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Pumped Up Kicks (whistling part)

PLAY 2x

-7 -6 -6 6 6

-4 5 -4

6 6 6

-4 5 -4

6 6 6

-6 -6 -6 -7 -6 6

LOWER OCTAVE VERSION

-3 -3” -3” -2 -2

-1 2 -1

-2 -2 -2

-1 2 -1

-2 -2 -2

-3” -3” -3” -3 -3” -2

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Tim Maia

Tim Maia (Brazilian Portuguese: [tʃĩ ˈmajɐ], born Sebastião Rodrigues Maia; September 28, 1942 – March 15, 1998) was a Brazilian musician, songwriter, and businessman known for his iconoclastic, ironic, outspoken, and humorous musical style. Maia contributed to Brazilian music within a wide variety of musical genres, including soul, funk, disco, jazz, rock and roll, rhythm and blues, romantic ballads, samba, bossa nova, baião and música popular brasileira (MPB). He introduced the soul style on the Brazilian musical scene. Along with Jorge Ben, Maia pioneered sambalanço, combining samba, soul, funk and rock and roll.[1] He is recognized as one of the biggest icons in Brazilian music.

Tim Maia recorded numerous albums and toured extensively in a long career. After his death in 1998, his recorded oeuvre has shown enduring popularity. A theatrical retrospective of his career, the popular musical Vale Tudo, was first staged in Rio de Janeiro in 2012.

Biography

1950s

Maia was born in the Tijuca neighbourhood, in the northern suburbs of Rio de Janeiro. He began writing melodies while a child, the second youngest of nineteen children. Then known as “Tião Maia”, he wrote his earliest songs at age eight. At fourteen, as a drummer, he formed the group Os Tijucanos do Ritmo, which lasted one year. He took guitar classes and was teaching other children in Tijuca. He gave lessons to his friends Erasmo Esteves and Roberto Carlos, fellow members of the so-called Matoso Gang. Named after the street where they used to hang out, the gang also included Jorge Ben, among others. They liked to listen to the earliest styles of rock and roll, with both Maia and Ben being nicknamed “Babulina” after their enthusiastic pronunciation of Ronnie Self’s rockabilly song “Bop-A-Lena”.

In 1957, Maia, Carlos, Arlênio Silva, Edson Trindade and Wellington started the vocal group The Sputniks. After a televised appearance on Carlos Imperial’s Clube do Rock on TV Tupi, Imperial arranged a solo appearance for Roberto Carlos the following week. Maia got annoyed at this, leading him to insult Carlos in the following rehearsals until his bandmate left the group. After watching Carlos’ concert the following week, Maia left The Sputniks, and went after Imperial for a solo appearance. Imperial eventually suggested another artistic name, Tim, which Maia accepted with reservations.

In 1959, Maia went to study in the United States, where he lived for five years. He joined a vocal harmony ensemble, The Ideals, and wrote the lyrics to “New Love”, which was recorded as a demo with guest percussion by Milton Banana.[4] (Maia also recorded the song as a soloist in 1973). The group’s career was derailed in 1963 when Maia was arrested for possession of marijuana and deported back to Brazil.

1960s

After returning, Maia had a few unsuccessful jobs and arrests in Rio. Eventually he decided to move to São Paulo to try to get help to kickstart his musical career from Carlos, who was beginning to enjoy the massive success of Jovem Guarda with Esteves. Carlos was inaccessible, but Maia started to perform in São Paulo’s nightlife and in Wilson Simonal’s radio program, and also had a televised appearance at TV Bandeirantes with Os Mutantes. By the end of 1967 Maia managed to send a homemade recording to Carlos, who got Maia a deal for a single at CBS and an appearance on the Jovem Guarda TV program. His first single in 1968, “Meu País” backed by “Sentimento”, went unnoticed, as was another single, “These Are the Songs”/”What Do You Want to Bet?”, recorded in English for RGE Discos. Maia also wrote one of Carlos’ hits, “Não Vou Ficar”. He became more visible after 1969 when he launched his “These Are the Songs”, which was re-recorded by Elis Regina in the next year in a duo with Maia. Maia managed a deal with Polydor/Philips and recorded the successful single “Primavera”.

1970s

In the 1970s, Maia started to record albums and perform shows promoting his synthesis of American soul and Brazilian music with elements of samba and baião. The movement gradually took the working-class suburbs of the north side of Rio de Janeiro, exploding in 1976 with the black movement.

In 1970, Maia recorded his first full-length LP, Tim Maia, which included the classics “Azul da Cor do Mar”, “Coroné Antônio Bento”, and “Primavera”, and topped the charts for 24 weeks in Rio de Janeiro. His first four albums were all self-titled. Next year’s Tim Maia had other hits including “Não Quero Dinheiro (Só Quero Amar)” and “Preciso Aprender a Ser Só”. His fourth album, released in 1973, included “Réu Confesso” and “Gostava Tanto de Você”. Angry at how the music publisher distributed the royalties, Maia opened his own, Seroma (derived from the first syllables of his first, middle and last names), to make sure he had a bigger cut of the profits.

After his fourth album, Maia left Polydor for RCA Victor, who offered him a chance to record a double album. The instrumental parts were all ready when Maia went to his composing friend Tibério Gaspar for help with the lyrics. In his house Maia found the book Universo em Desencanto (Disenchanting Universe), revolving around the cult of Rational Culture. Maia converted to the cult, abandoned the drugs and red meat, and decided to write the lyrics for the songs about the knowledge contained in the book. RCA rejected the albums Tim Maia Racional, Vols. 1 & 2 for the newly found spiritual content, but Maia bought the master tapes from them and released the albums independently through label Seroma Discos, which would split its profits with the cult. While the lead single “Que Beleza (Imunização Racional)” had some airplay, at the time these records were not well received, due to inadequate distribution, and the spiritual content alienating both the radios and Maia’s fans. Eventually, the artist could only perform at events promoted by the Rational Culture. Eventually in 1975, Maia got fed up with the cult, destroyed the unsold records and went back to his carefree life. The Racional albums are now regarded as classics and saw re-release in 2005.

For his return in 1976, Maia signed with Polygram and recorded an album also titled Tim Maia, which included the hit “Rodésia” (inspired by the Rhodesian Bush War), and also did a self-published album in English.[11] In 1977 Maia signed with Som Livre, where he recorded the album Verão Carioca. In 1978 Maia signed with Warner Bros. Records and incorporated the disco sound of the period in the album Tim Maia Disco Club, which spawned the hits “Sossego” and “Acenda o Farol”.In 1979 Maia recorded Reencontro for EMI-Odeon, but revolted at the label’s estimated promotion costs which were the same as the money spent recording, Maia fought with the marketing executive, and in response EMI president fired Maia, releasing the album with no publicity to low sales.

1980s and 1990s

In 1980, Maia recorded another self-titled album for Polygram. The following year, with turbulent passages through all the major labels in Brazil, Maia released again through Seroma the album Nuvens, which flopped due to inefficient distribution. To earn cash for his future albums, Maia was a guest in songs by Fevers, Edu Lobo and Chico Buarque, Ivan Lins and Sandra de Sá. His collaboration with Sá, “Vale Tudo”, later became a solo hit for Maia. In 1983 he had hits with “O Descobridor dos Sete Mares” and “Me Dê Motivo”, included on O Descobridor dos Sete Mares (Polygram). Another milestone of his career in the 1980s was Tim Maia (1986), which had the hit “Do Leme ao Pontal (Tomo Guaraná, Suco de Caju, Goiabada Para Sobremesa)”.

In 1990, Maia saw Caetano Veloso’s songbook and asked editor Almir Chediak to do one for his own work. Chediak was working on such an album with bossa nova classics, and Maia requested a copy, which eventually inspired him to do a self-released album of bossa nova covers, Tim Maia Interpreta Clássicos da Bossa Nova. After a period of poor presence in the media, he was again on top after being mentioned by Jorge Ben Jor’s “W/Brasil” in 1991. In the same period, Maia had another hit with his re-recording of Lulu Santos’ “Como uma Onda” for a television advertisement – Santos in return recorded Maia’s “Descobridor dos Sete Mares.

At the same time, he withdrew from majors, recording his next albums through Vitória Régia, including What a Wonderful World (1997), where he recorded American pop/soul classics, and Amigos do Rei/Tim Maia e Os Cariocas, with the famous vocal group. Obese and in bad health, on March 8, 1998 he was performing at the Municipal Theater of Niterói when he became ill. He was hospitalized and died a few days later.

Personal life

Maia lived in the United States of America from 1959 to 1964. He first resided in Tarrytown, New York, with the family of an acquaintance of his father’s customer. There he learned English and did not speak much Portuguese because so few Brazilians were living in the US at the time. In 1961, Maia moved to New York City, and, in late 1963, with a group of three friends, decided to travel to the Southern United States. With a stolen car and performing small thefts to finance the journey (which got him arrested five times), Maia and friends traveled through nine states before arriving in Florida. In Daytona Beach, Maia had his final imprisonment for marijuana possession, which earned him deportation back to Brazil.

He had three sons. The first was José Carlos da Silva Nogueira (b. 1966). Maia only met Nogueira when he was already 15. Maia never legally recognized Nogueira as a son, but the two reportedly had a good relationship. A sister of Maia claims that, once he found out about Nogueira, he allowed the boy to live in one of his properties and helped him financially. Nogueira was shot and killed in 2002, in Barra da Tijuca, Rio de Janeiro, four years after Maia’s death.

Maia had a live-in girlfriend, Maria de Jesus “Geisa” Gomes da Silva. After some time together, they broke up. When they made up, she was pregnant with a boy, whose father refused to recognize the child as his. Maia then adopted the boy, Marcio Leonardo “Léo” Maia (b. 1974). Afterwards, Maia and Geisa married and had another son, Carmelo “Telmo” Maia (b. 1975). When Léo was 12, Tim Maia and Geisa divorced.

Tim Maia became a member of the Brazilian Socialist Party (Partido Socialista Brasileiro – PSB) in October 1997. He was rumoured to have joined the party in order to run for a seat in the Federal Senate for Rio de Janeiro in the 1998 general elections, but died before that. When asked by a reporter why he chose to join the then small PSB, he replied: “Brazil is the only country where: whores fall in love, pimps get jealous, drug dealers become addicted and the poor vote for the right-wing”. His phrase would become a famous aphorism on the way Brazilians face politics.

He was also known for his easygoing lifestyle, and for his habit of lightheartedly missing appointments and even important gigs. Indeed, Maia had a tradition of arriving late at concerts, at times missing them altogether. He also frequently complained about the sound quality in them. Many of his missed concerts were due to what he called his “triathlon”: consuming whiskey, cocaine and marijuana before a gig. Towards the end of his life, Tim Maia suffered from many health problems, which included diabetes, acute hypertension, obesity and pulmonary embolism. In 1996, he had a Fournier gangrene solved through an emergency operation.

Legacy and homages

After his death, Maia was the subject of numerous tributes by Música popular brasileira artists; two lavish commemorations in 1999 and 2000 were each released on CD and DVD. A biography, Vale Tudo – O Som e a Fúria de Tim Maia, was published in 2011 by one of Maia’s personal friends, Nelson Motta. Motta later worked with João Fonseca on a stage version of the book – their musical retrospective Tim Maia: Vale Tudo began a successful theatrical run in Rio de Janeiro in 2012. The film adaptation Tim Maia based on the book was released in 2014.

In 2004, Som Livre released an album of posthumous duets entitled Soul Tim: Duetos.[28] Maia’s entire discography, including the never before seen third volume of Tim Maia Racional, was reissued by Editora Abril in 2011.[29] In October 2012, American record label Luaka Bop released a Maia compilation entitled Nobody Can Live Forever.

In January 2001, Guns N’ Roses guitarist Robin Finck sang “Sossego” during the Rock in Rio III festival.[30] In 2007, TV Globo recorded a special program about Maia, Por Toda a Minha Vida,[31] and in 2009, Globo had an episode of its show Som Brasil with Maia’s songs, performed by his son Léo and Seu Jorge among other artists. TV Cultura (São Paulo’s public broadcasting) released in 2012 Tim Maia’s 1992 episode on YouTube of their Ensaio music program. Posthumously, an unprecedented album was released on digital platforms entitled “Yo Te Amo”, which brings the musician’s hits sung in Spanish and arrives 51 years after his original recording, made in 1970.

Discography

Maia released his first album in 1970 and recorded frequently throughout his career. The following is a representative list drawn from his extensive catalog:

Tim Maia (1970)

Tim Maia (1971)

Tim Maia (1972)

Tim Maia (1973)

Racional (1975)

Racional, vol.2 (1976)

Tim Maia (1976)

Tim Maia (1977)

Tim Maia Disco Club (1978)

Tim Maia (1978)

Reencontro (1979)

Tim Maia (1980)

Nuvens (1982)

O Descobridor dos Sete Mares (1983)

Sufocante (1984)

Tim Maia (1985)

Tim Maia (1986)

Somos América (1987)

Carinhos (1988)

Dance Bem (1990)

Tim Maia Interpreta Clássicos da Bossa Nova (1990)

Sossego (1991)

Não Quero Dinheiro (1993)

Romântico (1993)

Voltou Clarear (1994)

Tim Maia Ao Vivo (1995)

Nova Era Glacial (1995)

Pro Meu Grande Amor (1997)

Sorriso de Criança (1997)

What a Wonderful World (1997)

Amigos do Rei (1997)

Só Você: Para Ouvir e Dançar (1997)

Tim Maia Ao Vivo II (1998)

Yo Te Amo (2021)

Nikki Sixx

Nikki Sixx (born Frank Carlton Serafino Feranna Jr.; December 11, 1958) is an American musician, songwriter, radio host, and photographer, best known as the co-founder, bassist, and primary songwriter of the band Mötley Crüe.[1] Prior to forming Mötley Crüe, Sixx was a member of Sister before going on to form London with his Sister bandmate Lizzie Grey. In 2000, he formed side project group 58 with Dave Darling, Steve Gibb and Bucket Baker issuing one album, titled Diet for a New America, the same year while, in 2002, he formed the hard rock supergroup Brides of Destruction with L.A. Guns guitarist Tracii Guns. Formed in 2006, initially to record an audio accompaniment to Sixx’s autobiography The Heroin Diaries: A Year in the Life of a Shattered Rock Star, his side band Sixx:A.M. features songwriter, producer, and vocalist James Michael and guitarist DJ Ashba.

Sixx has also worked with a number of artists and groups, co-writing and/or producing songs, such as Sex Pistols’s guitarist Steve Jones, Lita Ford, Alice Cooper, Meat Loaf, Marion Raven, Drowning Pool, Saliva and The Last Vegas, among others.

Sixx launched the clothing line “Royal Underground” in 2006 with Kelly Gray, formerly the co-president and house model of St. John. Initially the label concentrated on men’s clothing[12] before expanding into women’s while in 2010, Premiere Radio Networks launched nationally syndicated Rock/alternative music radio programs “Sixx Sense” and “The Side Show Countdown” with both based in Dallas, Texas and hosted by Sixx and co-hosted by Jenn Marino.

Early life

Frank Carlton Serafino Feranna, Jr. was born on December 11, 1958 in San Jose, California. He is of Italian ancestry on his father’s side. Sixx was partially raised by his single mother, Deana Richards, and by his grandparents after his father left the family. Feranna later moved in with his grandparents after his mother abandoned him. Feranna relocated several times while living with his grandparents. Feranna’s uncle, husband of Deana’s sister Sharon, is Don Zimmerman, producer and president of Capitol Records. Feranna had one full biological sister, Lisa (born with Down syndrome; died circa 2000) and has one (half) brother Rodney Anthony Feranna (born 1966) and a half-sister Ceci.

Feranna grew up listening to Deep Purple, Harry Nilsson, The Beatles, The Rolling Stones, Elton John, Queen, Black Sabbath and later discovered T. Rex, David Bowie, and Slade. While living in Jerome, Idaho, Feranna’s youth years turned out to be a troubled one, as he became a teenage vandal, broke into neighbors’ homes, shoplifted, and was expelled from school for selling drugs. His grandparents sent him to live with his mother, who had moved to Seattle. Feranna lived there for a short time, and learned how to play the bass guitar having bought his first instrument with money gained from selling a guitar he had stolen.

Career

Early career, Sister, London (1975–1979)

At the age of 17, Feranna moved to Los Angeles, and began various jobs such as working at a liquor store and selling vacuum cleaners over the phone while he auditioned for bands. He eventually joined the band, Sister, led by Blackie Lawless after answering an ad in The Recycler for a bass player. Soon after recording a demo, Feranna was fired from Sister along with bandmate Lizzie Grey.

Feranna and Grey formed the band, London, soon afterwards, in 1978. During this time, Feranna legally changed his name to Nikki Sixx. After a number of lineup changes, London added former Mott the Hoople singer Nigel Benjamin to the group recording a 16-track demo in Burbank. After the departure of Benjamin, along with the failure to find a replacement, Sixx departed London. The group would go on to feature Sixx’s former Sister bandmate Blackie Lawless (later of W.A.S.P.), Izzy Stradlin (then of Hollywood Rose, later of Guns N’ Roses) and drummer Fred Coury (later of Cinderella). In 2000, a number of the London demos recorded with Sixx were included on London Daze by Spiders & Snakes, led by former London guitarist Lizzie Grey.

Mötley Crüe (1981–2015)

In 1981, Sixx founded Mötley Crüe alongside drummer Tommy Lee. They were later joined by guitarist Mick Mars through an ad in the local newspaper, and singer Vince Neil, with whom Lee had attended high school. The band self-recorded their debut album, Too Fast for Love, which was subsequently released in November 1981 on the band’s own Leathür Records label. After signing with Elektra Records, they re-released the same album. The band then went on to record and release Shout at the Devil, raising the band to national fame. They issued three more albums during the 80’s, Theatre of Pain in 1985, Girls, Girls, Girls in 1987, and Dr. Feelgood in 1989. The latter ended up being their most successful record, staying in the charts for 114 weeks after its release.

During his time with Mötley Crüe, Sixx became addicted to heroin. He is quoted in The Heroin Diaries as saying: “Alcohol, acid, cocaine… they were just affairs. When I met heroin it was true love.” He estimates he overdosed “about half a dozen times”. On December 23, 1987, Sixx overdosed on heroin and was reportedly declared clinically dead for two minutes before a paramedic revived him with two syringes full of adrenaline.

After releasing the compilation album, Decade of Decadence, in 1991, Neil left the group, and was replaced by John Corabi, who formerly served with The Scream. They released one self titled album with Corabi, in 1994, before firing him in 1996. Afterwards, they reunited with Neil, with whom they released Generation Swine in 1997.

Sixx had become controversial for an October 30, 1997 incident at Greensboro Coliseum, in which during a Mötley Crüe concert, he used racial epithets while goading the audience to physically attack a black security guard for repeatedly attacking a female fan. In May 2001, Sixx addressed the issue, and claimed he had apologized to the victim of the incident.

In 1999, Tommy Lee left the group to form Methods of Mayhem. He was replaced by former Ozzy Osbourne drummer, Randy Castillo, with whom they released the album, New Tattoo, in 2000. The group went on hiatus soon after before reuniting in 2004, during which Sixx declared himself sober. A 2001 autobiography entitled The Dirt packaged the band as “the world’s most notorious rock band”. The book made the top ten on The New York Times Best Seller list and spent ten weeks there.

In 2006, Mötley Crüe completed a reunion tour, featuring all four original members, and embarked on a co-headlining tour with Aerosmith, called The Route of All Evil. In April 2008, the band announced the first Crüe Fest, a summer tour, that featured Sixx’s side project Sixx:A.M., Buckcherry, Papa Roach and Trapt. On June 24, 2008, Mötley Crüe released their ninth and final studio album, Saints of Los Angeles, with Sixx credited as either writer or co-writer on all tracks.[citation needed] The band officially retired in 2015.

Sixx wrote most of Mötley Crüe’s material, including tracks such as “Live Wire”, “Home Sweet Home”, “Girls, Girls, Girls”, “Kickstart My Heart”, “Wild Side”, “Hooligan’s Holiday” and “Dr. Feelgood”. In the 1990s, all four members began contributing to the material on the albums.

58 (2000)

In 2000, Sixx formed the internet based side project 58 with producer Dave Darling, guitarist Steve Gibb (formerly of Black Label Society and Crowbar) and drummer Bucket Baker. They released one single, titled “Piece of Candy”, and their debut album, Diet for a New America, also in 2000 through Sixx’s Americoma label and Beyond Records. The group did not tour, and was described by Sixx as “strictly an artistic thing.”

Brides of Destruction (2002–2004)

Brides of Destruction were formed by Sixx[7] and Tracii Guns[2] in Los Angeles 2002 initially with the name Cockstar[5][29] after Mötley Crüe went on hiatus and Guns left L.A. Guns. Sixx also invited former Beautiful Creatures guitarist DJ Ashba to join the group however he declined to focus on his solo band, ASHBA. Ashba would eventually join Sixx in Sixx:A.M..[30]

After a few lineup changes, that included Sixx’s former Mötley Crüe bandmate John Corabi, keyboardist Adam Hamilton and drummer Kris Kohls of Adema, the group was composed of Sixx, Guns, singer London LeGrand and drummer Scot Coogan formerly of Ednaswap and Annetenna.

They were advised by radio programmers that the name Cockstar would not be announced on air. They briefly adopted the moniker Motordog before settling on Brides of Destruction.

They entered the studio with producer Stevo Bruno to begin recording what would become Here Come the Brides. The Brides played their first show opening for Mudvayne and Taproot on November 14, 2002 at the Ventura Theatre in California.

After signing a deal with Sanctuary Records, the group released Here Come the Brides in 2004, with the album debuting at number 92 on the Billboard 200 selling over 13,000 copies. A tour of the US, Europe, including an appearance at Download Festival in the United Kingdom, and Australia followed.

On October 25, 2004, it was announced that the group were to go on hiatus while Sixx reunited with Mötley Crüe for a reunion tour. The group continued without Sixx, however, with Guns adding former Amen bassist Scott Sorry to the group as Sixx’s replacement. The second Brides of Destruction album, titled Runaway Brides, released in 2005 featured three songs co-written by Sixx during the Here Come the Brides sessions.

Sixx:A.M. (2006–2017)

Sixx formed his own group known as Sixx:A.M. in 2006, initially to record an audio accompaniment to his autobiography The Heroin Diaries: A Year in the Life of a Shattered Rock Star, with friends producer/songwriter James Michael and guitarist DJ Ashba (Guns N’ Roses, formerly of Beautiful Creatures and BulletBoys). They recorded and released The Heroin Diaries Soundtrack in August 2007 through Eleven Seven. The single, “Life Is Beautiful”, received a high ratio of radio and video play peaking at number 2 on the Mainstream Rock Tracks.

The band made their live debut at the Crash Mansion on July 16, 2007. They performed five songs from the album, with former Beautiful Creatures drummer Glen Sobel filling in on the drums. On April 15, 2008, Sixx:A.M. announced they would be touring as part of Mötley Crüe’s Crüe Fest. The tour began on July 1, 2008, in West Palm Beach, Florida. During Crüe Fest, Papa Roach drummer Tony Palermo served as a touring drummer for the band. A deluxe tour edition of The Heroin Diaries Soundtrack was released on November 25, 2008, which included a bonus live EP entitled Live Is Beautiful, which features recorded performances from the band’s summer tour.

In April 2009, both Sixx and Michael confirmed that the band was in the studio, recording new material. Sixx added that the new material was “inspiring. it feels like we may have topped ourselves on this album coming up, and can’t wait for you to hear what it sounds like.”

In 2010, the group continued recording the album with plans to release it by the late 2010/early 2011 with the group bringing in Paul R. Brown to shoot the video for the album’s first single. During an interview in July, Sixx stated that the album was almost finished. This Is Gonna Hurt, the band’s second studio album, was released on May 3, 2011. A third studio album, Modern Vintage, was released in 2014. Prayers for the Damned and Prayers for the Blessed were released in 2016.

The band went on hiatus in 2017, with other members DJ Ashba and James Michael forming a new band, Pyromantic.

Other work

In 1989, Sixx was a featured guest artist on the album Fire and Gasoline by Steve Jones, formerly of the Sex Pistols. Sixx co-wrote and performed on the song, “We’re No Saints”. In 1991, Sixx played bass on “Feed My Frankenstein” on Alice Cooper’s Hey Stoopid album. Sixx co-wrote the track “Die For You”, along with Cooper and Mötley Crüe guitarist Mick Mars. In 2002, Sixx played on Butch Walkers first solo album “Left of Self Centered”. In 2005, he collaborated with the Norwegian singer Marion Raven on two songs, “Heads Will Roll” and “Surfing the Sun”, for Raven’s debut album, Here I Am. A new version of “Heads Will Roll” appeared on Raven’s 2006 EP Heads Will Roll and on her 2007 U.S. debut album, Set Me Free. In 2006, he was one of the songwriters for Meat Loaf’s long-awaited album, Bat Out of Hell III: The Monster Is Loose.

In September 2007, Sixx released a book titled The Heroin Diaries: A Year in the Life of a Shattered Rock Star, a collection of his journal entries from 1986 and 1987 (when his heroin addiction was at its most dangerous). Written with British journalist Ian Gittins, it presents the present-day viewpoints of his bandmates, friends, ex-lovers, caretakers, business a*sociates and family as they respond to specific passages. The book debuted at #7 on The New York Times Best Seller list.[54] Along with Big & Rich (John Rich and Big Kenny Alphin), and James Otto, Sixx co-wrote “Ain’t Gonna Stop” for Otto’s 2008 Sunset Man CD on Warner Bros/Raybaw Records.

Equipment

Signature basses

Sixx is most often seen playing Gibson Thunderbird basses. Between 2000 and 2003 Gibson produced the Nikki Sixx Signature Blackbird. The Gibson Blackbird was for all intents and purposes a standard Thunderbird bass, but with a satin black finish, Iron Crosses on the fretboard instead of dots, an Iron Cross behind the classic Thunderbird logo, and Nikki Sixx’s ‘opti-grab’ (a metal loop installed behind the bridge for hooking the little finger onto while playing). What also made this bass interesting was the lack of volume or tone controls, being replaced by a single on/off switch. Although subtle, this helped give this Blackbird more tone and a higher output. This model was discontinued in 2003, but has recently been put back in production as the Epiphone Nikki Sixx Blackbird. Cosmetically the Epiphone Blackbird is identical to the Gibson original, but with a bolt-on single ply neck, solid mahogany body, different pickups and lower grade parts and manufacturing. The Epiphone model still kept the ‘opti-grab,’ designed and made first by his bass technician Tim Luzzi, and single on/off switch of the Gibson original. In 2008, Gibson announced a ‘limited run’ new Nikki Sixx signature bass. Like the original it features a neck through design made of mahogany and walnut, with maple ‘wings’ to form the body. Unlike the original ‘Blackbird’ bass, a clear ‘satin black cherry’ finish is given to the instrument, with red ‘slash’ X’s on the 3rd, 5th, 7th and 12th frets. A mirror pickguard is also applied, with a red signature and two X’s (6 x’s on the whole bass) is also a new addition. Unlike the Gibson Blackbird, the new signature featured volume and tone controls, the ‘opti-grab’, and an on/off switch.

Other basses

His inspiration to use the Gibson Thunderbird came from Pete “Overend” Watts of Mott the Hoople and John Entwistle of The Who. His first Gibson Thunderbird was a white 1976 model. He would light it on fire with pyro gel during early Mötley Crüe shows, (when they were still a club band) and it finally just disintegrated. He used Fender Precision basses and Rickenbacker basses before he had his first Thunderbird.

Early on, he was sponsored by B.C. Rich, and used Mockingbird & Warlock basses. He used Hamer Firebird basses during the tour for Theatre of Pain, in either plain black or plain white, while some of them had finishes that suited his stage outfits. After that, he used Spector basses during Girls, Girls, Girls and Dr. Feelgood. These Spector basses were shaped like Thunderbirds, and usually are commonly called Spectorbirds. Sixx owned at least eight Spectorbirds. All eight had an opti-grab, designed and made by Tim Luzzi, 1 volume knob, P & J pickups, 24 frets and Spector bass “Crown” inlays. He used four during the tour for Girls, Girls, Girls, two black ones and one with a 101 Dalmatians finish, all of which had the Gibson Thunderbird Non-Reverse body type. One of the black basses had a large skull painting covering most of the body. He also used one in a buckeye burl finish with the reverse body style. It had an orange Harley-Davidson Crüe sticker where the Thunderbird logo usually is. These all had black hardware. For Dr. Feelgood he used five Spectorbirds, two in sunburst and one in a natural finish. He also used a white one with a Non-Reverse style body, covered in small black stickers and a sticker saying Dancing on Glass. He also used a plain black Spectorbird with a reversed body style, which he smashed at the Make A Difference Foundation Moscow Music Peace Festival in Moscow.

During the 1990s, Sixx started using 12-string basses made in Japan by the Hiroshigi Kids Guitar Company. He owns at least five: a black one with red lettering and white binding, a black one with gold binding, a black one with white lettering and white binding, a red one with “Helter Skelter” written on it, and a green one. The red and green ones have dragon inlays on the body. He also used four- and five-string Epiphone Non-Reverse Thunderbirds for the Generation Swine tour and would usually smash one after his bass solo. He has also used Ernie Ball Music Man StingRay 5 basses, most notably while on tour with Brides of Destruction and the two newly recorded songs for the 1998 Mötley Crüe album, Greatest Hits.

He also has used Fender Precision Basses, particularly when smashing basses at the end of a set. They are usually black Squier Precision Basses with white pickguards. He previously used Ampeg amplifiers with Ampeg 8 x 10″ loaded cabinets made with real wood, but had switched to Basson cabinets prior to their going out of business. The Basson cabinets were notoriously heavy (typically running 230–250 lbs), using medium density fiberboard covered with indoor-outdoor carpeting and loaded with Chinese Firestorm 1075 speakers (10″/75 oz magnets) and neoprene surrounds. Many of these cabinets were painted red with latex paint to match tour themes. Basson gave Sixx the cabinets in a marketing move to sell to metal-playing bassists, a very limited market. Basson went out of business in 2010. While recording The Heroin Diaries Soundtrack, he used a 1959 Fender Precision, which was amplified via 1964 Fender Bassman. Sixx also uses Audiotech Guitar Products Source Selector 1X6 Rack Mount Audio Switcher.

Personal life

Sixx was engaged to Denise “Vanity” Matthews in 1987. In his autobiography, The Heroin Diaries: A Year in the Life of a Shattered Rock Star, Sixx described his toxic relationship with Matthews. “Vanity came and went during different periods of my addiction. She was a wild black chick who had sung with Prince: she’d also been his lover for a while. At the time I thought of Vanity as a disposable human being, like a used needle. Once its purpose was fulfilled it was ready for the trash, only to be dug up if you were really desperate…We became drug buddies: sometimes, you could even just about call us boyfriend and girlfriend. Vanity also taught me how to really freebase: the first time I based was with Tommy when Mötley just started and only a few times after that. So up until then, I’d been mostly snorting or injecting. But as soon as she showed me the real ins and outs of cooking up a good rock…it was love. Not her. The drug.”

From May 1989 to November 1996, Sixx was married to his first wife, Playboy Playmate Brandi Brandt; they have three children: Gunner Nicholas Sixx (born January 25, 1991), Storm Brieann Sixx (born April 14, 1994), and Decker Nilsson Sixx (born May 23, 1995).

One month after the divorce from Brandt, Sixx married his second wife, another Playboy Playmate, actress Donna D’Errico. Sixx and D’Errico have one daughter, Frankie-Jean Mary Sixx (born January 2, 2001). D’Errico has a son, Rhyan Jacob (born 1993), from a previous relationship. They separated shortly after their daughter’s birth, and reconciled months later when Sixx completed rehab. They separated again on April 27, 2006 and divorced in June 2007, with D’Errico claiming irreconcilable differences.

Sixx dated tattoo artist Kat Von D from 2008 to 2010. A few months after their breakup, Sixx and Von D were spotted back together. Sixx was featured on an episode of Von D’s reality television show LA Ink in 2008, in which Von D gave him a tattoo of Mick Mars, lead guitarist of Mötley Crüe. On August 25, 2010, Sixx issued a statement that their relationship had dissolved. It was reported on October 19, 2010 that Nikki and Kat had gotten back together. On October 27, 2010 Kat Von D confirmed to USA Today that indeed she and West Coast Choppers owner Jesse James were still together, debunking original reports that she and Sixx had reconciled. On November 4, 2010 Sixx was spotted at the Call of Duty: Black Ops Launch Party in Santa Monica, California with Courtney Bingham, whom he has been dating ever since and they now live together. On November 26, 2012, Nikki revealed to the public that he proposed to Courtney while vacationing in St. Barts. They were married on March 15, 2014.

Bingham gave birth to their first child together, Ruby Sixx on July 27, 2019. Sixx announced the birth through social media.

Sixx practices Transcendental Meditation, as he considers it an important self-help technique.

Radio shows

Launched on February 8, 2010, Sixx Sense with Nikki Sixx broadcasts Monday through Friday from 7 p.m. to midnight local time on rock/alternative music stations. Each night, host Nikki Sixx discusses music and lifestyle topics as he gives listeners a backstage look at the world and mind of a rock star. Sixx was joined by co-host Kerri Kasem, from its first episode until March 28, 2014. On April 2, it was announced that radio personality Jenn Marino would be joining the show in Kasem’s place. The show is based in Dallas, Texas in a studio in the Northpark Center.

Starting on May 7, 2012, KEGL in Dallas/Fort Worth, Texas moved the show to mornings, making it the only station to carry the show in the mornings at 6 to 10 AM local time instead of the evening’s time slot. The show is customized for the Dallas/Fort Worth listeners for broadcast in the mornings on KEGL. Sixx said that bringing Sixx Sense to mornings “has always been our goal. Who better to start your morning with than a rock star and a hot chick? It’s a dream come true to have a morning show on one of America’s best rock stations.” however, one year later, Sixx Sense returned to evenings at KEGL. In addition, recent episodes of “Sixx Sense” air 24/7 on its own iHeartRadio streaming page.

The Side Show with Nikki Sixx is a two-hour original weekend program. Airing Saturday or Sunday between 6 a.m. and midnight local time, Nikki Sixx will air top-charting songs, showcase new and emerging artists, and welcome guests from the worlds of music and entertainment. In October 2017 Sixx announced he would step down from Sixx Sense on December 31, 2017.

Running Wild in the Night

With the formation of Sixx:A.M. and the release of The Heroin Diaries, Nikki Sixx teamed up with an already existing charity known as the Covenant House and created his own branch called Running Wild in the Night. In addition to partially funding the services the Covenant House provides on its own, Sixx’s division also provides a creative arts and music program. Sixx has negotiated with people in his industry to provide the program with musical instruments and software.

A Portion of the profits from Sixx:A.M.’s album The Heroin Diaries Soundtrack and his autobiography, The Heroin Diaries: A Year in the Life of a Shattered Rock Star is donated to help the Covenant House. He continues to auction off personal items to fund Running Wild in the Night. As of April 2009, he had raised over $100,000.

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Download Guitar Lessons eBooks for Free – Welcome to Harmonica Tabs free eBook section. Here we aim to bring you the best selection of free eBooks from writers across the internet. With this new addition to our website we bring you a beginners guitar eBook (courtesy of RiffTV.com), as well as a great collection of eBooks with some valuable information on chords, chord structures, scales and much more (courtesy of Free-Guitar-Chords.com). And many ebooks aground the world talk about guitar lessons.

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Nat King Cole

Nathaniel Adams Coles (March 17, 1919 – February 15, 1965), known professionally as Nat King Cole, was an American singer and jazz pianist. He recorded over 100 songs that became hits on the pop charts. His trio was the model for small jazz ensembles that followed. Cole also acted in films and on television and performed on Broadway. He was the first African-American man to host an American television series. He was the father of singer-songwriter Natalie Cole (1950–2015).

Biography

Early life

Nathaniel Adams Coles was born in Montgomery, Alabama, on March 17, 1919. He had three brothers: Eddie (1910–1970), Ike (1927–2001), and Freddy (1931–2020),[3] and a half-sister, Joyce Coles. Each of the Cole brothers pursued careers in music. When Nat King Cole was four years old, the family moved to Chicago, Illinois, where his father, Edward Coles, became a Baptist minister.

Cole learned to play the organ from his mother, Perlina Coles, the church organist. His first performance was “Yes! We Have No Bananas” at the age of four. He began formal lessons at 12, learning jazz, gospel, and classical music on piano “from Johann Sebastian Bach to Sergei Rachmaninoff.” As a youth, he joined the news delivery boys’ “Bud Billiken Club” band for The Chicago Defender.

The Cole family moved to the Bronzeville neighborhood of Chicago, where he attended Wendell Phillips Academy High School, the school Sam Cooke attended a few years later. He participated in Walter Dyett’s music program at DuSable High School. He would sneak out of the house to visit clubs, sitting outside to hear Louis Armstrong, Earl Hines, and Jimmie Noone.

Early career

When he was 15, Cole dropped out of high school to pursue a music career. After his brother Eddie, a bassist, came home from touring with Noble Sissle, they formed a sextet and recorded two singles for Decca in 1936 as Eddie Cole’s Swingsters. They performed in a revival of the musical Shuffle Along. Nat Cole went on tour with the musical. In 1937, he married Nadine Robinson, who was a member of the cast. After the show ended in Los Angeles, Cole and Nadine settled there while he looked for work. He led a big band, then found work playing piano in nightclubs. When a club owner asked him to form a band, he hired bassist Wesley Prince and guitarist Oscar Moore. They called themselves the King Cole Swingsters after the nursery rhyme in which “Old King Cole was a merry old soul.” They changed their name to the King Cole Trio before making radio transcriptions and recording for small labels.

Cole recorded “Sweet Lorraine” in 1940, and it became his first hit. According to legend, his career as a vocalist started when a drunken bar patron demanded that he sing the song. Cole said that this fabricated story sounded good, so he didn’t argue with it. In fact, there was a customer one night who demanded that he sing, but because it was a song Cole didn’t know, he sang “Sweet Lorraine” instead. As people heard Cole’s vocal talent, they requested more vocal songs, and he obliged.

Career as a vocalist

In 1941, the trio recorded “That Ain’t Right” for Decca, followed the next year by “All for You” for Excelsior. They also recorded “I’m Lost”, a song written by Otis René, the owner of Excelsior.

Cole appeared in the first Jazz at the Philharmonic concerts in 1944. He was credited on Mercury as “Shorty Nadine”, a derivative of his wife’s name, because he had an exclusive contract with Capitol since signing with the label the year before. He recorded with Illinois Jacquet and Lester Young.

In 1946, the trio broadcast King Cole Trio Time, a 15-minute radio program. This was the first radio program to be sponsored by a black musician. Between 1946 and 1948, the trio recorded radio transcriptions for Capitol Records Transcription Service.[23][24] They also performed on the radio programs Swing Soiree, Old Gold, The Chesterfield Supper Club, Kraft Music Hall, and The Orson Welles Almanac.

Cole began recording and performing pop-oriented material in which he was often accompanied by a string orchestra. His stature as a popular star was cemented by hits such as “All for You” (1943), “The Christmas Song” (1947), “(Get Your Kicks on) Route 66”, “(I Love You) For Sentimental Reasons” (1946), “There! I’ve Said It Again” (1947), “Nature Boy” (1948), “Frosty The Snowman”, “Mona Lisa” (No. 1 song of 1950), “Orange Colored Sky” (1950), “Too Young” (No. 1 song of 1951).

On June 7, 1953, Cole performed for the famed ninth Cavalcade of Jazz concert held at Wrigley Field in Chicago which was produced by Leon Hefflin, Sr. Also featured that day were Roy Brown and his Orchestra, Shorty Rogers, Earl Bostic, Don Tosti and His Mexican Jazzmen, and Louis Armstrong and his All Stars with Velma Middleton.

On November 5, 1956, The Nat ‘King’ Cole Show debuted on NBC. The variety program was one of the first hosted by an African American, The program started at a length of fifteen-minutes but was increased to a half-hour in July 1957. Rheingold Beer was a regional sponsor, but a national sponsor was never found. The show was in trouble financially despite efforts by NBC, Harry Belafonte, Tony Bennett, Ella Fitzgerald, Eartha Kitt, Frankie Laine, Peggy Lee, and Mel Tormé. Cole decided to end the program. The last episode aired on December 17, 1957. Commenting on the lack of sponsorship, Cole said shortly after its demise, “Madison Avenue is afraid of the dark.”

Throughout the 1950s, Cole continued to record hits that sold millions throughout the world, such as “Smile”, “Pretend”, “A Blossom Fell”, and “If I May”. His pop hits were collaborations with Nelson Riddle, Gordon Jenkins, and Ralph Carmichael. Riddle arranged several of Cole’s 1950s albums, including Nat King Cole Sings for Two in Love (1953), his first 10-inch LP. In 1955, “Darling, Je Vous Aime Beaucoup” reached number 7 on the Billboard chart. Love Is the Thing went to number one in April 1957 remained his only number one album.

In 1959, he received a Grammy Award for Best Performance By a “Top 40” Artist for “Midnight Flyer”.

In 1958, Cole went to Havana, Cuba, to record Cole Español, an album sung entirely in Spanish. It was so popular in Latin America and the U.S. that it was followed by two more Spanish-language albums: A Mis Amigos (1959) and More Cole Español (1962).

After the change in musical tastes, Cole’s ballads appealed little to young listeners, despite a successful attempt at rock and roll with “Send for Me”,[20] which peaked at number 6 on the pop chart. Like Dean Martin, Frank Sinatra, and Tony Bennett, he found that the pop chart had been taken over by youth-oriented acts.

In 1960, Cole’s longtime collaborator Nelson Riddle left Capitol to join Reprise Records, which was established by Frank Sinatra. Riddle and Cole recorded one final hit album, Wild Is Love, with lyrics by Ray Rasch and Dotty Wayne. Cole later retooled the concept album into an Off-Broadway show, I’m with You.

Nevertheless, Cole recorded some hit singles during the 1960s, including “Let There Be Love” with George Shearing in 1961, the country-flavored hit “Ramblin’ Rose” in August 1962, “Dear Lonely Hearts”, “That Sunday, That Summer” and “Those Lazy-Hazy-Crazy Days of Summer”[20] (his final top-ten hit, reaching number 6 on the Pop chart). He performed in many short films, sitcoms, and television shows and played W. C. Handy in the film St. Louis Blues (1958). He also appeared in The Nat King Cole Story, China Gate, and The Blue Gardenia (1953).

In January 1964, Cole made one of his final television appearances, on The Jack Benny Program. He was introduced as “the best friend a song ever had” and sang “When I Fall in Love”. Cat Ballou (1965), his final film, was released several months after his death.

Earlier on, Cole’s shift to traditional pop led some jazz critics and fans to accuse him of selling out, but he never abandoned his jazz roots; as late as 1956 he recorded an all-jazz album, After Midnight, and many of his albums after this are fundamentally jazz-based, being scored for big band without strings, although the arrangements focus primarily on the vocal rather than instrumental leads.

Cole had one of his last major hits in 1963, two years before his death, with “Those Lazy-Hazy-Crazy Days of Summer”, which reached number 6 on the Pop chart. “Unforgettable” was made famous again in 1991 by Cole’s daughter Natalie when modern recording technology was used to reunite father and daughter in a duet. The duet version rose to the top of the pop charts, almost forty years after its original popularity.

Personal life

Around the time Cole launched his singing career, he entered into Freemasonry. He was raised in January 1944 in the Thomas Waller Lodge No. 49 in California. The lodge was named after fellow Prince Hall mason and jazz musician Fats Waller. He joined the Scottish Rite Freemasonry, becoming Master Mason. Cole was “an avid baseball fan”, particularly of Hank Aaron. In 1968, Nelson Riddle related an incident from some years earlier and told of music studio engineers, searching for a source of noise, finding Cole listening to a game on a transistor radio.

Marriages and children

Cole met his first wife, Nadine Robinson, while they were on tour for the all-black Broadway musical Shuffle Along. He was 18 when they married. She was the reason he moved to Los Angeles and formed the Nat King Cole trio.[42] This marriage ended in divorce in 1948. On March 28, 1948 (Easter Sunday), six days after his divorce became final, Cole married the singer Maria Hawkins. The Coles were married in Harlem’s Abyssinian Baptist Church by Adam Clayton Powell Jr. They had five children: Natalie (1950–2015), who had a successful career as a singer, died of congestive heart failure; an adopted daughter, Carole (1944–2009, the daughter of Maria’s sister), who died of lung cancer at the age of 64; an adopted son, Nat Kelly Cole (1959–1995), who died of AIDS at the age of 36;[43] and twin daughters, Casey and Timolin (born September 26, 1961), whose birth was announced in the “Milestones” column of Time magazine on October 6, 1961. Maria supported him during his final illness and stayed with him until his death. In an interview, she emphasized his musical legacy and the class he exhibited despite his imperfections.

Experiences with racism

In August 1948, Cole purchased a house from Col. Harry Gantz, the former husband of the silent film actress Lois Weber, in the all-white Hancock Park neighborhood of Los Angeles. The Ku Klux Klan, which was active in Los Angeles in the 1950s, responded by placing a burning cross on his front lawn. Members of the property-owners a*sociation told Cole they did not want any “undesirables” moving into the neighborhood. Cole responded, “Neither do I. And if I see anybody undesirable coming in here, I’ll be the first to complain.”

In 1956 Cole was contracted to perform in Cuba. He wanted to stay at the Hotel Nacional de Cuba in Havana but was refused because it operated a color bar. Cole honored his contract, and the concert at the Tropicana Club was a huge success. During the following year, he returned to Cuba for another concert, singing many songs in Spanish.

In 1956 Cole was a*saulted on stage during a concert in Birmingham, Alabama, with the Ted Heath Band while singing the song “Little Girl”. Having circulated photographs of Cole with white female fans bearing incendiary boldface captions reading “Cole and His White Women” and “Cole and Your Daughter” three men belonging to the North Alabama Citizens Council a*saulted Cole, apparently attempting to kidnap him. The three a*sailants ran down the aisles of the auditorium towards Cole. Local law enforcement quickly ended the invasion of the stage, but in the ensuing mêlée Cole was toppled from his piano bench and injured his back. He did not finish the concert. A fourth member of the group was later arrested. All were tried and convicted. Cole received a slight back injury during the scuffle. Six men, including 23-year-old Willie Richard Vinson, were formally charged with a*sault with intent to murder him, but later the charge against four of them was changed to conspiracy to commit a misdemeanour. The original plan to attack Cole included 150 men from Birmingham and nearby towns.

After being attacked in Birmingham, Cole said, “I can’t understand it … I have not taken part in any protests. Nor have I joined an organization fighting segregation. Why should they attack me?” Cole said he wanted to forget the incident and continued to play for segregated audiences in the south. He said he could not change the situation in a day. He contributed money to the Montgomery bus boycott and had sued northern hotels that had hired him but refused to serve him. Thurgood Marshall, the chief legal counsel of the NAACP, called him an Uncle Tom and said he should perform with a banjo. Roy Wilkins, executive secretary of the NAACP, wrote him a telegram that said, “You have not been a crusader or engaged in an effort to change the customs or laws of the South. That responsibility, newspapers quote you as saying, you leave to the other guys. That attack upon you clearly indicates that organized bigotry makes no distinction between those who do not actively challenge racial discrimination and those who do. This is a fight which none of us can escape. We invite you to join us in a crusade against racism.”

The Chicago Defender Said Cole’s Performances For All-white Audiences Were An Insult To His Race. The New York Amsterdam News Said That “Thousands Of Harlem Blacks Who Have Worshiped At The Shrine Of Singer Nat King Cole Turned Their Backs On Him This Week As The Noted Crooner Turned His Back On The Naacp And Said That He Will Continue To Play To Jim Crow Audiences.” To Play “Uncle Nat’s” Discs, Wrote A Commentator In The American Negro, “Would Be Supporting His ‘traitor’ Ideas And Narrow Way Of Thinking”. Deeply Hurt By The Criticism In The Black Press, Cole Was Chastened. Emphasizing His Opposition To Racial Segregation “In Any Form”, He Agreed To Join Other Entertainers In Boycotting Segregated Venues. He Paid $500 To Become A Lifetime Member Of The Detroit Branch Of The Naacp. Until His Death In 1965, Cole Was An Active And Visible Participant In The Civil Rights Movement, Playing An Important Role In Planning The March On Washington In 1963

Politics

Cole sang at the 1956 Republican National Convention in the Cow Palace, Daly City, California, to show support for President Dwight D. Eisenhower. He sang “That’s All There Is to That” and was “greeted with applause.” He was also present at the Democratic National Convention in 1960 to support Senator John F. Kennedy. He was among the dozens of entertainers recruited by Frank Sinatra to perform at the Kennedy Inaugural gala in 1961. Cole consulted with President Kennedy and his successor, Lyndon B. Johnson, on civil rights.

Illness and death

In September 1964, Cole began to lose weight and he experienced back problems. He collapsed with pain after performing at the Sands Hotel in Las Vegas. In December, he was working in San Francisco when he was finally persuaded by friends to seek medical help. A malignant tumor in an advanced state of growth on his left lung was observed on a chest X-ray. Cole, who had been a heavy cigarette smoker, had lung cancer and was expected to have only months to live. Against his doctors’ wishes, Cole carried on his work and made his final recordings between December 1 and 3 in San Francisco, with an orchestra conducted by Ralph Carmichael. The music was released on the album L-O-V-E shortly before his death. His daughter noted later that he did this to a*sure the welfare of his family.

Cole entered St. John’s Hospital in Santa Monica on December 7, and cobalt therapy was started on December 10. Frank Sinatra performed in Cole’s place at the grand opening of the new Dorothy Chandler Pavilion of the Los Angeles Music Center on December 12. Cole’s condition gradually worsened, but he was released from the hospital over the New Year’s period. At home Cole was able to see the hundreds of thousands of cards and letters that had been sent after news of his illness was made public. Cole returned to the hospital in early January. He also sent $5,000 (US$41,218 in 2019 dollars) to actress and singer Gunilla Hutton, with whom he had been romantically involved since early 1964. Hutton later telephoned Maria and implored her to divorce him. Maria confronted her husband, and Cole finally broke off the relationship with Hutton. Cole’s illness reconciled him with his wife, and he vowed that if he recovered he would go on television to urge people to stop smoking. On January 25, Cole’s entire left lung was surgically removed. His father died of heart problems on February 1. Throughout Cole’s illness his publicists promoted the idea that he would soon be well and working, despite the private knowledge of his terminal condition. Billboard magazine reported that “Nat King Cole has successfully come through a serious operation and… the future looks bright for ‘the master’ to resume his career again”. On Valentine’s Day, Cole and his wife briefly left St. John’s to drive by the sea. He died at the hospital early in the morning of February 15, 1965.

Cole’s funeral was held on February 18 at St. James Episcopal Church on Wilshire Boulevard in Los Angeles; 400 people were present, and thousands gathered outside the church. Hundreds of members of the public had filed past the coffin the day before. Honorary pallbearers included Robert F. Kennedy, Count Basie, Frank Sinatra, Sammy Davis Jr., Johnny Mathis, George Burns, Danny Thomas, Jimmy Durante, Alan Livingston, Frankie Laine, Steve Allen, and Pat Brown (the governor of California). The eulogy was delivered by Jack Benny, who said that “Nat Cole was a man who gave so much and still had so much to give. He gave it in song, in friendship to his fellow man, devotion to his family. He was a star, a tremendous success as an entertainer, an institution. But he was an even greater success as a man, as a husband, as a father, as a friend.” Cole’s remains were interred in Freedom Mausoleum at Forest Lawn Memorial Park, in Glendale, California.

Posthumous releases

Cole’s last album, L-O-V-E, was recorded in early December 1964—just a few days before he entered the hospital for cancer treatment—and was released just before he died. It peaked at number 4 on the Billboard Albums chart in the spring of 1965. A Best Of album was certified a gold record in 1968. His 1957 recording of “When I Fall in Love” reached number 4 in the UK charts in 1987, released in reaction to a version by Rick Astley challenging for the coveted Christmas number 1 spot.

In 1983, an archivist for EMI Electrola Records, a subsidiary of EMI Records (Capitol’s parent company) in Germany, discovered some unreleased recordings by Cole, including one in Japanese and another in Spanish (“Tu Eres Tan Amable”). Capitol released them later that year as the LP Unreleased.

In 1991, Mosaic Records released The Complete Capitol Records Recordings of the Nat King Cole Trio, a compilation of 349 songs available as an 18-CD or a 27-LP set. In 2008 it was re-released in digital-download format through services like iTunes and Amazon Music.

Also in 1991, Natalie Cole recorded a new vocal track that was mixed with her father’s 1961 stereo re-recording of his 1951 hit “Unforgettable” for a tribute album of the same title. The song and album won seven Grammy awards in 1992 for Best Album and Best Song.

Awards and honors

Cole was inducted into the Alabama Music Hall of Fame and the Alabama Jazz Hall of Fame. He was awarded the Grammy Lifetime Achievement Award in 1990. He was inducted into the Down Beat Jazz Hall of Fame in 1997 and the Hit Parade Hall of Fame in 2007. A United States postage stamp with Cole’s likeness was issued in 1994. He was inducted into the Rock and Roll Hall of Fame in 2000 and the Latin Songwriters Hall of Fame in 2013.

Cole’s success at Capitol Records, for which he recorded more than 150 singles that reached the Billboard Pop, R&B, and Country charts, has yet to be matched by any Capitol artist. His records sold 50 million copies during his career. His recording of “The Christmas Song” still receives airplay every holiday season, even hitting the Billboard Top 40 in December 2017.

At The Hop

1.
-4 5 -4 6 6 6 6 6 -4 5 -4
Well you can rock it, you can roll it, do the
6 6 6 6 6 -4 5 -4 6
stomp and even stroll it At The Hop
5 -4 6 6 -6 -6 6 6 -6 -6 6 6
When the record starts a spinnin,` you calypso
-6 -6 6 6 5 -4 6
when you chicken At The Hop
6 6 -6 -6 -6 -6 -6 -6 6 6 6
Do the dance sensation that is sweepin` the
6 6 5 -4 6
nation At The Hop
CHORUS
6 6 b-7 -6 6 5 6 3 b-3 -3
(Let`s go) Let`s go to the hop (Oh ba-by)
b-7 -6 6 5 6 3 b-3 -3
Let`s go to the hop (Oh ba-by)
b-7 -6 6 5 6 3 b-3 -3
Let`s go to the hop (Oh ba-by)
b-7 -6 6 5 6 3 b-3 -3 -6 6
Let`s go to the hop (Oh ba-by) Ah Ah
b-7 -6 6 5 6
Let`s go to the hop
2.
Well you can swing it you can groove it you can
really start to move it At The Hop
When the jumpin` is the smoothest and the music
is the coolest At The Hop
All the cats and the chicks can get their kicks
At The Hop
REPEAT CHORUS

At The Gala (The Best Night Ever – My Little Pony)

6 6 6 5
At the ga-la,
6 6 6 5
in the gar-den,
6 6 -6 -7 6 -6 6
I’m go-ing to see them all.
6 6 6 5
All the crea-tures,
6 6 6 6
I’ll be-friend them
-6 6 6 7
at the ga-la.

6 6 6 5
All the bir-dies
6 6 6 5
and the crit-ters.
6 6 6 -6
They will love me,
-7 6 -6 6
big and sm-all.
-4 5 -5 6 -6 6 6 5
We’ll be-come good friends for-e-ver.
6 6 -6 6 6 7
Right here at the ga-la.

4 -4 5 -5 5 -4
All our dreams will come true.
-5 -5 -6 6 6 7
Right here at the ga-la.

6 6 6 5
At the ga-la,
6 6 6 5
I will sell them
6 6 6 -6 -7 6 -6
all my ap-ple-tas-tic treats.
6 6 6 5
Hun-gry po-nies,
6 6 6 5
they will buy them.
6 6 6 -6 -7 6 6 -6
Car-ra-mel ap-ples, ap-ple sweets.
-4 5 -5 6 -6 6 6 5
And I’ll earn a lot of mo-ney
6 6 -6 6 6 7
for the A-pple fa-mily.

4 -4 5 -5 5 -4
All our dreams and our hopes.
5 -5 -5 3 -2 -2 5
From now on, un-til here after,
4 -4 5 5 -5 5 -4
all that we’ve been wish-ing for
5 -5 -5 -6 6 6 7
will hap-pen at the ga-la.
-6 6 6 7
At the ga-la.

5 5 5 4
I will find him,
-4 5 -5 -4
my prince char-ming.
6 6 6 6 -6 6 6
And how ga-llant he will be.
4 -4 5 5 6 -5 -5 -4
And he’ll treat me like a la-dy.
5 -5 -6 6 6 7
To-night at the ga-la.

5 5 5 4 -4 5 -5 -4
This is what we’ve been wai-ting for.
5 -5 6 6 -6 6 6
To have the best night e-ver.
-4 5 -5 -5 -6 6 5
Each of us will live our dreams,
6 6 -6 6 6 7
to-night at the ga-la.
-6 6 6 7
At the ga-la.

5 -6 6
Been dream-ing,
5 5 -6 6
I’ve been wait-ing.
6 6 6 -6 6 -4 4
To fly with those great po-nies.
5 -6 6 6
The Won-der-bolts,
5 -6 6 6
their dar-ing tricks.
5 5 6 5 -4 4 4
Spin-ning round and ha-ving kicks.
4 5 6 6 5 -6 6
Per-form for crowds of thou-sands.
7 7 7 -7 6 -6 6
They’ll sho-wer us with dia-monds.
-5 -5 -6 6 6 -7 7
The Won-der-bolts will see me
6 6 -6 6 6 7
right here at the ga-la.

5 -5 6 6 6 6 5
I’m here at the grand ga-la,
5 -5 6 6 -6 6 6
for it is the best par-ty.
5 -5 6 6 6 6 6 7
But the one thing it was mis-sing
-7 -6 6 -5 5 -5 6
was a po-ny named Pink-ie.
-5 6 -6 -6 -6 -6 -7 -6
For I am the best at par-ties,
5 5 -5 -5 -6 -5 -5
all the po-nies will a-gree.
-5 6 -6 -5
Po-nies play-ing,
6 -6 -7 6
po-nies dan-cing
6 -6 -6 -7 6 6 7
with me at the grand ga-la.

4 -4 5 5 -5 5
Hap-pi-ness and laugh-ter
-6 6 6 7
at the ga-la.
-6 6 6 7
At the ga-la.

-6 -6 -6 -6 -6
In-to the ga-la,
-7 -6 -6
we must go.
-6 -8 -8 -6
We’re rea-dy now,
-7 -6 -6 -6
we’re all a-glow.

6 -6 -6 -6 -6
In-to the ga-la,
-7 -6 -6
let’s go in.
6 -6 -6 -6 6 6 7
And have the best night e-ver.

-8 -8 -8 -8 -8
In-to the ga-la,
8 -8 -8
now’s the time.
-8 -8 -8
We’re rea-dy
-8 -8 8 -8 -8
and we look di-vine.

6 -6 -6 -6 -6
In-to the ga-la.
-8 -6 -6
Meet new friends

6 -6 -6 -6 -6
In-to the ga-la.
-6 6 -5 5
Sell some ap-ples.

6 -6 -6 -6 -6
In-to the ga-la.
-8 -6 -6
Find my prince.

6 -6 -6
Prove I’m great
-6 -6 6 -5 5
as Won-der-bolt is.

-6 -6
To meet.
5 5
To sell.
-6 -6
To find.
5 5
To prove.
-6 -6
To woo.
5 5
To talk.

-6 -6 6 6 7
In-to the ga-la.
-6 -6 6 6 7
In-to the ga-la.
5 -5 6 -6 -7 7 -8 -8
And we’ll have the best night e-ver.
-6 6 6 7
At the ga-la.

At The Gala (The Best Night Ever – My Little Pony)

6 6 6 5
At the ga-la,
6 6 6 5
in the gar-den,
6 6 -6 -7 6 -6 6
I’m go-ing to see them all.
6 6 6 5
All the crea-tures,
6 6 6 6
I’ll be-friend them
-6 6 6 7
at the ga-la.

4 -4 5 -5 5 -4
All our dreams will come true.
-5 -5 -6 6 6 7
Right here at the ga-la.

5 5 5 4
I will find him,
-4 5 -5 -4
my prince char-ming.
6 6 6 6 -6 6 6
And how ga-llant he will be.
4 -4 5 5 6 -5 -5 -4
And he’ll treat me like a la-dy.
5 -5 -6 6 6 7
To-night at the ga-la.

4 -4 5 5 -5 5
Hap-pi-ness and laugh-ter
-6 6 6 7
at the ga-la.
-6 6 6 7
At the ga-la.

-6 -6 -6 -6 -6
In-to the ga-la,
-7 -6 -6
we must go.
-6 -8 -8 -6
We’re rea-dy now,
-7 -6 -6 -6
we’re all a-glow.

6 -6 -6 -6 -6
In-to the ga-la,
-7 -6 -6
let’s go in.
6 -6 -6 -6 6 6 7
And have the best night e-ver.

-8 -8 -8 -8 -8
In-to the ga-la,
8 -8 -8
now’s the time.
-8 -8 -8
We’re rea-dy
-8 -8 8 -8 -8
and we look di-vine.

6 -6 -6 -6 -6
In-to the ga-la.
-8 -6 -6
Meet new friends

6 -6 -6 -6 -6
In-to the ga-la.
-6 6 -5 5
Sell some ap-ples.

6 -6 -6 -6 -6
In-to the ga-la.
-8 -6 -6
Find my prince.

6 -6 -6
Prove I’m great
-6 -6 6 -5 5
as Won-der-bolt is.

-6 -6
To meet.
5 5
To sell.
-6 -6
To find.
5 5
To prove.
-6 -6
To woo.
5 5
To talk.

-6 -6 6 6 7
In-to the ga-la.
-6 -6 6 6 7
In-to the ga-la.
5 -5 6 -6 -7 7 -8 -8
And we’ll have the best night e-ver.
-6 6 6 7
At the ga-la.

Bloodstream

5 5 5 -4 -4 4 -4
I’ve been spinning now for time
5 5 5 -4 -4 4 -4
Couple women by my side
5 5 5 -4 -4 4 -4
I got sinning on my mind
4 4 4 5 5
Sipping on red wine
6 6 6 5 5 -4 -4 -3″
I’ve been sitting here for ages
6 5 5 -4 -4 5
Ripping out the pages
-4 5 5 -4 -4 -3″
How’d I get so faded?
-4 5 5 -4 -4 5
How’d I get so faded?

(Pre-Chorus)
-6, -6, -7, 7 -7 -6 6 6 6 5 -4
Oh, no, no, don’t leave me alone lonely now
-4 6 5 -4 -4 4 -4 5 -4 4 -3″
If you loved me how’d you never learn?
-6, -6 -7 7 -8 -7 7 -6
Oh, coloured crimson in my eyes
-6 -7 7 -8 9 -9 9 -8 8, -8 8
One or two could free my mind

(Chorus)
-4 5 -4 4 -4.
This is how it ends.
4 4 4 -4 5 -4 -4 -3″ -3″ 4 4
I feel the chemicals burn in my bloodstream
-4 5 -4 4 -4
Fading out again.
4 4 4 -4 5 -4 6 -4 -4 -3 -3″
I feel the chemicals burn in my bloodstream
4 5 6 6 6 6 5
So tell me when it kicks in

4, 5 6 6 6 6 5
Well, tell me when it kicks in

Bernie’s Tune

By: Mike Stoller & Bernie Lieber
Jerry Mulligan, Chet Baker
Key: F
-7 7* -7 -7 7* -7
In the park in the dark,
-3 -5 -6 -7 7*
Un-der-neath the moon,
7 -6* 7 7 -6* 7
Heard a boy and a girl
-3 5* 6 7 -6
Hum-min’ Ber-nie’s tune.
-7 7* -7 -7 7* -7
Went to sleep Count-in’ sheep
-3 -5 -6 -7 7*6
By a blue la-goon
7 -6* 7 7 -6* 7
Heard a frog on a log
-3 5* 6 7 -6-5
Croak-in’ Ber-nie’s tune
-3* -3* 7 -6 -5 5 -5
It’s so eas-y to whist-le
-3* -3* 7 -6 -5 5
It’s so eas-y to sing,
-3*-3* 7 -6 -5 5 -5
Ev-en hum-ming-birds hum it
-7 -7 -7
It’s the thing.
-7 7* -7 -7 7* -7
Of-fice clerks, So-da jerks
-3 -5 -6 -7 7*
Picked it up so soon
7 -6* 7 7 -6* 7
Mil-lion-aires ev-en squares
-3 5* 6 7 -6-5
Whis-tle Ber-nie’s tune.
In the park
In the dark
Crazy as a loon
In the trees
Skillfully
Swingin’ Bernie’s tune
Little kids
Go to school
Swingin Bernie’s tune
Swingin’ chicks
Get their kicks
Doin’ Bernie’s tune
You don’t have to read music
You don’t have to be smart
Bernie says you can swing it
From the heart
So if you happen to get an urge to croon
7 -6* 7 7 -6* 7
Take a tip, man get hip,
-7 -7 -7 -7 -9
make it Be-rnie’s tune

Friday Night Blues

5 -5 6 -5 5 7
He’s been work-in’ all week,

5 -5 6 -5 5 7
he’s got men-tal fa-tigue

5 5 -5 6 -5 6 -5
and that old couch sure looks fine

5 -5 5 -4 7
All week he’s been gone,

-4 5 -5 5 -4 7
she’s been sit-tin’ a-lone

-7 7 -7 7 -7 -6 6 6
slow-ly go-in’ out of her mind

5 -5 6 -5 5 7
As he kicks off his shoes

5 -5 6 -5 5 7
for the six o-clock news

5 -5 -5 -5 6 -6 -5
she’s get-tin’ all pret-tied up

-6 7 7 -7 -7 -7 -6
oh, she’s want-in’ to boo-gie,

-6 -6 6 6 6 -5
he’s want-in’ to lay there

-5 -5 -5 -5 5 -4 4
she’s got the Fri-day Night Blues

CHORUS:
7 -8 8 8 8 8
And the Fri-day Night Blues

-8 -8 7 7 7
they get in your shoes,

-7 -7 -7 -6 -6 6 -6
and they work to get you down

7 -8 -8 -8 -8-8 7 7 7 -7 -7 -7
Oh, and there ain’t a la-dy that I ev-er knew

-6 -6 -7 -6 -6 -6 -6 6 6 6
who did-n’t need her a night on the town

7 -8 8 -8 7 -8
But the hills and the bills

7 -7 7 -7 -6 -7
and a week’s worth of deals

6 -7 -6 -6 -6 6 -6
got him feel-in’ more than used

7 -8 -8 -8 -8 -8 7
Oh, he’s kick-in’ his shoes off,

7 7 -7 -7 -7
she’s put-tin’ her’s on

-5 -5 -5 -5 5 -4 4
she’s got the Fri-day Night Blues

Oh,there once was a time,
she was top of the line
her nights like teen-age dreams
Now it’s op-‘ras at noon,
danc-in’ ’round with her broom
talk-in’ to her wash-in’ ma-chine
Oh, the girl down the street
says her husband is neat
and she makes it sound so true
Now she’s feel-in’ lone-ly
thinks she’s the on-ly
One with the Fri-day Night Blues

CHORUS
7 -8 8 8 8 8
And the Fri-day Night Blues

-8 -8 7 7 7
they get in your shoes,

-7 -7 -7 -6 -6 6 -6
and they work to get you down

7 -8 -8 -8 -8-8 7 7 7 -7 -7 -7
Oh, and there ain’t a la-dy that I ev-er knew

-6 -6 -7 -6 -6 -6 -6 6 6 6
who did-n’t need her a night on the town

Heaven Help Us All (chromatic)

By: Ronald Miller
Stevie Wonder
Key: Ab

Key: Ab

4 4 -3* 3* 3* -1* -2 3* 3* -2 3*
Heav-en help the child who nev-er had a home
4 -5* -6 -5* -5*
Heav-en help the girl
-5* -6 -5* 4 3* -3*
who walks the streets a-lone
4 4 4 4 -3* 3*
Heav-en help the ros-es
3* 3* -2 3* 3* -2 3*
if the bombs be-gin to fall
-3* -1* -2 3* 3*
Heav-en help us all

4 4 4 4 -3* 3*
Heav-en help the black man
-1*-1* -2 3* 3* -3* 3*
if he strug-gles one more day
4 4 -5* 5 -6 -5*
Heav-en help the white man
-5*-5* -6 5 5 3*-3*
if he turns his back a-way
4 4 4 4 -3*
Heav-en help the man
3* 3* 3* -2 3* 3* -3* 3*
who kicks the man who has to crawl
-3* -1* -2 3* 3*
Heav-en help us all
4 4 4* -5* -6
Heav-en help us all
4 4 4* -5* -6
Heav-en help us all
-5* 4* 4 3* 3* -3* 4 4*
help us all, Heav-en help us Lord,
4 -3* 3* 4 4 -3*
hear our call When we call
6 -6*7*-6*
Oh yeah

Key: A

4* 4* -4 -3 -3
Heav-en help the boy
-2* -2* -3 -3 -2* -4-2*
who won’t reach twen-ty-one,
6 6 -6* 6 6 6 -6* 6 5* 5* -4
Heav-en help the man who gave that boy a gun.
4* 4* 4* -3 -4 -3
Heav-en help the peo-ple
-3 -2* 6 -5 4* 4* -3
With their backs a-gainst the wall
4*-4 -3 -3 -4 -4 -3
Lord, heav-en help us all.
5* 5* -5 6 -6* 5* 5* -5 6 -6*
Heav-en help us all, heav-en help us all,
5* 5* -5 6 -6* 6 -5 5*
Heav-en help us all, help us all.
-3 -3 -4 5* -5
Heav-en help us, Lord,
5* -4 -3 4* 4* -4
hear our call when we call.
-2* -3 -3
help us all

(Spoken)
Now I lay me down before I go to sleep.
In a troubled world,
I pray the lord to keep,
keep hatred from the mighty,
And the mighty from the small,
4*-4-3
Heaven help us all.
5* 6 -6* -7
Oh, oh, oh yeah
5* 5* -5 6 -6*
Heav-en help us all.

Heaven Help Us All

5 5 4 4 -4 4 -4 4 4 4 -4
Heaven help the child who never had a home

5 5 6 6 6 6 -6 6 5 -5 6
Heaven help the girl who walks the street alone

5 5 6 6 -6 -6 -5 6 -6 6 5 -5 6
Heaven help the roses if the bombs begin to fall

5 3 -3 -4 4
Heaven help us all

5 5 4 4 -4 4
Heaven help the black man

4 4 -4 4 4 4 -4
if he struggles one more day

5 5 6 6 -6 6
Heaven help the white man

5 6 -6 6 5 6 6
if he turns his back away

5 5 6 6 -6 6
Heaven help the people

5 6 -6 6 5 6 6
with their backs against the wall

5 3 -3 -4 4
Heaven help us all

5 5 -5 6 -6 6 -5 5
Heaven help us allllllll

4 4 -4 5 -5 -5 -5 5 -4
Heaven help us, lord, hear our callll

-5 -5 5 -4
When we callll

5 3 -3 -4 4
Heaven help us all

Heaven help the boy who won’t reach twenty-one,
Heaven help the man who gave that boy a gun.
Heaven help the man who kicks the man who has to crawl
Lord, heaven help us all.

Heaven help us all, heaven help us all, heaven help us all, help us
all.
Heaven help us, lord, hear our call when we call.
Heaven help us all

Now I lay me down before I go to sleep.
In a troubled world, I pray the lord to keep, keep hatred from the
mighty,
And the mighty from the small,
Heaven help us all.
Heaven help us all.

I’ll Be Missing You

Every day I wake up I hope I’m dreaming
I can’t believe this shit
Cant believe you ain’t here
Sometimes it’s just hard for a nig*a to wake up
Its hard to just keep going
Its like I feel empty inside without you being here
I would do anything man, to bring you back
Id give all this shit, shit the whole knot
I saw your son today
He look just like you
You was the greatest
You’ll always be the greatest
I miss you big
Cant wait till that day, when I see your face again
I can’t wait till that day, when I see your face again…

Yeah… this right here (tell me why)
Goes out, to everyone, that has lost someone
That they truly loved (cmon, check it out)

VERSE 1 (PUFF)

Seems like yesterday we used to rock the show
I laced the track, you love the flow
So far from hanging on a block of dough
Notorious, they got to know that
Life ain’t always what it seemed to be
Words can’t express what you mean to me
Even though you’re gone, we still a team
Through your family, I’ll fulfill your dream
In the future, can’t wait to see
If you open up the gates for me
Reminisce sometime, the night they took my friend
Try to black it out, but it plays again
Wearin this grief it’s hard to conceal
Can’t imagine all the pain I feel
Give anything to hear half your breath
I know you still living a life, after death

CHORUS (FAITH EVANS)

5 -5 5 -4 4 5 -5 5 -4 5
Ev-ry step I take, ev-ry move I make

4 4 5 -5 -4 4 4 -5 5 5
Ev-ry sin-gle day, ev-ry time I pray

-4 4 5 -4 4
I’ll be miss-ing you

5 -5 5 -4 4 5 -5 5 -4 5
Think-ing of the day, when you went a-way

4 4 5 -5 -4 4 4 -5 5 5
What a life to take, what I’m bound to break

-4 4 -4 -4 4
I’ll be miss-ing you

VERSE TWO (PUFF)

Its kinda hard with you not around
Know you in heaven smiling down
Watching us while we pray for you
Every day we pray for you
Till the day we meet again
In my heart is where I’ll keep a friend
Memories give me the strength I need to proceed
Strength I need to believe
Heart so big I just can’t define
Wish I could turn back the hands of time
Us in a six, sharp and new clothes and kicks
You and me takin flicks
Make a hit, stages they receive you on
I still can’t believe you’re gone
Give anything to hear half your breath
I know you still living you’re life, after death

REPEAT CHORUS

INTERLUDE (FAITH EVANS)

5 4 3 4
From that morn-ing

4 -4 5 -5 5 4
When this life is ov-er

-3b -5 5 -5 6 6
I know I’ll see your face

OUTRO (112)

6 6 6 6 6 6 6 6 6 6
Ev-ry night I pray, ev-ry step I take

6 6 6 6 6 6 6 6 6 6
Ev-ry move I make, ev-ry sin-gle day

6 6 6 6 6 6 6 6 6 6
Ev-ry night I pray, ev-ry step I take

(PUFF) Ev-ry day that passes (SPOKEN)

6 6 6 6 6 6 6 6 6 6
Ev-ry move I make, ev-ry sin-gle day

(PUFF) is a day that’s getting closer (SPOKEN)
(PUFF) to seeing you again

3 3 3 3 3 3 3 3 3 3
Ev-ry night I pray, ev-ry step I take

(PUFF) we miss you big… and we wont stop (SPOKEN)

6 6 6 6 6 6 6 6 6 6
Ev-ry move I make, ev-ry sin-gle day

(PUFF) cause we can’t stop… that’s right (SPOKEN)

6 6 6 6 6 6 6 6 6 6
Ev-ry night I pray, ev-ry step I take

6 6 6 6 6 6 6 6 6 6
Ev-ry move I make, ev-ry sin-gle day

(PUFF) we miss you big (SPOKEN)

Livin’ la Vida Loca

Verse 1:
-4 -4 -3 4 5 5 -4 -4 -4 3 3 4
She’s in-to superstitions, black cats and voodoo
4 -4 -4 -3 4 5 5 -4 -4 -4 -2” -2”
Dolls. I feel a premonition, that girl’s gon-na
3 4 -3
Make me fall.

Verse 2:

She’s into new sensations, new kicks in the candle light. She’s got a
new addiction, for every day and night.

Bridge 1:
4 6 6 6 6 6 6 -6 -7
She’ll make you take your clothes off and go
-7 -6 -6 6 -6 -5 6 6 6 6
dancing in the rain. She’ll make you live her
6 6 6 -6 -7 -8 7 7 -7 7
Crazy life, but she’ll take away your pain,
-6 -7 -8 7 7 -7 7
Like a bullet to your brain.

Chorus:
-7 -7 -7 -7 -7 4 -6 -6 -6 -6 7 7 -7
Upside, inside out, she’s livin’ la vi-da loca.
6 -7 -7 -7 -7 -7 -6 -6 -6 -6 -7
She’ll push and pull you down, livin’ la vi-da
-6 6 6 -7 -7 -7 -7 -7 -7 -7 -6
Loca. Her lips are devil red and her skin’s
-6 -6 -7 7 7 -7 -7 -7 -7 -7 -7
The col-or of mocha. She will wear you out,
-6 -6 -6 -6 -7 -6 6 -6 -6 -6 -6 -7 -6 6
Livin’ la vi-da loca, livin’ la vi-da loca.
4 -6 -6 -6 -6 7 7 -7
She’s livin’ la vi-da loca.

Verse 3:
Woke up in New York City, in a funky, cheap
Hotel. She took my heart and she took my
Money. She must have slipped me a sleeping pill.

Bridge 2: (played the same as bridge 1)
She never drinks the water and makes you order
French champagne. Once you’ve had a taste of
Her you’ll never be the same. Yeah, she’ll
Make you go insane.

Chorus

Repeat bridge 1 and chorus.

Little Spanish Flea

Herb Alpert did this as an instrumental I`ve
added the words to help with the timeing
Intro
6 -8 -8 -4 -8 -8 6 -8 -4 -4 -8 6 -8 -8 -4
-8 -8 6
1.
-3 4 b-4 -4 -7 -7 -6 b-6
The biggest circus came to town
5 b5 -4b-4 -6 -6 6 b6
`Twas headed by the greatest clown
-4 b-4 4 -3 -4 6 5 6 -6 -4-5 b-7
And there were tigers and elephants, lions and
6 -7 7 -8~~~~~~~ -8 -8 8 -8 b-7 -6 6
kangaroos too~~~~~~ And A Little Spanish Flea
2.
-7 -7 -6 b-6 5 b5 -4 b-4 -6 -6 6
No one could stop for he had vowed to reach the
-5 -4 b-4 4-3-4 6 5 6-6 -4 -5 b-7 6 b-7 7
top. He had ability, energy and a star quality
-8~~~~~~~ -8 -8 8 -8 b-7 -6 6
too~~~~~~~~ For A Little Spanish Flea (Repeat
Intro)
CHORUS
6 -6 -7 7 7 -8 7 8 -8 7 b-7 -6
Why he could do the most amazing tricks no flea
6 -5-5 6 b-6 -6
had ever done before
-7 b-7 b-7 7 b-7 -8 7 b-7 b-6
He knew that if they got their kicks then
6 -5 b-5 b-5 -5 6 b6 6 -6~~~~~
every one would stand and shout for more~~~~~
3.
It seems that if you come from Spain
Show business runs right through your veins
And so our Spanish Flea climbed the heights
Had his name up in lights too
He`s the greatest Spanish Flea(6 -8 -8 -4 -8 -8 6)
Coda
-8 -8 8 -8 b-7 -6 6
He`s The Greatest Spanish Flea (-8 -8 -4 -8 -8 6)
-8 -8 8 -8 b-7 -6 6
He`s The Greatest Spanish Flea (-8 -8 -4 -8 -8 6
3 3 )

Like a Rolling Stone

5 5 5 5 5 5 5 5 5
Once upon a time you dressed so fine
5 5 5 5 5 5 5 5 5 6 6 6 -5
You threw the bums a dime in your prime, didn’t you?
5 5 5 5 5 5 5 5 5 5 5
People’d call, say, “Beware doll, you’re bound to fall”
5 5 5 5 5 6 6 6 -5
You thought they were all kiddin’ you-
6 6 6 6 -5 -5
You used to laugh about
6 <-5 6 <-6 6 6 6 -5 -5 Every-body- that was hangin' out 5 5 5 5 3 3 Now you don't talk so loud 5 5 5 5 3 3 Now you don't seem so proud 5 5 5 5 5 5 5 5 5 5 5 -5 About having to be scrounging for your next meal.-6 6 -5 5 How does it feel 5 5 5 5 How does it feel 5 5 5 5 5 6 To be without a home 5 5 5 5 5 6 Like a complete unknown 5 5 -6 6 5 Like a rolling stone?You've gone to the finest school all right, Miss Lonely But you know you only used to get juiced in it And nobody has ever taught you how to live on the street And now you find out you're gonna have to get used to it You said you'd never compromise With the mystery tramp, but now you realize He's not selling any alibis As you stare into the vacuum of his eyes And ask him do you want to make a deal?How does it feel How does it feel To be on your own With no direction home Like a complete unknown Like a rolling stone?You never turned around to see the frowns on the jugglers and the clowns When they all come down and did tricks for you You never understood that it ain't no good You shouldn't let other people get your kicks for you You used to ride on the chrome horse with your diplomat Who carried on his shoulder a Siamese cat Ain't it hard when you discover that He really wasn't where it's at After he took from you everything he could steal.How does it feel How does it feel To be on your own With no direction home Like a complete unknown Like a rolling stone?Princess on the steeple and all the pretty people They're drinkin', thinkin' that they got it made Exchanging all kinds of precious gifts and things But you'd better lift your diamond ring, you'd better pawn it babe You used to be so amused At Napoleon in rags and the language that he used Go to him now, he calls you, you can't refuse When you got nothing, you got nothing to lose You're invisible now, you got no secrets to conceal.How does it feel How does it feel To be on your own With no direction home Like a complete unknown Like a rolling stone?

Like a Rolling Stone

7 7 7 7 7 7 7 7 7
Once upon a time you dressed so fine
7 7 7 7 7 7 7 7 7 8 8 8 7
You threw the bums a dime in your prime, didn’t you?
7 7 7 7 7 7 7 7 7 7 7
People’d call, say, “Beware doll, you’re bound to fall”
7 7 7 7 7 8 8 8 7
You thought they were all kiddin’ you
8 8 8 8 -8 -8
You used to laugh about
8 -8 8 -8 8 8 8 -8 -8
Everybody that was hangin’ out
7 7 7 7 6 6
Now you don’t talk so loud
7 7 7 7 6 6
Now you don’t seem so proud
7 7 7 7 7 7 7 7 7 7 7 -8
About having to be scrounging for your next meal.

chorus:
-9 8 -8 7
How does it feel
7 7 7 8
How does it feel
7 7 7 7 7 8
To be without a home
7 7 7 7 7 8
Like a complete unknown
7 7 -9 8 7
Like a rolling stone?

You’ve gone to the finest school all right, Miss Lonely
But you know you only used to get juiced in it
And nobody has ever taught you how to live on the street
And now you find out you’re gonna have to get used to it
You said you’d never compromise
With the mystery tramp, but now you realize
He’s not selling any alibis
As you stare into the vacuum of his eyes
And ask him do you want to make a deal?

(chorus)

You never turned around to see the frowns on the jugglers and the
clowns
When they all come down and did tricks for you
You never understood that it ain’t no good
You shouldn’t let other people get your kicks for you
You used to ride on the chrome horse with your diplomat
Who carried on his shoulder a Siamese cat
Ain’t it hard when you discover that
He really wasn’t where it’s at
After he took from you everything he could steal.

(chorus)

Princess on the steeple and all the pretty people
They’re drinkin’, thinkin’ that they got it made
Exchanging all kinds of precious gifts and things
But you’d better lift your diamond ring, you’d better pawn it babe
You used to be so amused
At Napoleon in rags and the language that he used
Go to him now, he calls you, you can’t refuse
When you got nothing, you got nothing to lose
You’re invisible now, you got no secrets to conceal.

(chorus)

Puttin on the Ritz (taco)

The words with no numbers above them are spoken

I tabbed this just in the key of C,

I believe the song is actually is done in 4 minor keys

4 5 6 3 4 5 6 3 4 5 6

If you’re blue and you don’t know where to go to
3 4 5 6 3 -3 -4 -5

Why don’t you go where fashion sits?
6 -5 5 -4 4

Puttin’ on the Ritz
4 5 6 3 4 5 6 3

Different types who wear a day coat

4 5 6 3 4 5 6 3 -3 -4 -5

pants with stripes and cutaway coat perfect fits
6 -5 5 -4 4

Puttin’ on the Ritz
4 -4 5 -5 6 -5 5 -4 4 4

Dressed up like a million-dollar trooper
4 -4 5 -5 6 -5 5 -4 4 4 -5 -5 -5 5

Tryin’ hard to look like Gary Cooper (Super duper)
4 5 6 3 4 5 6 3 4 5 6

Come let’s mix where Rockefellers walk with sticks

3 4 5 6 3 -3 -4 -5

Or umbrellas in their mitts
6 -5 5 -4 4

Puttin’ on the Ritz
3 -3” 4 -3” 4 -3 -4

Have you seen the well-to-do

3 -3” 4 -3” 4 -3 -4

Up and down Park Av-en-ue
-3 4 5 4 5 -4 -5

On that famous thoroughfare

-3 4 5 4 5 -4 -5

With their noses in the air
7 6 5 -5 5 5 4

High hats and arrow collars,

7 6 5 -5 5 5 4

White spats and lots of dollars
-5 -5 -5 5 -4 -5 6 6 -5 5 6

Spending every dime for a wonderful time
4 5 6 3 4 5 6 3 4 5 6

If you’re blue and you don’t know where to go to
3 4 5 6 3 -3 -4 -5

Why don’t you go where fashion sits?
6 -5 5 -4 4

Puttin’ on the Ritz
4 5 6 3 4 5 6 3

Different types who wear a day coat

4 5 6 3 4 5 6 3 -3 -4 -5

pants with stripes and cutaway coat perfect fits
6 -5 5 -4 4

Puttin’ on the Ritz
4 -4 5 -5 6 -5 5 -4 4 4

Dressed up like a million-dollar trooper
4 -4 5 -5 6 -5 5 -4 4 4 -5 -5 -5 5

Tryin’ hard to look like Gary Cooper (Super duper)

4 5 6 3 4 5 6 3 4 5 6

Come let’s mix where Rockefellers walk with sticks

3 4 5 6 3 -3 -4 -5

Or umbrellas in their mitts
6 -5 5 -4 4

Puttin’ on the Ritz

4 -4 5 -5 6 -5 5 -4 4 4

Dressed up like a million-dollar trooper
4 -4 5 -5 6 -5 5 -4 4 4 -5 -5 -5 5

Tryin’ hard to look like Gary Cooper (Super duper)
4 5 6 3 4 5 6 3 4 5 6

If you’re blue and you don’t know where to go to
3 4 5 6 3 -3 -4 -5

Why don’t you go where fashion sits?
6 -5 5 -4 4 6 -5 5 -4 4

Puttin’ on the Ritz, puttin’ on the Ritz,

6 -5 5 -4 4 6 -5 5 -4 4

Puttin’ on the Ritz, puttin’ on the Ritz

Down, down (Uh), down

Get your kicks at the Ritz

Dining one but not ’till nine

The time is right for us tonight

We can move, move to the rhythm, we can…

Move, dance to the rhythm, nice and easy

I want you to move
3 3 3 -3” 3 3 3 -3”
Puttin’ it on, puttin’ it on,

3 3 3 -3” 3 3 3 -3” 3

Puttin’ it on, puttin’ it on the

R.I.T.Z.

How ’bout you and me says
6 -5 -4
Gotta dance
6 -5 -4
Gotta dance
4 5 6 3 4 5 6 3 4 5 6

If you’re blue and you don’t know where to go to
3 4 5 6 3 -3 -4 -5

Why don’t you go where fashion sits?

6 -5 5 -4 4 6 -5 5 -4 4

Puttin’ on the Ritz, puttin’ on the Ritz,

Pumped Up Kicks 2 GPX Guitar Pro Tab

Pumped Up Kicks GPX Guitar Pro Tab

Pumped Up Kicks 3 GPX Guitar Pro Tab

Pumped Up Kicks 4 GPX Guitar Pro Tab

Teenage Kicks GP3 Guitar Pro Tab

Kickstand GP3 Guitar Pro Tab

Teenage Kicks 2 GP4 Guitar Pro Tab

Pumped Up Kicks (whistling part)

Four Kicks GP4 Guitar Pro Tab

Kicks After Six GP3 Guitar Pro Tab

Four Kicks GP4 Guitar Pro Tab

Tim Maia

Biography

1950s

1960s

1970s

1980s and 1990s

Personal life

Legacy and homages

Discography

Nikki Sixx

Early life

Career

Early career, Sister, London (1975–1979)

Mötley Crüe (1981–2015)

58 (2000)

Brides of Destruction (2002–2004)

Sixx:A.M. (2006–2017)

Other work

Equipment

Signature basses

Other basses

Personal life

Radio shows

Running Wild in the Night

Download Guitar Lessons eBooks for Free

Download Guitar Lessons eBooks for Free

RiffTV eBooks 2.10 MB 54 downloads

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Beginning Jazz Guitar: The Complete Jazz Guitar Method: Beginning-intermediate-mastering Chord/Melody-mastering Improvisation 51.68 MB 93 downloads

Guitar Scales Easy Music Lessons 1.56 MB 41 downloads

Lesson Book for Gibson’s Learn & Master Guitar – Legacy Learning 7.42 MB 51 downloads

Blues Guitar Lesson Book – Learn & Master Courses by Legacy 12.92 MB 45 downloads

Guitar Mastery Simplified: How Anyone Can Quickly Become a Strumming, Chords, and Lead Guitar Ninja 2.08 MB 60 downloads

Gibson’s Learn & Master Guitar Lessons 8.46 MB 44 downloads

The Ultimate Guitar Course: Zero to Hero in a Lesson a Day 4.28 MB 92 downloads

Acoustic Guitar Slide Basics (Acoustic Guitar Magazine’s Private Lessons) 8.55 MB 36 downloads

Learn to Play Lead Guitar in 6 Easy Lessons 773.38 KB 30 downloads

Next level guitar® modern & classic blues rock masters guitar written lesson manual 1.30 MB 34 downloads

Guitar Mastery Simplified: How Anyone Can Quickly Become a Strumming, Chords, and Lead Guitar 3.79 MB 111 downloads

The Everything Rock & Blues Guitar Book: From Chords to Scales and Licks to Tricks, All You Need to Play Like the Greats (Everything Series) 53.17 MB 49 downloads

How to Fingerpick Guitar Like the Best: Awesome Fingerpicking Lessons 2.16 MB 52 downloads

Bass Guitar Exercises For Dummies 2.71 MB 26 downloads

Beginning Guitar 65.96 MB 32 downloads

Teach Yourself VISUALLY Bass Guitar 13.33 MB 28 downloads

Guitar Virtuosity for the Everyday Man 8.89 MB 33 downloads

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Nat King Cole

Biography

Early life

Early career

Career as a vocalist

Personal life

Marriages and children

Experiences with racism

Politics

Illness and death

Posthumous releases

Awards and honors

At The Hop

At The Gala (The Best Night Ever – My Little Pony)

At The Gala (The Best Night Ever – My Little Pony)

Bloodstream

Bernie’s Tune

Friday Night Blues

Heaven Help Us All (chromatic)

Heaven Help Us All

I’ll Be Missing You

Livin’ la Vida Loca

Little Spanish Flea

RiffTV eBooks

2.10 MB
54 downloads

Alfred’s Teach Yourself to Play Guitar: Everything You Need to Know to Start Playing the Guitar!

9.94 MB
83 downloads

Beginning Jazz Guitar: The Complete Jazz Guitar Method: Beginning-intermediate-mastering Chord/Melody-mastering Improvisation

51.68 MB
93 downloads

Guitar Scales Easy Music Lessons

1.56 MB
41 downloads

Lesson Book for Gibson’s Learn & Master Guitar – Legacy Learning

7.42 MB
51 downloads

Blues Guitar Lesson Book – Learn & Master Courses by Legacy

12.92 MB
45 downloads

Guitar Mastery Simplified: How Anyone Can Quickly Become a Strumming, Chords, and Lead Guitar Ninja

2.08 MB
60 downloads

Gibson’s Learn & Master Guitar Lessons

8.46 MB
44 downloads

The Ultimate Guitar Course: Zero to Hero in a Lesson a Day

4.28 MB
92 downloads

Acoustic Guitar Slide Basics (Acoustic Guitar Magazine’s Private Lessons)

8.55 MB
36 downloads

Learn to Play Lead Guitar in 6 Easy Lessons

773.38 KB
30 downloads

Next level guitar® modern & classic blues rock masters guitar written lesson manual

1.30 MB
34 downloads

Guitar Mastery Simplified: How Anyone Can Quickly Become a Strumming, Chords, and Lead Guitar

3.79 MB
111 downloads

The Everything Rock & Blues Guitar Book: From Chords to Scales and Licks to Tricks, All You Need to Play Like the Greats (Everything Series)

53.17 MB
49 downloads

How to Fingerpick Guitar Like the Best: Awesome Fingerpicking Lessons

2.16 MB
52 downloads

Bass Guitar Exercises For Dummies

2.71 MB
26 downloads

Beginning Guitar

65.96 MB
32 downloads

Teach Yourself VISUALLY Bass Guitar

13.33 MB
28 downloads

Guitar Virtuosity for the Everyday Man

8.89 MB
33 downloads