MODERNE Gibson Holy Grail of Vintage Guitars Ronald Lynn Wood libro 208 pagine Flying V-Explorer-Korina-electric

MODERNE, Holy Grail of Vintage Guitars, R. Lynn Wood. 208 pagine.

Series: Guitar
Publisher: Centerstream Publications
Medium: Softcover
Author: Ronald Lynn Wood

The Moderne is an electric guitar designed by Gibson in 1957 alongside the Flying V and Explorer as part of a stylistically advanced line. Sources claim that Gibson made a handful of prototypes, but an original has yet to surface. The Moderne was eventually put into production in 1982. Because of their very limited production and forward design, Modernes are highly sought by collectors. Here is the story, explained in interviews and photos, of this curious development associated with the golden era of guitar making. 208 pages

Price: €36,99



Series: Guitar Solo
Softcover - TAB
Arranger: Jeff Arnold

27 chord melody arrangements in standard notation and tablature, including, 48 pages

Table of contents
Blame It On My Youth
Body And Soul
But Beautiful
Darn That Dream
Easy Living
Easy To Love (You'd Be So Easy To Love)
Here's That Rainy Day
I Could Write A Book
In A Sentimental Mood
In The Wee Small Hours Of The Morning
Long Ago (And Far Away)
Lover Man (Oh, Where Can You Be?)
Moonlight In Vermont
My Foolish Heart
My Funny Valentine
My One And Only Love
Nancy - With The Laughing Face
The Nearness Of You
A Nightingale Sang In Berkeley Square
Stella By Starlight
Time After Time
The Very Thought Of You
The Way You Look Tonight
When I Fall In Love
When Sunny Gets Blue

Price: €15,99

JANE'S ADDICTION, THE BEST OF. Hal Leonard Guitar Recorded Version TABLATURE


Series: Guitar Recorded Version TAB
Artist: Jane's Addiction

This must-have collection presents a dozen of Jane's best, from the groundbreaking Ritual De Lo Habitual, to the Kettle Whistle compilation of live tracks and demos, up through Strays, their first all-new record in more than a decade. Features note-for-note transcriptions of Dave Navarro's searing guitar work on:
98 pages

Ain't No Right
Been Caught Stealing
Classic Girl
Everybody's Friend
Had A Dad
Jane Says
Just Because
Mountain Song
Ocean Size
True Nature
Wrong Girl

Price: €19,99


IDOL BILLY, VERY BEST OF. Catch My Fall -Cradle Of Love -Dancing With Myself -Don't Need A Gun -Eyes Without A Face -Flesh For Fantasy -Hot In The City -L.A. Woman -Mony, Mony -Ready Steady Go -Rebel Yell -Shock To The System -White Wedding. TAB.

Series: Guitar Recorded Version TAB
Artist: Billy Idol
13 head-banging hits spanning the career of this British rock star. 112 pages.

Price: €19,99



Series: Guitar Recorded Version TAB
Artist: Jewel

12 hits for guitar from this Alaskan pop rock singer, including,
96 pages

Table of contents :
Angel Standing By
Break Me
Foolish Games
Jesus Loves You (What About Me)
Life Uncommon
Standing Still
What's Simple Is True
Who Will Save Your Soul
You Were Meant For Me

Price: €24,99

JET, GET BORN guitar recorded versions TABLATURE Are You Gonna Be My Girl-Cold Hard Bitch-Lazy Gun


Artist: Jet
All 13 songs from the major label debut, which this critically adored Melbourne quartet calls -rock at its most primal, vibrant and honest: 96 pages

Table of contents :
Are You Gonna Be My Girl
Cold Hard Bitch
Come Around Again
Get Me Outta Here
Get What You Need
Last Chance
Lazy Gun
Look What You've Done
Move On
Radio Song
Rollover D.J.
Take It Or Leave It

Price: €20,99



Series: Guitar Recorded Version TAB
Artist: Kenny Wayne Shepherd
15 songs from this blues guitarist extraordinaire, including, 136 pages
Best of Kenny Wayne Shepherd Band
Series: Guitar Recorded Version
Artist: Kenny Wayne Shepherd
15 songs from this blues guitarist extraordinaire, including: Alive - Blue on Black - Born with a Broken Heart - Changes - In 2 Deep - Ledbetter Heights - The Place You're In - Slow Ride - True Lies - and more.
Inventory #HL 00690803
ISBN: 9781423401599
UPC: 073999927481
Width: 9.0"
Length: 12.0"
136 pages
Table of contents
Be Mine
Blue On Black
Born With A Broken Heart
Deja Voodoo
In 2 Deep
Last Goodbye
Ledbetter Heights
(Let Me Up) I've Had Enough
The Place You're In
Shotgun Blues
Slow Ride
Somehow, Somewhere, Someway
True Lies
BLUES GUITAR PHENOMS are a dime a dozen. Rosy-cheeked and eager to please, they are shepherded from venue to venue like circus acts, stunning audiences with their acrobatic techniques and stage savvy. Most succeed in getting an Established Black Bluesman or two to endorse their playing, and the guitar media race to proclaim them the real deal. The trouble is, prodigies usually grow up. And too many guitar phenoms learn the real meaning of the blues when fickle audiences turn their attention to the next generation of young wizards, leaving the too-old 20-year-old out in the cold.
Kenny Wayne Shepherd, who was a teenager and a high school senior in Shreveport, Louisiana, when his acclaimed debut album, Ledbetter Heights (Giant), was released, is an ex-phenom who made a particular splash as a blues baby: Ledbetter Heights went Gold and sat at the top of the blues charts for months. Shepherd's overdriven Strat tone, rapid-fire solos and overt Hendrix-isms had fans proclaiming him the new Stevie Ray Vaughan, no less.
All this potentially meant lots of pressure on Shepherd because he, as much as anyone, knew that blues Peter Pans grow up and have to keep producing when they're 20,30 and even 40 years old. But the blond-haired guitarist knew exactly what to do: hit the road, challenge himself by playing with the best rock guitarists around and grow. And so he joined the G3 tour, first as an opening act and then, with the departure of Eric Johnson, as a full-fledged partner of Joe Satriani and Steve Vai. Shepherd impressed many fans on the rest of that tour, and he certainly impressed his tour mates. "When I first heard Kenny Wayne Shepherd, I thought, 'Uh-oh, another Stevie Ray Vaughan clone,' " recalls Vai. "Just like the first time I heard Stevie Ray, I thought, 'Uh-oh, another Hendrix clone.' I was equally wrong both times. Kenny has the depth and insight to make what he doesemotionally powerful and remove it miles from clonedom. He has that elusive 'it.' " "He is a real talent," agrees Joe Satriani. "Anyone can practice guitar, learn some licks and make believe that they're an entertainer. But to be a real natural, to be great at your instrument-to be able to walk out on any stage and immediately plug into both the musicians and the audiencethat is realtalent. And that iswhat Kennyhas." And Shepherd's abilities are abundantly evident throughout The Trouble Is... , the follow- up to Ledbetter Heights. The maturing guitarist partially attributes the new album's strengths, and his growth, to his G3 odyssey. "Ledbetter Heights chronicles a part of KENNY WAYNE SHEPHERD·
my career," says Shepherd. "But that part is the beginning. I've grown a lot. I listen back to tapes of myself when I was 15, and it doesn't even compare to how I'm playing now. And I almost feel that way about my first album. I think growth comes along with experience, just being out there doing it." Shepherd's playing today is more confident, more personal and less derivative of Stevie Ray Vaughan, even though he is backed by Vaughan's former band, Double Trouble-drummer Chris Layton, bassist Tommy Shannon and keyboardist Reese Wynans-on half the album. "I wanted to use them because they're simply the best rhythm section for the type of music I like," Shepherd explains. "They're also my friends, and playing with them was a blast." His regular touring band appears on the rest of the album, with new singer Noah Hunt handling lead vocal chores throughout. Highlights include a rollicking run through Bob Dylan's "Everything is Broken" and a great take on Jimi Hendrix's "I Don't Live Today," as well
as Shepherd originals like the leadoff single "Slow Ride," the instrumental "The Trouble
Is" and "Long Gone," which features blues harmonica great James Cotton. As strong as the album is, there's no reason to think that number three won't be even stronger. For Shepherd is, as his friend Steve Vai says, "a work in progress."
GUITAR: This record took longer to complete than you had planned. Why?
KENNY WAYNE SHEPHERD: The writing was a little tough. While I was on the road doing
interviews, people kept asking me if I was feeling pressure to come up with a good second album and avoid the "sophomore slump." I was like, "What are they talking about? I don't feel any pressureat all. This is a blast." But then we came off the road to record, and I didn't really have any material because I hadn't been writing, or even thinking about it, for a year and a half. Youget into a road groove: you wake up, do promotion, soundcheck, have dinner, shower, get to the club, play.Then you're up real late, and you're wired. You probably haveto travel, so you get to bed early in the morning, oversleep, get up
and start all over again. I had to get out of that, to change my frame of mind from playing live to writing music. I hadn't done it in a long time, and I got kind of discouraged, at first. Nothing was happening, and I didn't know where it was gonna come from. But I just kept going, and the next thing I knew I had 37 songs.
GUITAR: The first single, "Slow Ride," is really hard-hitting. It reminds me of Freddie King's "I'm Going Down."
SHEPHERD: Thanks! Me too, actually. We wanted to come out of the box with a slamng ming track that screamed, "We're back!" That song sort of came out of nowhere and
took everybody by surprise, in a way very similar to what "Deja Voodoo" did on the
last album. When I was recording Ledbetter Heights, we cut 13 songs, then took
two weeks off. During that period, I went home and wrote "Born With a Broken
Heart," "Deja Voodoo," "Let Me Up I've Had Enough" and a few more-almost half
of the songs on the album, and most of the big ones. So we decided to do the same
thing this time. I went in the studio with Double Trouble and 19 songs. Then I went
back on the road for a few weeks and wrote two really strong tunes, "Long Gone" and
"Slow Ride."
GUITAR: Now that you're done recording, how do you feel about the final product?
SHEPHERD: I'm really excited about everyng thing. Working with Jerry [Harrison, producer; the former member of Talking Heads has also produced Live, Big Head Todd and othicers-GUITAR Ed.] has been a real pleasure. I think the album is awesome, sonically-the
drums and guitars sound great-but more importantly the material is really strong. I'm
also excited because I sang a lot more this time, doing backup vocals on four or five
songs, plus singing lead on a cut of "Voodoo Chile," which surprisingly sounds pretty
decent. [laughs] Even though we decided not to put it on the album, I feel it was a big
step for me.
GUITAR: That's a tall mountain to climb. SHEPHERD: Yeah, but it felt good. It was awesome to have Chris and Tommy playing it. The fact that I'm singing it feels great, too, because it's a Hendrix song, and it's sort of meant for the guitar player to sing. I just couldn't see doing it with another singer; it was either I sing it or we don't cut it, so I decided to give it a go, and it felt pretty good. I am probably going to start doing it every night.
GUITAR: It must be strange, being a star attraction who doesn't sing, as you have to turn a
lot of control over to another person.
SHEPHERD: Yeah, it is a weird situation. I need to have total confidence that that person
is going to do my music exactly how I want to hear it. That's part of the reason we
felt we had to change singers. Noah is very talented, and he has the right attitude and
voice for what I want to do. I'm singing more myself, which is helping me become an even
bigger part of my music. Just the fact that live I'm now singing all these background
... vocals, plus doing "Voodoo Chile," will give me more practice on the road than I got last
year, when I hardly sang at all. I'm going to keep practicing and working on it, maybe
slowly adding songs here and there. It's definitely getting better; my voice and confidence
level are both eons beyond where they were when I did "Riverside" [on Ledbetter Heights],
GUITAR: Is it largely an issue of confidence at this point?
SHEPHERD: That's a big part of it. I was definitelya little insecure about it, because if
I am going to do something, I want it to be up to the musical standards that I hold up
for myself. My guitar standards are very high, and I wanted my vocals to be just as good,
though I realize that it's not always like that. Look at Hendrix, Stevie Ray and Eric Clapton.
They're all great singers who improved throughout their careers, but the bottom line
is their singing doesn't compare to their playing, and that's why, for many years, they
all played without singing. It's something they had to grow into, and I'm growing into
it slowly. But I'm not going to rush it. Working in the studio with Jerry has really
helped me get to the point where I can just belt it out and accept the sound of my own
voice, which is really difficult-especially when you hear it played back on big studio
monitors, and you can hear every little mistake. [laughs]
GUITAR: It sounds like Jerry was really good for you. But why, considering all the success
you had together, did you decide to not work with your last producer, David Z?
SHEPHERD: David was great to work with, but I felt it was time to look in a different
direction. Then I heard the Big Head Todd and the Monsters album Jerry produced for
my label [Beautiful World, Revolution], I thought it was clearly Big Head Todd's best,
so I immediately asked my A&R guy to get Jerry. I felt we would see eye to eye, musically.
And I was right.
I felt that this album needed to be more aggressive, both playi ng-wise and in its production.
I feel like my playing has improved at least 90 or 100 percent from when I did
the first album, and I really wanted that to come through. I wanted everyone to be able
to hear the emotion and dexterity that's there now, and wasn't there before.
GUITAR: Why do you think that is?
SHEPHERD: It's a result of doing so much touring. When you play live every night for a
year and a half or two years straight, it really makes your chops a lot better. You don't
notice it so much while it's happening, but you listen back and hear it. When we started
touring to promote Ledbetter Heights, we did about 250 shows in a year and a half.
How could you not grow from that experience?
GUITAR: How exactly have you improved?
SHEPHERD: Well, I really practiced my vibrato
a lot, and I think it's way better. I also
bend much more precisely and confidently; I hit all my notes now. Basically, my overall
technique is just much better than it was. But I also think I've developed better taste
and more of an understanding of when to hold back and when to let it rip and really
playa lot of notes. Being on the road with guys like B.B. [King] showed me a lot. He
can knock you off the stage with one note, so I tried to figure out how to do that. In
terms of influences, I've also gotten more into Albert King, so there's more of his licks
popping up in my pLaying.While I was on the road, I got really deeply into Albert and Hendrix.
GUITAR: Playing with Double Trouble must have been exciting for you.
SHEPHERD: There was definitely a lot of excitement there, from me and also from them. We kept a lot of my original tracks from our sessions because the three of us were playing off of each other so much. I'd playa lick and Chris would accent it perfectly,
and when I tried to overdub it wasn' t as locked in, because when we were
doing it together, there was so much intuition happening. They inspired me to play
a lot of new and different stuff. Sometimes, I'd just want to see if I could turn their
heads. The whole experience was definitely inspirational.
GUITAR: Sure. That's the band you grew up worshipping.
SHEPHERD: [laughs] Definitely. But I know those guys so well now that they are real
friends. Chris and I talk on a regular basis, and I also love Tommy. He's really funny, the
kind of guy who has to have dessert after every single meal. Of course, they both quit
drinking and everything, and now they've quit smoking, too. Tommy chews that
Nicorette gum and has a patch on at the same time, and he's going around sniffing
people's cigarettes. [laughs] He's a character, and he is truly one of the kindest guys
I've ever met. We wrote a lot together, and they really didn't write much with Stevie.
There was a lot of jamming going on. We probably have five OAT tapes of stuff that
isn't on this album. They're the best rhythm section for the kind of music I'm doing.
They're the guys who pretty much created the stuff.
GUITAR: What do you think they brought to Stevie's music?
SHEPHERD: The rhythm section is the foundation.
They pushed Stevie to play; they were an integral part of his sound.
GUITAR: There was a strong element of restraint in Stevie's playing that I detect in yours.
SHEPHERD: Thanks. A lot of players think that Stevie's music is just such fiery, asskicking
guitar that to match it they have to play all-out, over-the-top, going-for-broke,
on ten. But it's not about that, man. It's about taste and restraint. That's where the
single-note thing comes in, the understanding of Albert King, just being real tasteful.
Youcan play something fast, but play it tasty and fast. Put some emotion into it.
The thing that I dug most about Stevie's playing is that it's a bridge between blues
and rock, and I think that's the direction my music leans towards. My music has a little
bit of a harder, sharper rock edge than Stevie' s did. I'm probably the middle point
between Stevie and Hendrix.
GUITAR: You started your first national tour playing small clubs, then opened for everyone from B.B. King to Bob Dylan to the G3 tour. Ultimately, you became a full-fledged member of the G3-one of the Big Three. How have you enjoyed the tour?
SHEPHERD: It's been great. Joe, Steve and Robert Fripp are all really a pleasure to work with. I saw Steve when he toured with David Lee Roth and was wearing all the fluorescent green and pink stuff, and I heard a bit of Satriani's stuff, like "Satch Boogie," but I got my first real dose of them when I did the first shows. I was impressed with both of them. I really dig what Vai does and enjoy listening to him because he has extremely creative ideas that I wouldn't come up with, placing notes in ways that I wouldn't. I've heard him play some licks that just blew my mind. He is a truly phenomenal guitarist. But I'm a little more drawn to Satriani because he puts a lot of blues into his music. There's a lot of Albert King in there, wh ich may surprise people who haven't seen him live. It surprised me. I think anyone who's into guitar music should check these guys out live, even if you don't think you want to. Same goes for Robert Fripp, who has been opening the shows. His set is very interesting and exotic. They've all been great, and the jam at the end of the show is killer.
GUITAR: Blues harmonica great James Cotton appears on "Long Gone." What did you want out of him?
SHEPHERD: I love his work with Muddy Waters, especially on Hard Again and King Bee, and I wanted to hear that sound. And we got it, man. James played his ass off. He did some cool fills throughout the song, then at the end of the tune he just went off and played some incredible stuff. I really felt like I was listening to a Muddy Waters record when I heard that, which was exactly what I ....
Price: €27,99



Series: Recorded Version (Guitar)
Softcover - TAB
Artist: Eric Johnson

Exact note-for-note transcriptions with tab for all 16 songs off the 2005 CD from guitar virtuoso Eric Johnson. The All Music Guide says, "all his trademarks are well represented - chops, tone, and extremely fluid playing."
192 pages

Cruise The Nile
From My Heart
Good To Me
My Back Pages
Sad Legacy
Sea Secret
Summer Jam
Sunnaround You
Tribute To Jerry Reed
12 To 12 Vibe
Your Sweet Eyes

Price: €29,99




THE MARTIN BOOK. 160 pagine. Walter Carter




MARTIN & CO. ET 1833


Series: Book

Publisher: Backbeat Books

Medium: Softcover

Author: Walter Carter

The Martin Book


For over 170 years the C.F. Martin company has produced some of the finest flat-top acoustic guitars in the world. Martin's designs for the shape and construction of these instruments have influenced virtually every other manufacturer, and the flat-top guitar as we know it today is essentially the same as that established by Martin in the 1850s. At one time or another Martin's guitars have driven the sound of every kind of popular music, from country to pop, from bluegrass to rock 'n' roll, and with the current resurgence of acoustic music, Martin's premier guitars are once more finding a new generation of enthusiastic musicians. The Martin Book is a fresh view of this extraordinary guitar maker, pulling together many strands of musical and manufacturing lore into a fascinating whole that illuminates Martin's long and varied history. Dozens of specially commissioned full-color photographs show every kind of Martin model, some of which come from Martin's own unique collection. Meticulous listings for collectors and enthusiasts simplify the identification of Martin instruments and detail virtually every guitar that the company has produced since the early 1830s.


Inventory #HL 00331417

ISBN: 9780879308872

UPC: 884088064082

Publisher Code: 0879308877

Width: 8.5"

Length: 11.0"

160 pages


For over 170 years the C.F. Martin company has produced some of the finest flat-top acoustic guitars in the world. Martin's designs for the shape and construction of these instruments have influenced virtually every other manufacturer, and the flat-top guitar as we know it today is essentially the same as that established by Martin in the 1850s. At one time or another Martin's guitars have driven the sound of every kind of popular music, from country to pop, from bluegrass to rock 'n' roll, and with the current resurgence of acoustic music, Martin's premier guitars are once more finding a new generation of enthusiastic musicians. The Martin Book is a fresh view of this extraordinary guitar maker, pulling together many strands of musical and manufacturing lore into a fascinating whole that illuminates Martin's long and varied history. Dozens of specially commissioned full-color photographs show every kind of Martin model, some of which come from Martin's own unique collection. Meticulous listings for collectors and enthusiasts simplify the identification of Martin instruments and detail virtually every guitar that the company has produced since the early 1830s. 160 pages


Martin is the oldest and most respected name among American instrument makers - not just guitar makers but makers of all instruments. The guitar world, Martin had been established for over 50 years when Orville Gibson started carving the tops and backs of mandolins in the 1890s, over 100 years when Leo Fender started putting pickups on solid guitar bodies in the 1940s. Martin carried on steadily as such important names as Washburn, Epiphone, Gretsch, National, Vega, Kay, and Harmony arose, flourished, and perished. Unlike most of the great names in the guitar world, Martin never became a big company. From a one-man shop, it grew into a small-town factory; even at its all-time height of production in the 1960s, Martin turned out less than 20 percent of the guitars that Gibson was producing at the time. Martin's quality fell off with the increased production of the late 1960s and 1970s, but the company learned its lesson well in the lean years of the late 1970s and early 1980s. In the 1990s, with respect and demand for Martins once again exceeding production capabilities, the company planned only a small, cautious expansion, refusing to sacrifice quality for quantity. At the summer 1993 National Association of Music Merchants (NAMM) trade show, dealers were told that Martin was back-ordered for one year. They still ordered Martins - a testament to the quality signified by the Martin name. Martin's longevity is not hard to explain. CF. Martin, who founded the company in 1833, transformed the European guitar into a new, uniquely American instrument. The flat-top guitar we know today is larger, and it has steel rather than gut strings, but otherwise it is not much different from the instruments Martin was making by 1850. All the company had to do was to keep on making guitars the same way that CF. did. Martin was enticed at times into unfamiliar markets by the surging popularity of mandolins, banjos, and electric guitars - but flat-top guitars remain the backbone of the company's fortunes. Unlike Gibson's mandolins and acoustic archtop guitars, unlike Fender's electric solidbody guitars, Martin's guitars did not effect any revolutionary changes in popular music. CF. Martin's X-braced flat-tops of 1850 were well accepted but they did not start everyone playing guitar (everyone was playing banjo at that time). Martin instruments played an important role in the guitar'S rise to prominence in the 1930s, but the innovations that sparked the movement should for the most part be credited to other makers. Martin guitars certainly epitomized the folk boom of the 1960s, but the guitars themselves had been developed decades earl ier. Rather than leading any musical movements, Martin guitars have provided a foundation for popular music - a consistent, solid base that has always been there, regardless of what style of music was the current rage. Consistency goes a long way in explaining Martin's success, but there is more. You don't have to walk into the factory to see that Martin is a different kind of company. From the outside it looks more like an elementary school from the 1960s than an industrial facility - an image underscored by its location in a residential area. Perhaps the key is a sense of humanness that comes from family. In 1833 the company was founded by a man named CF. Martin; in the twenty-first century the chairman is still a man named CF. Martin. In the context of family ownership, there is today no company quite like Martin. Neither Orville Gibson nor Leo ...


Price: €25,99







In this comprehensive collection, the essential songs of a decade. 30 great hits from the fifties, all transcribed note-for-note for guitar, with full lyrics.

The Decade Series
Series: Guitar Recorded Version TAB
Artist: Various

Table of contents :
About More of the 1950s
(The Decade Series for Guitar). By Various. Guitar Recorded Version. Guitar tablature. 144 pages.

30 top songs of the '50s, including: Blue Suede Shoes - Bye Bye Love - Don't Be Cruel - Hard Headed Woman - Jailhouse Rock - La Bamba - Peggy Sue - Rawhide - Say Man - See You Later, Alligator - That'll Be the Day - Yakety Yak , and more.




Believe What You Say - RICKY NELSON - 1958

A Big Hunk 0' Love - ELVIS PRESLEY - 1959

Blue Suede Shoes - CARL PERKINS - 1956
Bluejean Bop - GENE VINCENT - 1956
Bye Bye Love - THE EVERLY BROTHERS - 1957
Chinatown, My Chinatown - CHET ATKINS - 1952
Don't Be Cruel (To a Heart That's True) - ELVIS PRESLEY - 1956
Foggy Mountain Special - FLATT & SCRUGGS - 1954
Forty Miles of Bad Road - DUANE EDDY - 1959
Hard Headed Woman - ELVIS PRESLEY - 1958
Honest I Do - JIMMY REED - 1957
I Need You So Bad - B.B. KING - 1957
I'm Stickin' With You - JIMMY BOWEN - 1957
Jailhouse Rock - ELVIS PRESLEY - 1957
La Bamba - RITCHIE VALENS - 1959
Party Doll - BUDDY KNOX - 1957
Peggy Sue - BUDDY HOLLY - 1957
Ramrod - DUANE EDDY - 1958
Raunchy - BILL JUSTIS - 1957
Rawhide - LINK WRAY - 1958
Ready Teddy - LITTLE RICHARD - 1956
Red River Rock - JOHNNY & THE HURRICANES - 1959
Say Man - BO DIDDLEY - 1959
See You Later, Alligator - BILL HALEY & HIS COMETS - 1956
Singing the Blues - GUY MITCHELL - 1956
Sixteen Tons - TENNESSEE ERNIE FORD - 1955
That'll Be the Day - BUDDY HOLLY - 1957
Train Kept a-Rollin' - JOHNNY BURNETTE - 1956
Twenty Flight Rock - EDDIE COCHRAN - 1958
Yakety Yak - THE COASTERS - 1958
Guitar Notation Legend
Price: €26,99
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