LIBRO - BOOK

EMMANUEL TOMMY, THE MYSTERY. GUITAR TABLATURE

LIBRO DI MUSICA ACUSTICA PER CHITARRA .

SPARTITI PER CHITARRA CON:

ACCORDI, PENTAGRAMMA E CON TABLATURE.

Quanta italia in questo album, IL COMPLEANNO DI ANTONELLA, CANTINA SENESE, Ciao Emmanuele.

TOMMY EMMANUEL C.G.P. (Certified Guitar Player) 

Product Description:

The Mystery, Tommy Emmanuel's sixth US album, was inspired by Emmanuel's travels; each of the album's compositions is a musical snapshot or sojourn - a journey that brings us together with places and people - a journey into self discovery.

This transcription book shows all twelve tunes on the CD note-for-note in standard notation and tablature. Also included are detailed performance notes of each tune. 136 pages.

Product Number: 22000
Format: Book
ISBN: 0786681691
UPC: 796279109970
ISBN13: 9780786681693

INTRODUCTION

Tommy's compositions and aITangements cover many styles and techniques. If you have studied the Mel Bay books for Tommy's CD's Only and Endless Road, you already have a head start in learning his mu ic. The tunes for this project are heard on the CD The Mystery. Also you can study the Mel Bay project, Emmanuel Labor with Tommy's discussions of pieces from the above three CD's. From The Mystery Tommy play and discusses "The Mystery", "Gameshow Rag/Cannonball Rag", "The Diggers' Waltz", "Lewis and Clark", and "Antonella's Birthday". There will be some slight variations between the video performance and the recorded tunes. Although he may not playa tune in performance exactly the same way each lime, these transcription will allow you to learn the recorded version, and will give you insight into his methods. These tunes range in difficulty from intermediate to very difficult. There are a few difficult stretches and also Tommy's technique involves some innovative moves, such as fretting the 5th string with the thumb. But whether or not ou perform these tunes, most of the enjoyment comes from understanding them and playing them for their beaut). Some tunes are played with a thumbpick, and others are played without a pick, resulting in a softer sound. Others are played in a hybrid style, using a flat pick, allowing for strong rhythm and interwoven melody note With this style, the right-hand index finger is no longer available for melody. The melody is produced by the pick and the middle and ring fingers. This technique may be difficult for you if you are based in traditional fingerpicking, but it is well worth the effort to learn it. If you read musical notation, the tablature will still be helpful as it points toward left-hand position on the guitar neck. And if you are relying on tablature, remember that left-hand fingering is found in the notation. Learning the hybrid style requires understanding the information given in the tablature. I have tried to indicate the pick stroke directions that are most important, while trying to avoid repeating the stroke directions to reduce the amount of clutter in the tablature. In the hybrid tyle, the thumb and first finger hold the pick, and in accord with classical notation this is shown by a "p". The middle finger will be "m" and the ring finger will be "a". These letters will be stacked when the middle and/or the ring finger pluck notes at the same time as the pick. At other times the pick (thumb and first finger unit) and ... 

TOMMY EMMANUEL C.G.P.

photo by Sara Corwin

Two-time Grammy nominee Tommy Emmanuel has a professional career that spans over four decades and continues to intersect with some of the finest musicians throughout the world. A household name in his native Australia, Tommy has garnered hundreds of thousands of loyal fans worldwide. Tommy's unique style - he calls it simply "finger style" – is akin to playing guitar the way a pianist plays piano, using all ten fingers. Guitar legend Chet Atkins was one of the first to inspire Emmanuel to pick up the guitar as a child. Decades later Atkins himself became one of Emmanuel's biggest fans. In 1999, Chet honored Tommy Emmanuel with the title of "Certified Guitar Player" for his lifetime contribution to the instrument, a rare honor shared by only three other people in the world (Jerry Reed, Steve Wariner and John Knowles). Atkins eventually recorded with Tommy in 1996 on 'The Day the Finger Pickers Took Over the World", for which Emmanuel received his first Grammy award nomination. This was also Atkins last recording.

After a recent recuperative rest, resulting from an exhausting touring schedule, Tommy is now completely rejuvenated and embarking on a full tour schedule in 2008. A new double live CD and DVD, "Center Stage" filmed in High Definition and recorded at the Sierra Nevada Brewery in Chico, California will be commercially released in Spring '08. The DVD portion will also air on Public Television affiliates all over the United States. Every element of modern technology was used in the production of both the DVD and CD. Tomm's record producer, Kim Person, recorded and mixed the audio tracks, while long-time Sierra Nevada video producer/ director Peter Barlow tied the entire package together in state-of-the-art quality. It makes for a stunning package, both aurally and visually. The double disc Live CD "Center Stage" contains many fan show-stoppers, including Emmanuel's BeatIes Medley, Mombasa, and Initiation - the aboriginal tribute song that has evolved over the years and never sounds the same on any recording - or during any show. Tommy also introduces four never-before recorded tracks, "Ruby's Eyes", "Lenny Bro''', "The Jolly Swagman" and "Papa George" (inspired by George Harrison). Also, included are several arrangements of popular traditional tunes like "House of the Rising", "Nine Pound Hammer", "Amazing Grace" - and for his Japanese fans, "Sukiyaki" This new CD is a great mix of the rare, the new, the traditional and the favorites. Emmanuel's music and life are legendary in Australia. He began playing guitar at age 4, by learning to play by ear without any formal instruction. Emmanuel and his older brother Phil were child prodigies, starting their professional career in the 1960s. By the age of six, Tommy was already working as a professional musician. Shortly after his father's death in 1966, the Emmanuel family was approached by Australian country music star Buddy Williams, who took the family on the road until they were forced by the Australian child welfare department to stop traveling. The Emmanuel children were then sent to a regular school. During these years, Tommy was playing in "The Trailblazers" (with siblings Chris on drums and Virginia on slide guitar) on weekends. He also taught guitar and made numerous television appearances in musical competitions. Emmanuel's first brush with fame came when The Trailblazers won two televised talent contests and produced an EP. He and his siblings worked hard ... 

ANTONELLA'S BIRTHDAY
Antonella is one of my dearest friends from Soave, Italy and I wrote it early one morning as the golden sun
streamed through the windows onto my bed. Antonella was making breakfast downstairs and when I found out
it was her birthday, I dedicated it to her, with all my heart. She's a true friend.

Tune the 5th string down to G and the 6th string down to D. The tune is played with a flat pick in a hybrid
style, using the pick ("p") and the middle finger ("m"), and the ring finger ("a"). These letters will be stacked
over the corresponding strings in the tablature. Natural harmonics are used extensively. With your left-hand
finger lightly touch the string at the fret indicated in brackets, <7> for example. In the notation the notehead
will be diamond shaped. Then strike the string with the pick to obtain the harmonic or chiming sound.
Remember that the harmonics should always ring freely, creating a "cascade" effect. In order to notate the tune
correctly, the first note of the song is played as the last half of the last beat of the first measure. That is necessary in order to be in the right place when you play the last note of measure 9. That harmonic on the 5th string
could be considered the first real note of the melody, but it continues into the next measure with an eighth note
rest. There is another way to think of it. If you are tapping your foot, you start just after the first note of the
tune, and by the beginning of measure 10 you will be tapping on the the tied note, and the melody will fall in
place "in time" throughout the rest of the tune. As usual with this style, pay attention to the pick strokes, 
for downstroke and "V" for upstroke. Sometimes, as in measure 11, a downstroke can play many strings in a
strum motion. In measure 21, the right-hand finger letters are stacked over the notation in the first beat. meaning
that the pick plays the third string, the middle finger plucks the second string, and the ring finger pluck
the first string. For the last beat of that measure it is understood that the pick plays the slide on the fifth string.
and it is written that the middle and ring fingers play the other two strings. On the lowest string of a chord.
there is not always room to show the downstroke symbol. (And that is the case throughout the book.)
 

Song Title: Composer/Source:

And so it Goes - Tommy Emmanuel
Antonella's Birthday - Tommy Emmanuel
Cantina Senese - Tommy Emmanuel
Cowboy's Dream - Tommy Emmanuel
Footprints - Tommy Emmanuel
Gameshow Rag / Cannonball Rag - Tommy Emmanuel
Keep it Simple - Tommy Emmanuel
Lewis & Clark - Tommy Emmanuel
That's the Spirit - Tommy Emmanuel
The Digger's Waltz - Tommy Emmanuel
The Mystery - Tommy Emmanuel
Walls - Tommy Emmanuel

Every day we experience "The Mystery." It's in our love for each other, it's in our feelings ofr others, in our music, it's in the kindness of strangers, in the parade of people who seem to appear at the right moment to help or to encourage us through tough times, in the wonders we see around us when we travel or just the feeling we are doing something good for our brothers and sisters. It's all around us, in us, ahead of us and lighting our way. It's God's awesome love for his children. Get it? Got it? Good!

ROLLING STONES, HOT ROCKS 1964-1971. BOOK WITH BASS TABLATURE

LIBRO DI MUSICA ROCK.

SPARTITI PER VOCE E BASSO CON:

ACCORDI, PENTAGRAMMA E TABLATURE. 

CATEGORY: Bass Guitar Personality
VERSION: Authentic Bass TAB
FORMAT: Book

Hot Rocks was the first, and, four decades later, remains the most significant Rolling Stones compilation ever released. It is The Rolling Stones' biggest-selling album more than 12 million copies! This book features all 21 tracks from this landmark recording--fully transcribed for bass! Hot Rocks' traces the development of the songwriting team of Jagger and Richards. The album begins with the early cover recording of "Time Is on My Side" and then proceeds chronologically through most of the band's biggest hits from its first decade. Titles: 19th Nervous Breakdown * As Tears Go By * Brown Sugar * Get Off of My Cloud * Gimme Shelter * Heart of Stone * Honky Tonk Women * (I Can't Get No) Satisfaction * Jumpin' Jack Flash * Let's Spend the Night Together * Midnight Rambler * Mother's Little Helper * Paint It, Black * Play With Fire * Ruby Tuesday * Street Fighting Man * Sympathy For The Devil * Time Is On My Side * Under My Thumb * Wild Horses * You Can't Always Get What You Want.

ROLLING STONE: SELECTIONS FROM THE 100 GREATEST GUITAR SONGS OF ALL TIME. TABLATURE

LIBRO DI MUSICA ROCK. 

SPARTITI PER VOCE E CHITARRA, CON:

ACCORDI, PENTAGRAMMA, NOTE, TABLATURE. 

Rolling Stone: Selections from the 100 Greatest Guitar Songs of All Time

36 Songs That Defined Rock Guitar
Item: 00-32815
UPC: 038081357263
ISBN 10: 0739061488
ISBN 13: 9780739061480
Category: Guitar Mixed Folio
Format: Book
Instrument: Guitar
Version: Authentic Guitar TAB 

Crossroads
Cream,1968
» No. 3 from Rolling Stone Magazine's 100 Greatest Guitar Songs of All Time
Eric Clapton once described Cream's music as "blues ancient and modern." This track is what he meant. He was not yet 23 when he played this high-velocity version of the Robert Johnson song at San Francisco's Winterland on March 10th, 1968. Everything in Clapton's solos is grounded in the blues vocabulary but pointed to the future. "When Clapton soloed, he wrote wonderful symphonies from classic blues licks in that fantastic tone," Little Steven Van Zandt told Rolling Stone in 2004. "You could sing his solos like songs in themselves."
Appears on: Wheels of Fire (Polydor)

Brown Sugar
The Rolling Stones, 1971
» No. 5 from Rolling Stone Magazine's 100 Greatest Guitar Songs of All Time
“Satisfaction" may be the Rolling Stones' most recognizable riff, but this Sticky Fingers hit – based on a gutbucket guitar part devised by Mick Jagger – is the band's raunchy guitar pinnacle. Keith Richards' secret weapon: He's playing a guitar that's missing its lowest string.
Appears on: Sticky Fingers (Virgin)

Eruption
Van Halen, 1978
» No. 6 from Rolling Stone Magazine's 100 Greatest Guitar Songs of All Time
Eddie Van Halen's 102-second mission statement was a piece he invented onstage: a solo showcase for his mastery of tone and technique, notably the rush of notes he produced with his fretboard tapping. An army of teens would try to duplicate it, emerging years later in every metal band of the Eighties.
Appears on: Van Halen (Warner Bros.)
(Music appears on page)

Stairway to Heaven
Led Zeppelin, 1971
» No. 8 from Rolling Stone Magazine's 100 Greatest Guitar Songs of All Time
"Stairway," Jimmy Page told RS in 1975, "crystallized the essence of the band." It's a masterpiece of dramatic ascension: Page's acoustic picking rising into chiming chords, which introduce the solo, a brilliant succession of phrases that steadily move toward rock& roll ecstasy.
Appears on: Led Zeppelin IV (Atlantic)
(Music appears on page )

Statesboro Blues
The Allman Brothers Band, 1971
» No.9 from Rolling Stone Magazine's 100 Greatest Guitar Songs of All Time
In 1968, Gregg Allman went to visit his older brother, Duane, on his 22nd birthday. Duane was sick in bed, so Gregg brought along a bottle of Coricidin pills for his fever and the debut album by guitarist Taj Mahal as a gift. "About two hours after I left, my phone rang," Gregg remembers. " 'Baby brother, baby brother, get over here now!' " When Gregg got there, Duane had poured the pills out of the bottle, washed off the label and was using it as a slide to play "Statesboro Blues," the old Blind Willie McTellsong that Taj Mahal covered. Duane had never played slide before, says Gregg, but "he just picked it up and started bumin'. He was a natural." The song quickly became a part of the Allman Brothers Band's repertoire, and Duane's slide guitar became crucial to their sound. "Statesboro Blues" was the opening track on their legendary 1971 live double album, At Fillmore East, and ever since, the moaning and squealing opening licks have given fans chills at live shows. "It wasn't something that Duane would play the same way every night," says current Allmans guitarist Warren Haynes, one of many guitarists who have filled Duane's shoes since he died in late 1971. "But in all of our heads, that's the way it goes." There's one thing the current band doesn't try to replicate from the Fillmore East performance: At the end of Duane's sublime "Statesboro" solo, the guitarist hits an off-key note that Gregg calls the "note from hell." "He left it in because he knew I hated it," says Gregg, claiming that the mistake only adds to the song's legend. "It was live. It was something that happened."
Appears on: At Fillmore East (Island/Mercury)
(Music appears on page )

Whole Lotta Love
Led Zeppelin, 1969
» No. 11 from Rolling Stone Magazine's 100 Greatest Guitar Songs of All Time
This thundering rewrite of Muddy Waters' "You Need Love" showcased three of Jimmy Page's specialties: primal, monomaniacal riffs; innovative production; and solos with the savage mastery he'd developed as a top-flight session musician in the pre-Zeppel years.
Appears on: Led Zeppelin II /(Atlantic)
(Music appears on page )

Layla
Derek and the Dominos, 1970
» No. 13 from Rolling Stone" Magazine's 100 Greatest Guitar Songs ofAll Time
"I didn't do it - it was Duane," Eric Clapton said, laughing, in 1988. Guest guitarist Duane Allman
created one of rock's most exciting and memorable licks, pinching the vocal line from Albert King's "As the Years Go Passing By"and speeding it up. App~ars on: Layla and Oth~r Assorted Love Songs (Polydor)
(Music appears on page )

My Generation
The Who, 1965
» No. 15 from Rolling Stone" Magazine's 100 Greatest Guitar Songs ofAll Time
Before smashing guitars was a cliche, it was a shock, and The Who's signature song was one shock after another, from Pete Townshend's pile-driving two-chord riff to his sudden disappearance while bassist John Entwistle solos to the glitchy feedback that ends the original recording.
Appears on: My Generation (Geffen)
(Music appears on page )

Black Sabbath
Black Sabbath, 1970
» No. 17 from Rolling Stone" Magazine's 100 Greatest Guitar Songs ofAll Time
Tony Iommi invented heavy-metal guitar out of necessity: He'd lost two fingertips on his fretting hand, and he used thimbles and dropped tunings to make playing easier. His crawling, dissonant riff (also called "the devil's chord") became the basis of thousands of metal songs.
Appears on: Black Sabbath (Warner Bros.)
(Music appears on page )

Blitzlaieg Bop
Ramones, 1976
» No. 18 from Rolling Stone" Magazine's 100 Greatest Guitar Songs ofAll Time
There's no guitar solo, because guitarist Johnny Ramone hated solos. But his down-stroke barre chords were fat with Dick Dale's twang and Bo Diddley's strumming. Joey Ramone once said that in Johnny's guitar, he heard organ, piano and other instruments that weren't really there.
Appears on: Ramones (Rhino)
(Music appears on page )

People Get Ready
The Impressions, 1965
» No. 20 from Rolling Stone" Magazine's 100 Greatest Guitar Songs of All Time
Curtis Mayfield's deepest civil rights anthem is powered by his eloquent open-tuned guitar-playing: The backbeat echoed the new sounds coming out of Jamaica, and the subtle, fluid solo spirals are as expressive as his singing. Bob Marley later synthesized it with "One Love."
Appears on: Ultimate Collection (Hip-O)
(Music appears on page )

Can't You Hear Me Knocking
The Rolling Stones, 1971
» No. 25 from Rolling Stone" Magazine's 100 Greatest Guitar Songs ofAll Time
The fist-on-your-door riff was classic Keith Richards, while the solo showed Mick Taylor's disciplined touch. "Mick was so lyrical on songs like 'Knocking,' " Charlie Watts has said, noting his love of the song's long instrumental coda. "That was a complete jam, one take at the end."
Appears on: Sticky Fingers (Virgin)
(Music appears on page )

Back in Black
AC/DC, 1980
» No. 29 from Rolling Stone" Magazine's 100 Greatest Guitar Songs of All Time
Angus and Malcolm Young's dual-guitar masterpiece is the platonic ideal of hard rock. The bridge alone is heavier than most axmen ever manage, and the riff is instantly recognizable: "Black"has been covered by everyone from Living Colour to Shakira, and sampled by the Beastie Boys and Eminem.
Appears on: Back in Black (Epic)
(Music appears on page )

Sweet Child 0' Mine
Guns n' Roses, 1987
»No. 63 from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of All Time
Slash was sitting on the floor in Guns n' Roses' squalid East Hollywood house sometime in 1986 when he started fooling around with a chiming, circular melody. "It was an interesting sort of pattern," Slash says. "But Jesus Christ, I never thought it was going to become a song." As he kept playing, fellow G n' R guitarist Izzy Stradlin joined in, playing a simple chord progression. They didn't realize that Ax}Rose was listening in from upstairs - and writing lyrics. At rehearsal the next day, the band hashed out what would become "Sweet Child" - over the objections of Slash, who was convinced that the music was too lightweight for what he saw as a "thrash band," But he relented, and soon came up with the lyrical, multisectioned solo that ended up on the finished song. "It's a combination of influences," Slash says. "From Jeff Beck, Cream and Zeppelin to stuff you'd be surprised at: the solos in Manfred Mann's version of 'Blinded by the Light' and Gerry Rafferty's 'Baker Street.''' Despite the solo's complexity, it was the song's precise intro that proved challenging onstage. "It's easy now, but it was very daunting in the early days," Slash says. "Especially because I drank exorbitant amounts of alcohol and had other chemical things going on. I hated playing that song for years."
Appears on: Appetite for Destruction (Geffen)
(Music appears on page)

Adam Raised a Cain
Bruce Springsteen, 1978
»No. 67 from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of All Time
Before he was known as a songwriter, Springsteen was the fastest guitar player in Asbury Park. And in this bluesy hard-rock blast, he lets those chops loose again, pushing the E Street Band to garage-land with the angriest lead guitar on record.
Appears on: Darkness on the Edge of Town (Columbia)
(Music appears on page 10)

Money
Pink Floyd, 1973
»No. 69 from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of All Time
David Gilmour hangs back for the first three minutes of this definitive Floyd rocker, which started as an acoustic blues song in rehearsals. Then the song shifts from a 7/4 stomp into straight time, and he delivers a rampaging freakout, ending up on notes so high most guitars don't even reach them.
Appears on: Dark Side of the Moon (Capitol)
(Music appears on page)

Summertime Blues
Blue Cheer, 1968
» No. 73 from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of All Time
This power trio's cover of Eddie Cochran's classic was their only hit, sometimes called the first heavy-metal record. It's a showcase for the massive roar of Leigh Stephens' guitar, so fuzzed-up it scrapes like steel wool, dragging the rockabilly riff through the dust.
Appears on: Vincebus Eruptum (Island/Mercury)

Beat It
Michael Jackson, 1982
» No. 81 from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of All Time
There had never been a soul hit with as much heavy guitar as this or a heavy-metal hit with as much soul. Paul Jackson Jr. and Steve Lukather play the menacing riff, but Eddie Van Halen's speed-shred solo is the coup de grace. Van Halen says producer Quincy Jones' only advice was "go be yourself."
Appears on: Thriller (Epic)

How Soon Is Now?
The Smiths, 1985
» No. 90 from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of All Trm<
Trading guitarist Johnny Marr's spidery technique for a sobbing oscillation on a few extended chords and a tone-bending wail that sounds like the world racingby, this song became a club standard, opening the passageways between underground rock and dance music.
Appears on: Meat Is Murder (Sire) (Music appears on page )

Memo From Turner
Mick Jagger, 1970
» No. 92 from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of AllTrmtt
Guitar virtuoso Ry Cooder, who played on the Stones' Let It Bleed, accused Keith Richards of stealing his open-G tuning technique on singles like "Jumpin' Jack Flash" and "Gimme Shelter." Cooder's jittery slide guitar defines Jagger's first solo recording, which was written for his film role as a decadent rock star in 1970's Performance.
Appears on: The Very Best of Mick Jagger (Rhino)
(Music appears on page )

WhiteRoom
Cream, 1968
» No. 55from Rolling Stone"' Magazine's 100 Greatest Guitar Songs of All Time
The first rock supergroup, Cream gave Jack Bruce and Ginger Baker as much playas Eric Clapton, but Clapton's unrelenting wah-wah cascade signs his name in foot-high letters over the song. Along with Jimi Hendrix's "Voodoo Child (Slight Return)," it made that pedal the sound of '68 psychedelia. Appears on: Wheels of Fire (Polydor) (Music appears on page 246)

Eight Miles High
The Byrds, 1966
» No. 56from Rolling Stone"' Magazine's 100 Greatest Guitar Songs of All Time
Roger McGuinn's chiming 12-string solos helped to mold Sixties rock. But what he was inspired by here wasn't rock at all: Indian classical music and saxophonist John Coltrane's explorations of single
chords and phrases. McGuinn said his guitar "breathes like a wind instrument."
Appears on: The Byrds Greatest Hits (Columbia/Legacy)
(Music appears on page 80)

Dark Star
Grateful Dead, 1969
» No. 57from Rolling Stone"' Magazine's 100 Greatest Guitar Songs of All Time
Considered the Dead's greatest live track, this definitive near-half-hour version from an acid-soaked Fillmore West show is Jerry Garcia at his spaciest and most exploratory. Framed by Bob Weir and Phil Lesh, Garcia's free-form improvisation is the song's "nightfall of diamonds" come to life. Appears on: Live/Dead (Rhino) (Music appears on page 76)

Rumble
Link Wray, 1958
» No. 58from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of All Time
In 1958, guitar distortion and power chords were virtually unheard of, but Wray stabbed a pencil through his amplifier to make it sound nastier, dragged his pick like a switchblade, and got this blues riff banned by radio stations as an incitement to violence. Not bad for
an instrumental. Appears on: Rumble! The Best of Link Wray (Rhino)
(Music appears on page 186)

Freeway Jam
Jeff Beck, 1975
» No. 59from Rolling Stone'" Magazine's 100 Greatest Guitar Songs of All Time
After years of leading bands with vocalists, Beck proved he is his own best singer. There's a howling quality to his string-bending in this brisk funk. "There were thousands of guitarists playing with their Les Pauls cranked up bloody blaring loud," he later told RS. "I needed to try something new." Appears on: Blow by Blow (Epic) (Music appears on page 90)

Soul Man
Sam and Dave, 1967
» No. 61from Rolling Stone"' Magazine's 100 Greatest Guitar Songs of All Time
"Play it, Steve!" shouts Sam Moore - he's calling out to Steve Cropper, the genius who powered Stax Records' house band. Cropper's fluttering, high-end riffs provide the song's rhythmic mojo, and his squealing fills (for which he used a cigarette lighter in lieu of an actual slide) are its third singing voice. Appears on: Soul Men (Rhino) (Music appears on page 179)

- Adam Raised a Cain, Bruce Springsteen 

- Back in Black, AC/DC

-Beat It, Michael Jackson Van Halen

-Black Magic Woman/Gypsy Queen, Santana

-Black Sabbath, Black Sabbath

-Blitzkrieg Bop, Ramones

-Brown Sugar, The Rolling Stones

-Can’t You Hear Me Knocking, The Rolling Stones

-Crossroads, Cream

-Dark Star, Grateful Dead

-Eight Miles High, The Byrds

-Eruption, Van Halen

-Freeway Jam, Jeff Beck

-How Soon Is Now? The Smiths

-I Can See for Miles, The Who

-Layla, Derek and the Dominos

-London Calling, The Clash

-Memo from Turner, Mick Jagger

-Money, Pink Floyd

-My Generation, The Who

-My Iron Lung, Radiohead

-Panama, Van Halen 

-People Get Ready, The Impressions

-(We’re Gonna) Rock Around the Clock, Bill Haley and His Comets

-Rumble, Link Wray - Words and Music: Link Wray, Milton Grant - 1958

-Soul Man, Sam and Dave

-Stairway to Heaven, Led Zeppelin - Words and Music: Jimmy Page, Robert Plant - 1997

-Statesboro Blues, The Allman Brothers Band - Words and Music: Will McTell - 1929

-Stay with Me, The Faces - Words and Music: Ron Wood, Rod Stewart - 1972 

-Summertime Blues, Blue Cheer - Words and Music: Eddie Cochran, Jerry Capehart - 1958

-Sweet Child O’ Mine, Guns n’ Roses - Words and Music: Steven Adler, Saul Hudson, Duff McKagan, W. Axl Rose, Izzy Stradlin - 1987

-That’s All Right, Elvis Presley - Arthur Crudup - 1947

-White Room, Cream - Words and Music: Jack Bruce, Peter Brown - 1968

-Whole Lotta Love, Led Zeppelin - Words and Music: Jimmy Page, Robert Plant, John Paul Jones, John Bonham, Willie Dixon - 1969

McCartney PAUL, BEST. BAND SHEET MUSIC BOOK WITH BASS & GUITAR WITH TABLATURE.

LIBRO DI MUSICA ROCK.

SPARTITI DI OGNI STRUMENTO: VOCE, CHITARRA, BASSO, BATTERIA, TASTIERA, ECC.

CON ACCORDI, PENTAGRAMMA, BASSO E CHITARRE CON TABLATURE.

TITOLI:

My Love

Band On The Run

Jet

Venus And Mars - Rockshow

Listen To What The Man Said

Silly Love Songs

Ebony And Ivory

No More Lonely Nights

Driving Rain

Another Day

Coming Up

Let ’Em In

Maybe I’m Amazed

Hi Hi Hi 

JERRY LEE LEWIS, GREATEST HITS. SHEET MUSIC BOOK FOR VOCAL AND PIANO. 

Titles: Another Place Another Time -Big Legged Woman -Breathless -Carry Me Back To Ole Virginia -Chantilly Lace -Crawdad Song -End Of The Road -Great Balls Of Fire -High School Confidential -I Am What I Am -Johnny B Goode -Lewis Boogie -Lucille -Me And Bobby McGee -Middle Age Crazy -New Orleans Boogie -Once More With Feeling -One Has My Name (The Other Has My Heart) -Over The Rainbow -Rockin' My Life Away -Roll Over Beethoven -She Even Woke Me Up To Say Goodbye -She Still Comes Around (To Love What's Left Of Me) -Sweet Little Sixteen -There Must Be More To Love Than This -Think About It Darlin' -Thirty Nine And Holding -To Make Love Sweeter For You -Wall Around Heaven -What'd I Say -What's Made Milwaukee Famous (Has Made A Loser Out Of Me) -Whole Lot Of Shakin' Going On -Would You Take Another Chance On Me -You Win Again. 154 pagine. Per Voce e PIANOFORTE. 

CATEGORY: Personality Book
VERSION: Piano/Vocal/Chords
FORMAT: Book

Legendary singer/songwriter and pianist Jerry Lee Lewis was one of the first great rock & roll artists. Nicknamed "The Killer," Jerry Lee Lewis was as famous for his music and energetic live performances as his controversial personal life. This book provides the lyrics along with piano and chord arrangements for 30 of Jerry Lee Lewis' most famous hit songs. A must-have for Jerry Lee Lewis fans!

Titles: Another Place Another Time * Big Legged Woman * Breathless * Carry Me Back to Ole Virginia * Chantilly Lace * Crawdad Song * End of the Road * Great Balls of Fire * High School Confidential * I Am What I Am * Lewis Boogie * Lucille * Me and Bobby McGee * Middle Age Crazy * New Orleans Boogie * Once More with Feeling * One Has My Name (The Other Has My Heart) * Over the Rainbow * Rockin' My Life Away * She Even Woke Me Up to Say Goodbye * She Still Comes Around (To Love What's Left of Me) * Think About It Darlin' * Thirty Nine and Holding * To Make Love Sweeter for You * Wall Around Heaven * What'd I Say * What's Made Milwaukee Famous (Has Made a Loser Out of Me) * Whole Lot of Shakin' Going On * Would You Take Another Chance on Me * You Win Again.

Includes the Following Selections:
Title Composer
ANOTHER PLACE, ANOTHER TIME - CHESTNUT, JERRY
BIG LEGGED WOMAN - LEWIS, JERRY LEE
BREATHLESS - BLACKWELL, OTIS
CARRY ME BACK TO OLD VIRGINNY - LEWIS, JERRY LEE
CHANTILLY LACE - RICHARDSON, J.P.
CRAWDAD SONG - LEWIS, JERRY LEE
END OF THE ROAD - LEWIS, JERRY LEE
GREAT BALLS OF FIRE - BLACKWELL, OTIS/HAMMER, JACK
HIGH SCHOOL CONFIDENTIAL - LEWIS, JERRY LEE/HARGRAVE, RON
I AM WHAT I AM (NOT WHAT THEY WANT ME TO BE) - LOVELACE, KEN/TAYLOR, BILL
LEWIS BOOGIE - LEWIS, JERRY LEE
LUCILLE (YOU WON'T DO YOUR DADDY'S WILL) - PENNIMAN, RICHARD/COLLINS, ALBERT
ME & BOBBY MCGEE - KRISTOFFERSON, KRIS/FOSTER, FRED
MIDDLE AGE CRAZY - THROCKMORTON, SONNY
NEW ORLEANS BOOGIE - LEWIS, JERRY LEE
ONCE MORE WITH FEELING - SILVERSTEIN, SHEL / KRISTOFFERSON, KRIS
ONE HAS MY NAME (THE OTHER HAS MY HEART) - DEAN, EDDIE/DEAN, DEAREST/BLAIR, HAL
OVER THE RAINBOW (FROM "THE WIZARD OF OZ") - ARLEN, HAROLD/L: HARBURG, E.Y.
ROCKIN' MY LIFE AWAY - VICKERY, MACK
SHE EVEN WOKE ME UP TO SAY GOODBYE - NEWBURY, MICKEY/GILMORE, DOUGLAS
SHE STILL COMES AROUND (TO LOVE WHAT'S LEFT OF ME) - SUTTON, GLENN
THINK ABOUT IT DARLIN' - FOSTER, JERRY/RICE, BILL
THIRTY-NINE AND HOLDING - FOSTER, JERRY/RICE, WILBURN
TO MAKE LOVE SWEETER FOR YOU - SUTTON, GLENN/KENNEDY, JERRY
WALL AROUND HEAVEN - LEWIS, JERRY LEE/HARRELSON, CECIL/HOLLAND, CARMON
WHAT'D I SAY - CHARLES, RAY
WHAT'S MADE MILWAUKEE FAMOUS (HAS MADE A LOSER OUT OF ME) - SUTTON, GLENN
WHOLE LOTTA SHAKIN' GOING ON - WILLIAMS, DAVID H.
WOULD YOU TAKE ANOTHER CHANCE ON ME - FOSTER, JERRY / RICE, BILL
YOU WIN AGAIN - WILLIAMS, HANK