X X
5
1
3
X X X
3
I
3 3
then
8
X X X X
8 8
10 10
F5
G5
bet - ter
than
to
T
10 10 X 12 X 10
5
X X X X
X X X 10 X 10
X X X X
G5
12 12
Bb5 C5
ma.
X X X X
X X X X
X X X X
End Rhy.Fig. 1
3
F5
8 8 X 10 X 8
should have known
5 5
Bb5 C5
2. Now, I
1
true,
D5
3
Gtr. 1
5
do.
T
8 8
you
-
key ma
10 10
Bb5 C5
G5
8 8
6
G5
3
μ
8
likes
lov - er
X X X X
X X X X
X X X X
8 8 X 10 X 8
your
T
3 3
Bb5 C5
be
6
a - round and treats
to
Eb5 F5
turn
me
Bb5 C5
3
2
want - ed
X X X X
Eb5 F5
you
G5
3
Bb5 C5
1
3 3
3 3 X 5
X X X X
X X X X
X X X X
3 3
5 5
X X X X
X X X X
X X X X
3 3 1
3
3 3 X 5
X X X X
3 3
5 5
3 3
Verse Gtr. 1: w/ Rhy. Fig. 1
F5
could
be
right
Gtr. 2
C5
F5
G5
and
I
could
2
F5
G5
Bb5
all
C5
night
long.
You
Bb5
seen
ya
at
C5
Gtr. 1
3
fool
with
a
whis
5
3
5
3
-
the
G5
Club Blue
5
key
ma
1
F5
Bb5 C5
Eb5
F5
Gtr. 2 tacet
out
tel - e - phoned this morn - in’, said you’d
F5
μ
lay - in’
been
3
Eb5
Bb5
be
home
soon.
The
F5
G5
3
1
3
should have
3
2
2
2
4
known
bet - ter
G5
than
to
3
C5
G5
μ
F5
Bb5
ma.
Rhy. Fill 1
D5
I
-
C5
La - goon.
2
C5
4
You
he
3
Bb5
door - man said
2
8 8
G5
3
G5
wrong.
Bb5 C5
be
F5
Bb5 C5
Bb5
G5
3 3 X 5
X X X X
X X X X
X X X X
X X X X
End Rhy. Fill 1
T
3 3
5 5 3
3
Chorus
C5
C5
Bb5
Whis - key
ma
Gtr. 2
-
ma, you were
stand - in’
10 8
X X
F5
G5
X X
X X
8 6
10 8
Bb5
15
1
13
15
13
know
13
14
14
X X X
8 1
X X X X
X X X X
X X X X
3 3
5 5
C5
D5
you
could
if
5
5
10 8
X X
you
3
X
X
5
5
15
14
14
3 3 X 5
X X X X
X X X X
X X X X
X X X X
to
you
do
good,
have
3 3
5 5
Bb5
C5
X X
10 8
X X
-
me
I
8 6
10 8
8
ly
would.
5
7
5
5
3
3 3
Eb5
on
hair.
8 6
ing
C5
μ
Bb5
C5
3
8
5
slight P.M.
X X X X
3 3 X 5
P.M.
5
8
-
3
Just
Gtr. 1
10
Gtr. 2 tacet
C5
D5
4
8
Bb5
with your curl
14
10 8
G5
13
8 6
slight P.M.
10 8
F5
there
Rhy. Fig. 2
Eb5
Gtr. 1
C5
Bb5
10
8
8
3
3
5
5
3
0
1
F5
G5
Bb5
C5
F5
1
3 3 X 5
X X X X
G5
13
15
3 3
5 5
13
15
15
15
15
Bb5
C5
13
1
F5
13
1
X X X
15
3 3 X 5
X X X X
X X X X
X X X X
X X X X
5 5
3 3
F5
G5
13
Bb5
15
3
12
15
15 15
C5
13
15
1
3
F5
G5
13
15
13
3 3 X 5
3 3 X 5
X X X X
X X X X
X X X X
5 5
3 3
3 3 X 5
X X X X
15
15
15
1
15 15
13
14
15
End Rhy. Fig. 2
3 3
5 5
Bb5
3 3
C5
13 13
15
13
15
3 3 X 5
X X X X
X X X X
X X X X
X X X X
5 5
3 3
3 3
Bb5
3 3
13
12
X X X X
X X X X
X X X X
15
3 3
3
G5
3
Rhy. Fig. 3
C5
15
1
15
3 3
3
F5
X X X X
X X X X
X X X X
Guitar Solo
Bb5
Gtr. 2
Gtr. 1
G5
15
15
15
C5
13
14
15
3 3 X 5
X X X X
X X X X
X X X X
X X X X
5 5
3 3
3 3
3
5
Bb5
C5
Eb5
15
15
14
15
15
14
15
6
15
14
X X X X
X X X X
X X X X
X X X X
15
15
8 8 X 10 X 8
8
14
15
15
14
8 8
10 10
Bb5
15
15
14
1
15
15
14
15
15
14
15
Eb5
C5
15
14
15
15
3 3 X 5
X X X X
X X X X
X X X X
X X X X
5 5
3 3
F5
3
14
15
5
15
14
15
15
14
15
15
14
15
G5
X X X X
X X X X
X X X X
X X X X
15
14
10 10
15
15
14
8
F5
G5
15
15
15
6
F5
14
15
15
14
15
15
14
X X X X
X X X X
X X X X
X X X X
8 8
10 10
Bb5
C5
15
T
8 8 X 10 X 8
14
15
15
14
15
15
14
15
14
3 3 X 5
X X X X
X X X X
15
15
15
X X X X
14
15
15
14
3 3
5 5
Eb5
F5
3
Bb5
C5
15
T
10 10 X 12 X 10
14
1
3
15
15
3 3
15
15
8 8
D5
6
14
15
C5
T
G5
Bb5
14
F5
14
15
12 12 6
15
8
14
15
15
14
15
15
14
15
15
13
15
End Rhy. Fig. 3
T
8 8 X 10 X 8
X X X X
X X X X
X X X X
X X X X
8 8
13
10 10
G5
13
1
Bb5
13
15
15
15
15
13
3 3 X 5
X X X X
X X X X
X X X X
Bb5
5 5
15
15
14
13
13
15
14
G5
15
15
15
15
13
13
15
15
C5
15 15
15 15
18
15
F5
13 13
13
F5
Bb5
C5
loco
3 3 X 5
X X X X
X X X X
18
G5
19
20
15 15
13
15
13
15
15
15
15 13
G5
Bb5
13
15
15
15 15
F5
8va
15
5 5
12
15
3 3
C5
13
15
13
14
Bb5
C5
13 13
15 15
15
13
13
Eb5
13
15
15
F5
13
15
G5
Bb5
15
13
15
C5
3 3
loco
15
15
X X X X
P.H.
12
13
15
3
15
13 13
15
14
C5
15
15 15
Bb5
15
8va
Eb5
8va
Bb5
15 15
15
G5
C5
F5
15
14
14
14
12
3 3
Bb5 C5
15
15
G5
F5
13
3 3
1
14
G5
3
F5
F5
Gtr. 1: w/ Rhy. Fig. 3
Gtr. 2
C5
loco
3
Bb5
C5
13
15 15
15 15
steady gliss. P.M.
15
15
15
13
15
15
13
15
15
15
12
15
15
15
18
20
20
15
15 15
15 15
7
D5
15
13
12
15
15
F5
G5
15
15
15
15
Bb5
C5
14
15
15
15
14
14
13
Eb5
14
15
15
F5
13
15
Chorus Gtr. 1: w/ Rhy. Fill 1
Bb5
C5
G5
μ
C5
13
15
C5
13
15
15
11 11
Bb5
8 8 8 8
13
15
15
11 11
C5
to
have
Bb5
you
6 6 6 6
8 8 8
6 6 6 6
G5
with
your
1 1 1
3 3 3
curl
do
me
good,
8 8 8
Whis - key
ma
-
ma,
8 8 8
8 8 8
C5
F5
6 6 6
8 8 8
G5
Bb5
you where
6 6 6
Bb5
C5
hair.
I
11 11
Eb5
8
ing
Bb5
C5
C5
-
15
F5
there
Just
8 8 8
8 8 8
Eb5
stand - in’
15
Bb5
8
Gtr. 1: w/ Rhy. Fig. 2
G5
11 11
1 1 1
3 3 3
D5
C5
know you could
10 10 10
10 10 10
D5
if
8 8 8 8
10
you
10 10 10
10 10 10
μ
on - ly
G5
Bb5
C5
F5
G5
Bb5
would.
3. Well,
1 1 1
3 3 3
X X X
1 1 1
C5
F5
the
X X X
Verse Gtr. 1: w/ Rhy. Fig. 1
F5
Bb5
G5
sun
come
C5
F5
shin - in’
G5
on
rain
Bb5
C5
F5
soaked street.
G5
Whis
-
ma - ma,
where
key
Bb5
C5
0
1 1 1
3 3 3
F5
G5
Bb5
she
be.
can
1 1 1
3 3 3
did - n’t
1 1 1
3 3 3
wan - na
do
I
Bb5
C5
guess I’ll
G5
3 3 3
Bb5
C5
it
but,
ah,
6 6 6
8 8 8
F5
1 1 1
3 3 3
on
my
6 6 6
8 8 8
have
to
put
ya
down
you
C5
Bb5
G5
in -
Bb5
sist.
3 3 3
F5
1 1 1
Eb5
C5
1 1 1
C5
I
Eb5
list.
should have
8 8 8
10 10 10
F5
I
D5
F5
known
bet - ter
than
G5
to
9
Outro
μ
F5
fool with
a
Gtr. 2
-
key ma
-
5
3
5
3
5
D5
3
1
3 3 X 5
X X X X
X X X X
X X X X
5
5 5
X X X X
X X X X
X X X 10 X 10
3
12 12
5
7
3
5
3
5
5 3 0
1
1
3
3 3
3
F5 G5 μ
3 3 3
X X X X
X X X X
X X X X
3 3 X 5
1 1 1
3 3 3
T
10 10 X 12 X 10
3 3
F5 G5 μ
1 1 1
1
μ
3 3 3
3 3
3
10 10 10
10
3
1
F5 G5
8 8 8
Bb5 C5
1 1 1
G5
3 3 3
Gtr. 1
F5
ma.
1 1 1
3
Bb5 C5
whis
G5
1
3
5 5
