KING FREDDIE, COLLECTION. Full Time Love -Have You Ever Loved A Woman -Heads Up -Hide Away -I'm Tore Down -If You Believe (In What You Do) -In The Open -Lonesome Whistle Blues -San-Ho-Zay -See See Baby -Side Tracked -The Sad Nite Owl -The Stumble -Wash Out -You've Got To Love Her With A Feeling 80 pages. TAB.

Series: Guitar Recorded Version TAB
Artist: Freddie King

An outstanding collection of 15 of this blues legend's best, including:

Full Time Love
Have You Ever Loved A Woman
Heads Up
Hide Away
I'm Tore Down
If You Believe (In What You Do)
In The Open
Lonesome Whistle Blues
The Sad Nite Owl
See See Baby
Side Tracked
The Stumble
Wash Out
You've Got To Love Her With A Feeling

80 pages

Price: €29,99



Price: €49,99



Series: Guitar Recorded Version TAB
Artist: T-Bone Walker

This terrific collection features 20 tunes from wildly influential (B.B. King, Chuck Berry, Stevie Ray Vaughan, and Jimi Hendrix, to name but a few) blues legend T-Bone Walker, to whom electric blues and rock music owe their existence. Includes an introduction by Dave Rubin and a selected discography. 96 pages. Songs include:

T-Bone (Aaron Walker, Sr.) was born in Dallas, Texas on May 28, 1910, and died in Los
Angeles, California on March 16, 1975. In his life span, he saw blues develop from the quaint,
parlor blues of the early twenties to the roaring rock of the fifties and sixties. In between he
witnessed first-hand raw country blues that fought its way out of Texas and the Delta, a highly
emotional and driving music that would later become electrified in the hands of Muddy Waters.
Most significantly, along with Charlie Christian and Eddie Durham, he was one of the first to
acquire Gibson's new electric Spanish guitar shortly after it was introduced in 1936. With
amplification, the guitar could now compete on an equal footing as a chordal instrument with the
volume pumped out by pounding pianos and blaring horn sections. Even more importantly, T-
Bone grasped the soloing potential of the electric guitar as he learned to spin out jazzy, lyrical
single-note lines on a par with horn players. Musical history turned on its heels. Electric blues
and, by extension, rock music, owe their very existence to the power and finesse of Mr.T-Bone.
Music was everywhere in the world ofT-Bone's youth. His mother sang blues at home and
gospel in the church. His father was a share-cropper, but his mother remarried to a man who
was fluent on several instruments, who passed his knowledge on to his stepson, encouraging him
to perform professionally. As a lad, T-Bone was one of the chosen few who had the honor of
leading Blind Lemon Jefferson around the dry, dusty streets as he played for tips. Indeed, both the
legendary Jefferson and the great Leadbelly were often guests in his mother's home.
By 1934 T-Bone was an experienced musician, married and out on the road with his own
group. He was singing and playing and, when he could not be heard in those pre-amplification
days, he would dance. Showmanship and entertainment would always be part and parcel of his
gig, as he was a graceful and agile performer.
Eventually the rough life and violence of the juke joints, lumber camps and barrel houses
became wearisome. T-Bone headed west in 1934 to urban Los Angeles and the unpaved streets
of Watts. It was there that he came under the influence of the still-developing jazz and blues of
southern California, what would later be referred to as "club blues." Pianist and silken vocalist,
Charles Brown, was one of the pioneers of this upscale music, and the ambitious T-Bone joined
right in. Still unamped, he became a singer and dancer with Jim Wynn's band.
By 1940 he was with Les Hite's big band, singing jazz and blues and starting to create sparks
with his electric guitar in his off hours away from the bandstand. When Hite's touring band
stopped in New York in June of that year, "T-Bone Blues," with Walker on vocals only, was
recorded and released to minor acclaim. Apart from "Wichita Falls Blues," a Bessie Smith-like
acoustic blues cut in 1929 under the sobriquet "Oak CliffT-Bone," this was his official debut on
record. Though he had been woodshedding on his new axe for several years, it was not until July
1942 that the electric T-Bone was finally recorded on "I Got A Break Baby" and "Mean Old

Bye Bye Baby
Don't Leave Me Baby
Go Back To The One You Love
Hard Pain Blues
I Got A Break Baby
I Know Your Wig Is Gone
It's A Low Down Dirty Deal
Low Down Dirty Shame Blues
Mean Old World
No Worry Blues
She Had To Let Me Down
She's My Old Time Used To Be
So Blue Blues
(They Call It) Stormy Monday (Stormy Monday Blues)
T-Bone Blues
T-Bone Boogie
T-Bone Jumps Again
The Time Seems So Long
Vida Lee

Price: €27,99


WATERS MUDDY, DEEP BLUES. Contiene: baby, please don't go -blow wind blow -the blues had a baby and they named it rock and roll -champagne and reefer -close to you -deep down in Florida -evil -good news -got my mojo working -honey bee -I can't be satisfield -I feel like going home -I just want to make love to you -I want to be loved -I'm Ready -I'm your hoochie coochie man -long distance call -Luisiana Blues -mannish boy -my home is on the Delta -my love strikes like lightning -rollin' and tumblin' -rollin' stone -sad, sad day -the same thing -screamin' and cryin' -she's nineteen years old -still a fool -streamline woman -you can't lose what you ain't never had -you schook me. TABLATURE

Series: Guitar Recorded Version TAB
Artist: Muddy Waters

30 tunes: Evil • Got My Mojo Working • Honey Bee • I'm Your Hoochie Coochie Man • more.

Produced in Cooperation with the estate of McKINLEY MORGANFIELD

Inventory #HL 00694789
ISBN: 9780793509553
UPC: 073999947892
Width: 9.0"
Length: 12.0"
184 pages

Through 1953, the small group (sans piano, and sometimes sans bass) persisted
with classics like "Long Distance Call" and "Still A Fool." September of that year
saw the release of "Blow Wind Blow" with Muddy: guitar and vocals, Jimmy Rogers:
guitar, Otis Spann: piano, Walter "Shakey" Horton: harp, and Elgin Evans: drums.
A new element of swinging, rhythmic drive had been added to the down-home feel
of the original group. Then in 1954, "I'm Your Hoochie Coochie Man" was sprung
on an unsuspecting music world (with the magic Little Walter back), and a new
direction in blues was heralded. Master blues composer Willie Dixon wrote the opus
and played bass, freeing Rogers to play rhythm and fill guitar. The first (and
perhaps best) classic Muddy Waters band had arrived, and the music rocked with the
energy of big-city dynamism and real-life country soul.
A hand injury took the guitar out of Muddy's hands in the late fifties and early
sixties. The recordings continued with two guitars, however as a first-class stable of
guitarists was established to fill the positions. Besides Jimmy Rogers, there was Pat
Hare, Luther Tucker, and Andrew Stephens to choose from. Earl Hooker, and
Buddy Guy also left their highly individual stamps on "modern" Chicago blues
standards like "You Shook Me" and "The Same Thing."
Around the mid sixties, Muddy's axe was appearing again in the clubs and in the
studio. He was playing better than ever, as the acoustic sides "Good Morning Little
Schoolgirl" and "My Home In The Delta" and the fierce electric slide of "You Can't
Lose What You Ain't Never Had" attest.
The late sixties saw Muddy riding the crest of the blues revival on stage, but his
recorded output was checkered. Electric Mud and After The Rain were low-water
marks, with their ridiculous sounding wah-wahs and fuzztones. Fathers And Sons,
though, with the young turks Michael Bloomfield, Paul Butterfield, and Duck Dunn,
was a sweetly satisfying, authentic survey of Muddy's choice material. Such a loving,
empathetic approach to recording Muddy would not occur again until Johnny
Winters' successful collaborations from 1977 through 1981 for Blue Sky Records.
Plans were taking shape for more recordings when Muddy died on April 30, 1983.
Muddy Waters' influence on electric guitar music is rivaled only by that of B.B.
King. Though never a virtuoso soloist, he had an intuitive sense of the power and
expressive possibilities of amplifier distortion. Those Aristocrat and early Chess sides
glowed with the thumping, growling bass and fat, sustaining treble licks afforded by
over-driven vacuum tubes. He clearly said it with his sound as well as his choice of
notes. Muddy's guitar's voice was big and bad enough to go toe-to-toe with any
guitar picker who played with him.
Muddy's approach to equipment was as direct and simple as his music. After a
string of hollow-body Stellas, Harmonys, and Gretches, he was seen with a Les Paul
Standard with single-coil pickups. When he got his red Tele in the late fifties, it
became his main instrument for over 30 years. Strung with knuckle-busting
.012-.056 gauge strings, he paired it with a pre-CBS Fender Super Reverb Amp (all
knobs on "9") and the little metal pinky slide made for him by a friend in the forties.
Muddy didn't listen to guitarists other than the men from his generation. He
most certainly was not impressed by fast, flashy players, though he respected those
like Johnny Winter and Bob Margolin who could play his style. \Vhat he looked for
in any blues musician was the ability to play "snap rhythm" - short, fast
embellishments around the chord changes, like Robert Johnson.
When asked, in his later years, if he ever felt the urge to practice, he said, "No,
I've been playing the blues for 50 years; it's in my hands. I don't need to practice it."
Special thanks to Bob Margolin, who played with Muddy for 10 years beforeforming The
Legendary Blues Band and leading his own group, for his invaluable assistance.
Dave Rubin

31 tunes
184 pages

OPEN G TUNING, first position E blues, the backup guitarist

Table of contents :

Baby, Please Don't Go - 1953
Blow, Wind, Blow - 1953
The Blues Had A Baby And They Named It Rock And Roll - 1977
Champagne And Reefer - 1981
Close To You (I Wanna Get) - 1959 
Deep Down In Florida - 1977
Evil - 1957
Good News - 1957
Got My MoJo Working - 1956
Honey Bee - 1950
I Can't Be Satisfied - 1948
I Feel Like Going Home - 1948
I Just Want To Make Love To You - 1954
I Want To Be Loved - 1977
I'm Ready - 1978
I'm Your Hoochie Coochie Man - 
Long Distance Call - 1951
Louisiana Blues - 1950
Mannish Boy - 1977
My Home Is On The Delta - 1963
My Love Strikes Like Lightning - 1963
Rollin' Stone (Catfish Blues) - 1950
Rollin' And Tumblin' - 1944
Sad, Sad Day - 1981
The Same Thing - 1964
Screamin' And Cryin' - 1977
She's Nineteen Years Old - 1979
Still A Fool - 1950
Streamline Woman - 1948
You Can't Lose What You Ain't Never Had - 1964
You Shook Me - 1962

Price: €32,99


WHITE BLUES, BEST. Crossroads, Cream -ramblin' on my mind, Eric Clapton and John Mayall -texas flood, SRV -pride and joy, SRV -black magic woman, fleetwood mac -good morning little school girl, Winter -the messiah will come again, Roy Buchanan -follow me, Rory Gallagher -love in vain, the Rolling stones -I woke up this morning, ten years after. BAND TAB.

Price: €129,99



Featuring Hubert Sumlin on Guitar
Series: Guitar Recorded Version TAB
Artist: Howlin' Wolf

In West Memphis, Wolf put together a dynamic band that consisted of Willie Johnson and Matt
Murphy on guitars, Willie Steel on drums, Junior Parker on harmonica and a pianist called Bill
"Destruction" Johnson. Wolf blew harp and played electric guitar, and his combo swung as loud
and hard as any band in the Delta. Along with Muddy Waters and Elmore James, he was inventing
the modem blues-rock genre.
Willie Lee Johnson, (born March 4, 1923 in Senatobia, Mississippi,) came to Wolf's band with a
distinct, powerful style. His electric sound was raw and distorted, like Wolf's voice. His singlenote
solos and slashing chords raised the excitement quotient of the band. On "House Rockin'
Boogie" Wolf cried out, "Play that guitar, Willie Johnson, 'til it smoke ...Blow your top!" His
raunchy tone and aggressive solos established him as a pioneer in rock guitar history. (Paul
Burlison, rockabilly pioneer who played with Johnny Burnette and the Rock and Roll Trio,
learned to get tube distortion playing Johnson's amp; he sometimes sat in for Johnson on Wolf's
KWEM daytime radio show, because Johnson had to plow the fields in the daytime!
Wolf's band played all over the South for years, and performed regularly on radio, building a
following. In 1951, Sam Phillips heard Wolf on the radio and declared "This is for me. This is
where the soul of man never dies." Sun Records, Phillips' company that first recorded Elvis
Presley, Carl Perkins, Roy Orbison, Jerry Lee Lewis and other rock legends, did not yet exist,
but Phillips was recording "race" artists and leasing the masters to companies like Chess in
Chicago and the Bihari Brothers' RPM Records in Los Angeles. A visionary where American
roots music is concerned, Phillips singled out Wolf as one of his favorite deep, soulful singers.
Wolf and his band came to Memphis and recorded "Moanin' At Midnight" and "How Many
More Years," with pianist Ike Turner sitting in on the session. It was a double-sided hit. At the
age of forty-one, Wolf had his first top ten R&B record ...on the Chess label.
Ike Turner was a band leader, talent scout and A&R man for the Biharis, and Wolf became the
object of a dispute between RPM and Chess that ended when he signed with Chess and, soon
after, moved to Chicago. Muddy Waters introduced him to the club owners, and before long
Waters and Wolf were fierce rivals. They were the two most dynamic blues singers in Chicago,
both fronting seminal blues/rock bands, and both, incidentally, recording Willie Dixon tunes as
well as originals and blues standards. Their rivalry continued for decades: Willie Dixon once
said that if Wolf ever balked at recording a Dixon song, the songwriter would mention that
Waters was interested in cutting it (or vice versa).
At first, Wolf recorded with Chess regulars like pianist Otis Spann, bassist/songwriter/ arranger
Willie Dixon and drummer Earl Phillips. After a few years and many personnel changes, Wolf
recruited Willie Johnson from West Memphis, along with the other main guitarist in the Wolf
story, Hubert Sumlin.
Born in Greenwood, Mississippi on November 16, 1931, Sumlin was just a boy when he first
met Wolf and saw him perform. In 1954, he was working with blues harpist James Cotton, when
Wolf's job offer lured him to Chicago. Sumlin remained with Wolf (outside of a brief stint with
Muddy Waters) for twenty years, in an unusually close, almost father-son relationship. At first he
played rhythm guitar to Jody Williams' lead (his first recording with Wolf was the 1953 session
that produced "All Night Boogie"), but gradually Sumlin took over as lead guitarist and found
that he could think like Wolf, musically, and perfectly complement Wolf's voice and persona.
Robbie Robertson, Eric Clapton and many other artists have acknowledged Sumlin's impact on
their musical development. His taut, angular solos and backup licks are part of blues/rock
Includes transcriptions, performance notes and lessons for 13 classic blues songs, including, 72 pages

Table of contents
All Night Boogie
Baby How Long
Going Down Slow
How Many More Years
Howlin' Blues
I'm Leavin' You
Killing Floor
Moanin' At Midnight
Poor Boy
Sitting On Top Of The World
Smokestack Lightning
Who's Been Talking

Price: €20,99



Be Careful With A Fool -Dallas -Good Morning Little Schoolgirl -Highway 61 Revisited -Hustled Down In Texas -I Guess I'll Go Away -I'm Yours and I'm Hers -Illustrated Man -Johnny B. Goode -Mean Town Blues -Rock And Roll Hoochie Koo -Rock Me Baby -Still Alive And Well.

Since the 1960s, Johnny Winter has been making his own distinctive blend of blues and rock music. This folio features note-for-note transcriptions with tab for 13 Winter favourites, also features photos, Winter's commentary about each of the songs, and an extensive interview with Andy Aledort reprinted from Guitar magazine. 141 pages.

Price: €29,99



Price: €75,99

JOHNSON ROBERT THE NEW TRANSCRIPTIONS-Sweet Home Chicago-Ramblin' On My Mind-Come On In My Kitchen

JOHNSON ROBERT, THE NEW TRANSCRIPTIONS. 32-20 Blues -Come On In My Kitchen -Cross Road Blues (Crossroads) -Dead Shrimp Blues -Drunken Hearted Man -From Four Until Late -Hell Hound On My Trail -Honeymoon Blues -I Believe I'll Dust My Broom -I'm A Steady Rollin' Man (Steady Rollin' Man) -If I Had Possession Over Judgment Day -Kind Hearted Woman Blues -Last Fair Deal Gone Down -Little Queen Of Spades -Love In Vain Blues -Malted Milk -Me And The Devil Blues -Milkcow's Calf Blues -Phonograph Blues -Preachin' Blues (Up Jumped The Devil) -Ramblin' On My Mind -Stones In My Passway -Stop Breakin' Down Blues -Sweet Home Chicago -Terraplane Blues -They're Red Hot -Traveling Riverside Blues -Walkin' Blues -When You Got A Good Friend -32-20 Blues -Come On In My Kitchen -Cross Road Blues (Crossroads) -Dead Shrimp Blues -Drunken Hearted Man -From Four Until Late -Hell Hound On My Trail -Honeymoon Blues -I Believe I'll Dust My Broom -I'm A Steady Rollin' Man (Steady Rollin' Man) -If I Had Possession Over Judgment Day -Kind Hearted Woman Blues -Last Fair Deal Gone Down -Little Queen Of Spades -Love In Vain Blues -Malted Milk -Me And The Devil Blues -Milkcow's Calf Blues -Phonograph Blues -Preachin' Blues (Up Jumped The Devil) -Ramblin' On My Mind -Stones In My Passway -Stop Breakin' Down Blues -Sweet Home Chicago -Terraplane Blues -They're Red Hot -Traveling Riverside Blues -Walkin' Blues -When You Got A Good Friend. TAB.

Series: Guitar Recorded Version TAB
Artist: Robert Johnson

A must-have for all blues guitarists, this exciting publication is the most complete Robert Johnson collection ever! It includes note-for-note transcriptions in notes & tab for all 29 songs ever recorded by this elusive legend, plus two alternate takes. Newly discovered authentic tunings and capo placements are also part of the package. Also includes an introduction. 200 pages

Table of contents
Come On In My Kitchen
Cross Road Blues (Crossroads)
Dead Shrimp Blues
Drunken Hearted Man
From Four Until Late
Hell Hound On My Trail
Honeymoon Blues
I Believe I'll Dust My Broom
I'm A Steady Rollin' Man (Steady Rollin' Man)
If I Had Possession Over Judgment Day
Kind Hearted Woman Blues
Last Fair Deal Gone Down
Little Queen Of Spades
Love In Vain Blues
Malted Milk
Me And The Devil Blues
Milkcow's Calf Blues
Phonograph Blues
Preachin' Blues (Up Jumped The Devil)
Ramblin' On My Mind
Stones In My Passway
Stop Breakin' Down Blues
Sweet Home Chicago
Terraplane Blues
They're Red Hot
32-20 Blues
Traveling Riverside Blues
Walkin' Blues
When You Got A Good Friend

Price: €27,99

KEB' MO' selections from JUST LIKE YOU LIBRO GUITAR TABLATURE Just Like You-Angelina-Lullaby Baby Blues-Every Morning

KEB' MO', selections from KEB MO and JUST LIKE YOU. TAB.

Price: €130,00
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