OUT OF PRINT / LAST COPY

HENDRIX JIMI, RADIO ONE. RECORDED VERSIONS TABLATURE

SCORE:
GUITAR TABLATURE TRANSCRIBED DAVE WHITEHILL
BASS TABLATURE TRANSCRIPTIONS BY STEVE GORENBERG
DRUMS TABLATURE TRANSCRIPTIONS DAVE HERSHEY

AUTHORITATIVE TRANSCRIPTIONS FOR GUITAR, BASS AND DRUMS WITH DETAILED PLAYERS' NOTES AND PHOTOGRAPHS FOR EACH COMPOSITION.
283 PAGES.

RADIO ONE

As performed by the Jimi Hendrix Experience-Jimi Hendrix, Noel Redding, Mitch Mitchell-
on the Rykodisc album, Radio One.

Transcribed for guitarists by Dave Whitehill
Bass Transcriptions by Steve Gorenburg
Drum Transcriptions by Dave Hershey

Detailed player's notes by Dave Whitehill
Introduction by Noe Goldwasser
Photographs by Douglas Kent Hall
Music Editor • John Cerullo
Art Director • Richard Slater
Editorial Director • Noe "the G" Goldwasser
Photo Research by Bill Nitopi
Assisted by Barry Gruber
Released under the supervision of
Alan Douglas for Bella Godiva Music, Inc.
These transcriptions of music from
Radio One are authorized by
the Estate of Jimi Hendrix
All rights controlled and administered by Don Williams Group, Inc.
All compositions published by Bella Godiva Music, Inc. ASCAP except where otherwise noted.
All Rights Reserved. Any unauthorized use of the material herein is a violation of copyright law.
Hal Leonard Publishing Corporation

... that were to become his image-the strutting star of the sixstring
who played it upside down, around the back, with his
teeth, and generally with a lot of gusto.
The London of 1967 was, of course, going through its own
peacock transformation. "Swinging London," with its Mods
and Rockers, The Beatles, The Who, and The Rolling Stones,
Mary Quant, Lord Sutch, and Brian Jones, Jimi's stone buddy
in the heyday of flower power and psychedelic society. All of a
sudden, it was Jimi's world, and the lanky left-hander was on
top of it. He was more than just a novelty-a black American
raver cavorting with the cockney pretty things-he became the
mascot of the whole Brit-pop movement.
This accounts for the absolute cheerleading atmosphere that
prevailed in the studios of the "Top Gear" radio show when.
Jimi exhorted them to "get their hearts together" and join him
in a rendition of the blues-drenched "Hear My Train A
Comin'." "I see we got some friends laying around in this
studio," he said, "We're gonna lay some blues on you ...can
you dig that?" Then he sang a few verses of funk and 'Tm
gonna leave this town, leave this town. I'm gonna be big. I'm
gonna make a whole lot of money, baby, and come back to this
town, and 1 might even get a piece of you." That was to
become prophecy as Hendrix exploded like a supernova, and
the exuberant fans in the radio studio audience (as well as the
ones in the listening audience) that night and the others
collected on Radio One would henceforward have something to
tell their grandchildren about.
With Ryko's release of Radio One, bolstered by Joe Gastwirt's
digital mastering and Alan Douglas' wizened ear, the rest of us
will have that pleasure, too. Radio One is a treasure for those of
us who keep track of the limited supply of recorded evidence of
The Master's work, featuring as it does seventeen great versions
of songs we love, half of them selections not often heard on
"official" recorded sets. While "Purple Haze," "Stone Free,"
"Foxy Lady," and "Hey Joe" are interesting as "live" versions of
the same arrangements as on the official records, there are
fascinatingly bent renditions of "Killing Floor," "Love and
Confusion," "Hear My Train A Comin'," "Hoochie Coochie
Man," and "Fire." Thank God the tapes were rolling.
And there are cute vignettes of Jimi Hendrix the showman,
Jimi the evangelist of the Goodvibes Church of the New Rising
Sun, burning the midnight lamp with a cosmic grin. There is
the "Radio One Theme," Hendrix goofing on the role of the
cosmic radio announcer, playing as white as possible, spinning
off a jingle from the top of his head-"Radio One, you're the
only one"-as he inaugurate the event. And the wild
renditions of other people's classics-these are manna from
heaven. Jimi slashes through "Day Tripper" with reckless
abandon, obviously enjoying this romp through John Lennon's
song repertoire. Though Ryko purposely keeps the issue
vague in its position about the controversy about whether
that's John Lennon there doing the choruses and falsetto "day
trippers," Charles Shaar Murray, in his otherwise authoritative
Crosstown Traffic, states unequivocally that it's John Lennon
"joining in on the lead vocals." Alan Douglas says it's not!
What he heard from Noel Redding is that Noel sang it,
accounting for the nasal Brit accent on the tape.
There's nothing white about his version of "Killing Floor,"
though, and it's captured here on tape much as he would have
played it at many of his live shows-with passion. This is the
Jimmy James approach to a Howlin' Wolf classic in an
updated Muddy Waters country blues pattern, with lead and
rhythm integrated firmly. Ouch! There's just some great blues
on this album. There's also a real Muddy Waters tune,
"Catfish Blues." To me, the chance to hear Jimi stretch out in
this live setting with this bluesy material is one of the added
pleasures of Radio One. From the point of view of Jimi's
development as a musician, the time-frame has Jimi at the
peak of his interest in his own musical roots-not the shifty
slickness of soul, but the deeper, Mississippi Delta-born
motherlode of blues, which Jimi approached as a historian,
uncovering more and more gems in his research. "Catfish
Blues" reveals the blues scholar Jimi, having studied the
recorded works of Muddy Waters and John Hammond both,
and taken some from both, ironically pouring out this new
thing----experience.
When a musical genius has been dead for twenty years, the
discovery of a previously unreleased body of work becomes
an awesome event for those of us who study the master's
every nuance. When Radio One came out, it offered guitar
scholars a whole new palette of sounds to investigate,
correlate, appreciate, and imitate. The book you are about to
read will become your indispensible guide to that pursuit.
-Noif "the G" Goldwasser
Hendrix Library Editor

DRIVIN' SOUTH

I WHOLEHEARTEDLY AGREE WITH THE LINER NOTES TO RADIO ONE, BUT HAVE TO SAY THAT THIS HARD ROCKING INSTRUMENTAL IS DEFlNITELY
more than "worth the price of admission." It starts out in high gear and never once down-shifts. In fact, it seems to go into overdrive via an ascending whole-tone modulation from D to the key of E. Besides its entertainment value, there is truly a thorough education available here in the of art of playing blues and rock guitar. The study of Jimi's playing here will be the equivalent of years at the School of Hard Knocks for Aspiring Stringbenders and Licktraders. He uses all the scales common to these musical idioms, such as the "blues" scale ( 1 b3 4 #4 5 b7 ) and major pentatonic ( 1 2 3 5 6 ), plus he plays many of their characteristic riffs and licks, but in his own unique way that always transcends sounding cliched.
Since the dominant seventh chord is the harmonic base here, this chord's related scale, the mixolydian mode ( 1 2345 6 b7), is reflected in the key signatures. However, the notes used in this song aren't restricted to this particular mode, but these additional notes are used in a logical manner, often functioning as what are called chromatic passing tones. For example, during the first two beats of measure 11,he goes from A to G via Ab,the flatted fifth. Four measures later, he does a little more complicated move that involves delaying the resolution of the G note (which could be described, in this context, as a suspended fourth) by using E#as a leading tone into H, the third of the implied D7 chord (D F# A C). You'll also see these two ideas used frequently throughout this song in conjunction with partial chords, which is very pianistic and also fills up the consequential harmonic void when soloing in a power trio.

17 songs on the album of Jimi's live radio studio performance. Includes authoritative transcriptions for guitar, bass and drums with detailed players' notes/tablature and photographs for each composition.

1. Stone Free - WORDS AND MUSIC: JIMI HENDRIX - 1973
2. Radio One Theme - WORDS AND MUSIC: JIMI HENDRIX - 1967
3. Day Tripper  - WORDS AND MUSIC: JOHN LENNON, PAUL McCARTNEY - 1965
4. Killing Floor  - WORDS AND MUSIC: CHESTER BURNETT - 1973
5. Love or Confusion  - WORDS AND MUSIC: JIMI HENDRIX - 1967
6. Drivin' South - WORDS AND MUSIC: CURTIS KNIGHT - 1970
7. Catfish Blues  - WORDS AND MUSIC: MUDDY WATERS - 1959
8. Wait Until Tomorrow  - WORDS AND MUSIC: JIMI HENDRIX - 1968
9. Hear My Train a Comin'  - WORDS AND MUSIC: JIMI HENDRIX - 1973
10. Hound Dog  - WORDS AND MUSIC: JERRY LEIBER, MIKE STOLLER - 1956
11. Fire - WORDS AND MUSIC: JIMI HENDRIX - 1967
12. (I'm Your) Hoochie Coochie Man - WORDS AND MUSIC: WILLIE DIXON - 1973
13. Purple Haze - WORDS AND MUSIC: JIMI HENDRIX - 1967
14. Spanish Castle Magic  - WORDS AND MUSIC: JIMI HENDRIX - 1968
15. Hey Joe  - WORDS AND MUSIC: BILLY ROBERTS - 1962
16. Foxy Lady  - WORDS AND MUSIC: JIMI HENDRIX - 1967
17. Burning of the Midnight Lamp  - WORDS AND MUSIC: JIMI HENDRIX - 1967

HELLOWEEN, BETTER THAN RAW. SHEET MUSIC BOOK WITH GUITAR TABLATURE.

LIBRO DI MUSICA METAL . 

SPARTITI PER VOCE E CHITARRA :  

ACCORDI, PENTAGRAMMA, TABLATURE . 

91 PAGES

TITOLI:

Deliberately Limited Preliminary Prelude Period In Z
Push
Falling Higher
Hey Lord!
Don´t Spit On My Mind
Revelation
Time
I Can
A Handful Of Pain
Lavdate Dominvm
Midnight Sun

HELLECASTERS, RETURN OF THE. SHEET MUSIC BOOK WITH GUITAR TABLATURE . 

LIBRO DI MUSICA.

SPARTITI PER CHITARRA : 

ACCORDI, PENTAGRAMMA, TABLATURE .

Matching folio featuring the guitar work of master-pickers Jerry Donahue, Will Ray, and John Jorgenson. 13 songs, including: Peter Gunn - Orange Blossom Special - Hellecaster Stomp - Rockin' the Dog - and more.

TITOLI : 

5 Minutes To Spare

Back On Terra Firma

Hellecaster Stomp

Hellecaster Theme

Help I've Fallen (And I Can't Get Up)

Highlander Boogie

King Arthur's Dream

Orange Blossom Special

Passion

Peter Gunn

Rockin' The Dog

Sweet Dreams

The Beak

The Claw

GUNS N' ROSES, GN'R LIES. BASS . SHEET MUSIC BOOK WITH TABLATURE .

LIBRO DI MUSICA ROCK. 

SPARTITI PER VOCE E BASSO CON: 

ACCORDI, PENTAGRAMMA, TABLATURE. 

The matching folio to the album songs include; Reckless Life, Mama Kin and You're Crazy.

Includes these songs:

Mama Kin
Move To The City
Nice Boys
One In A Million
Patience
Reckless Life
Used To Love Her
You're Crazy

GUNS N' ROSES, GREATEST HITS. TRANSCRIBED SCORES.
SHEET MUSIC BOOK. TRANSCRIBED FULL SCORES: VOCAL, GUITAR, GUITAR II, BASS, DRUMS, PIANO, OTHERS, ECC. 

BASS & GUITARS with TABLATURE .

LIBRO DI MUSICA ROCK.
SPARTITI DI OGNI STRUMENTO: VOCE, CHITARRA 1, CHITARRA 2,  BASSO, BATTERIA, PIANOFORTE, ECC. ACCORDI, PENTAGRAMMA, CHITARRA E BASSO CON TABLATURE

TITLES :

-Don't cry

-locomotive

-my michelle

-nightrain

-paradise city

-patience

-since i don't have you

-sweet child o' mine

-welcome to the jungle

-you could be mine.

BAND SCORE, BASS & GUITAR WITH .TABLATURE

... pochi giorni dopo il batterista e il bassista dei Guns se ne sono andati, lasciandoci nella fogna. Nel frattempo, Izzy era riuscito a organizzare un importante concerto al "Troubador" per gli Hollywood, ma anche loro erano mezzi sfasciati. Cosi abbiamo deciso di mettere insieme i due mezzi gruppi, ed in pratica cosi che sono nati i Guns n' Roses, che all'inizio abbiamo chiamato Guns & Roses ...». Ma dalle due "meta" casualmente unite, si stacca subito Tracii Guns: «io e Izzy ci odiavamo», ricorda Guns, «erano scontri continui ...Con gIi altri avrei potuto benissimo conviverci, ma con Izzy proprio no - lui era un po' scorbutico e un po' egocentrico, un classico schizofrenico: un campagnolo vaccaro che si dava arie da rockstar ...». Guns viene subito rimpiazzato da Slash, e anche DuffMcKagan e Steve entrano a far parte della band. «Noi cinque siamo arrivati a Los Angeles in momenti e periodi differenti», ricorda Slash, «con aIle spalle un punto in comune: nessuno di noi aveva avuto un'infanzia normale, e volevamo tutti fare dell'hard rock in una band ...AlIa fine ci siamo messi insieme in un modo strano, come per una predestinazione all'insegna dell'hardcore ...» II fortunoso esordio degIi improvvisati Guns n' Roses è i 16 giugno 1985, al "Troubador" di Los Angeles - un locale dal glorioso passato, ormai votato all'heavy metal. L'esordio funziona, e i cinque decidono di insistere. C'è la possibiIità di un breve tour con tappe a Seattle, Portland, Eugene, Sacramento e San Francisco, e loro si mettono in cammino: hanno i1 miraggio di qualche dollaro, e di corsa lasciano la loro quallida realta di Los Angeles. Ma il loro programma si ferma a Fresno, quando la scassata automobile sulla quale si sono messi on the road Ii lascia appiedati nel deserto. Ricorda Izzy: «Quella nostra fottuta macchina si é bloccata in mezzo a1 deserto, e noi abbiamo dovuto caricarci gli strumenti in spalla, e sotto un sole assassino ci siamo fatti chilometri a piedi... E nessuno ci voleva dare un passaggio! Due giomi dopo, un miracolo: due ragazze hippy di San Francisco ci hanno raccolto e ci hanno salvato la vita, perchè oltre all'auto erano carine, e siamo arrivati a Seattle in piena forma!». A Seattle, i Guns n' Roses si esibiscono davanti a...venti spettatori. Dopo, il proprietario del locale si rifiuta di pagarli. «Da quel giorno, it nostro motto e stato "Fotti, fotti tutti, prima che ti fottano gli altri" ...», ricorda Izzy. «Abbiamo lasciato Seattle depressi e incazzati, e a colpi di autostop siamo riusciti a tornarcene a Los Angeles, che ci sembrava essere diventato il nostro Paradiso ...». Ma per Axl, Steve, Slash, Duff e Izzy, Los Angeles non é un paradiso. Vivono di espedienti, e non hanno nemmeno un'abitazione. «Vivevamo come dei barboni agli angoli delle strade e sui marciapiedi», ricorda Slash, «e in attesa di sfondare, camminavamo su e giu per Hollywood Boulevard - ogni tanto ci riposavamo nei pornoshops, che erano aperti giorno e notte ...». Finalmente trovano alloggio in una sala-prove di Gardener Street - una squallida stanza senza servizi ne cucina, dove i cinque vivono e suonano. Ricorda Slash: «In quella stanza incasinata col soffitto che quando pioveva colava l'acqua, il nostro sound era eccezionale ...Potevamo suonare a tutto volume - c'erano due amplificatori "Marshall" che facevano bene il loro dovere...». Di Ii a qualche settimana, la sala-prove occupata dai Guns n'Roses e diventato un centro di ritrovo per stranissimi "party" ...«Durante i fine-settimana, le più belle feste di Los Angeles si tenevano da noi, nella nostra "casa" in Gardener Street... Ci venivano tutti i "marginali" del Sunset Boulevard, e tutte le giovani band cittadine ...», ricorda Ax!. «Nel vicolo dove c'era la sala-prove, la sera, c'erano anche cinquecento giovani, tanto che c'era qualcuno che vendeva birre e faceva il barista con bottiglie di liquori e alcolici messe sul cofano di una macchina ...La da noi tutti potevano fare quello che volevano - suonar, scopar, drugars, ubriacarsi, litigare ... Quando arrivava la polizia, cioe tutte le notti, portavano sempre via qualcuno, qualcuno nudo e rovinato tenendolo per i capelli ... Era il posto della perdizione, il posto più folle, sfrenato e libero del mondo. E era la casa dei Guns n' Roses ...». Dopo un po', la situazione diventa da claustrofobia – in quèlla stessa stanza, i cinque mangiano, bevono, dormono, fanno tutto, suonano, litigano ...Provano a cercare il loro sound, ma quello che sempre gli manca sono i soldi - quei pochi che riescono a guadagnare se ne vanno in cibo, droga e alcol. La situazione è difficile, ma da quelle parti non manca la fantasia. Provano con i lavori più disparati (Steve fa il lavapiatti, il giardiniere, il pizzaiolo, il buttafuori in un bowling; Izzy lavora per qualche giorno in un negozio di chitarre; Slash prova da operaio in una fabbrica di orologi; Ax1vende telefoni; Slash e Ax1fanno le volontarie cavie per alcuni test medici dell'Ucla, fumando sigarette a 8 dollari l'ora ...), ma arrivano anche alle marchette, allo "spaccio", ai furti ...Ricorda Slash: «Facevamo lavori "onesti" e "disonesti", pur di resistere ...Il costo della vita a Los Angeles è pazzesco, e i soldi, anche se con uno stipendio, non bastano mai ... Spendevamo per mangiare 45 cents in tutto - una zuppa al fottuto "Denny's Coffee Shop" ...». Chiedevano anche dei "prestiti", come ricorda Duff: «Si abbordava una ragazza e con una scusa qualsiasi le si chiedeva un prestito di 20 dollari ...». Oppure andavano a scrocco ... «Avevamo bisogno di amplificatori, corde per le chitarre, bacchette, tamburi, vestiti, un mezzo di trasporto ... Non avevamo niente, e avevamo bisogno di tutto ...». Izzye Slash, in particolare, hanno anche bisogno di eroina, che per loro è già unl bisogno continuo. Ricorda Slash: «Dovevamo sopravvivere a tutti i costi, perché volevamo essere una rock-band - per la musica saremmo stati capaci di morire ...». La scena rock della Los Angeles di metà anni Ottanta è talmente affollata di giovani band alla ricerca di uno spazio

Guns N' Roses Greatest Hits
Series: Guitar Personality
Publisher: Cherry Lane Music TAB
Artist: Guns N' Roses

Full transcriptions of each instrument part on ten of the best from this hard-rocking band: Don't Cry • Locomotive • My Michelle • Nightrain • Paradise City • Patience • Since I Don't Have You • Sweet Child O' Mine • Welcome to the Jungle • You Could Be Mine. Includes lyrics, tab and a notation legend.

Inventory #HL 02500361
ISBN: 9781575604435
UPC: 073999421057
Width: 8.5"
Length: 11.0"
Cover Photo: Ross Halfin
192 pages

Song List:

1991 - Don't Cry (Original) - Parole e musica di: Izzy Stradlin, W. Axl Rose 
1991 - Locomotive - Parole e musica di: Slash, W. Axl Rose 
1987 - My Michelle - Parole e musica di: W. Axl Rose, Slash, Izzy Stradlin', Duff McKagan, Steven Adler
1987 - Nightrain - Parole e musica di: W. Axl Rose, Slash, Izzy Stradlin', Duff McKagan, Steven Adler
1987 - Paradise City - Parole e musica di: W. Axl Rose, Slash, Izzy Stradlin', Duff McKagan, Steven Adler
1988 - Patience - Parole e musica di: W. Axl Rose, Slash, Izzy Stradlin', Duff McKagan, Steven Adler
1959 - Since I Don't Have You - Parole e musica di: James Beaumont, Janet Vogel, Joseph Verscharen, Walter Lester, Lennie Martin, Joseph Rock, John Taylor
1987 - Sweet Child O' Mine - Parole e musica di: W. Axl Rose, Slash, Izzy Stradlin', Duff McKagan, Steven Adler
1987 - Welcome To The Jungle - Parole e musica di: W. Axl Rose, Slash, Izzy Stradlin', Duff McKagan, Steven Adler
1991 - You Could Be Mine - Parole e musica di: Izzy Stradlin', W. Axl Rose