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Alexander’s Ragtime Band


A Rianxeira


A La Peche Aux Moules


Richard X

Richard Philips, better known by his stage name Richard X, is a British songwriter and music producer. Gaining attention as a pioneer of the bootleg craze, Richard X has earned success as a producer and remixer. He has helmed hit singles for artists including Annie, Kelis, Liberty X, Rachel Stevens and Sugababes. According to an early issue of the now defunct Popworld magazine, Philips’ alias comes from a postcard which was sealed with a kiss misinterpreted for the letter X.

Richard X is known for his “synthesised, grungy pop music”, which was inspired by bands such as The Human League and Kraftwerk. His original intention was to “reinvent” pop music by making records that are “deliberately unplayable”. Referring to his ‘Girls on Top’ bootlegs, Richard X says, “At the time it was inspired by anti the po-facedness of the electronica scene as much as anything. The production side, how it sounded – rough and spiky, electronic and modern – was what did it for me. Taking pop and putting it through a blender sound wise was the spirit of the times.”

History

2001–2004: Bootlegs and commercial breakthrough

Richard X started his career in the underground music scene creating popular bootlegs, which are “illegal, under the counter remixes which combined two existing records to make an entirely new song.” Under the pseudonym Girls on Top, Richard X released a series of vinyl-only underground singles. He says bootlegs were “escaping from that world of formatting – which the DJ culture and club culture relies on so much. They were supposed to be the future of pop music.”[1] His mashup “I Wanna Dance with Numbers” helped establish as the most common mashup template the combination of vocals from a female pop singer with a critically noteworthy song.

Island Records heard “We Don’t Give a Damn About Our Friends”, which was a mash-up of Adina Howard’s “Freak Like Me” and Gary Numan/Tubeway Army’s “Are ‘Friends’ Electric?”, and requested that Sugababes record it. Richard X said he was “very keen to do it as long as it remained what it was. It was raw, it was against the grain and it was still pop music.” Sugababes’ version of the song, which kept the Adina Howard title of “Freak Like Me”, was recorded in Richard X’s flat in Tooting. He said, “there was a loop, some handclaps, the Sugababes and a semi-broken synthesiser.”  Released as the first single from Sugababes’ second studio album Angels with Dirty Faces, it charted at number one on the UK Singles Chart, the first of many for the girl group.

As a result of the interest in Girls on Top and “Freak Like Me”, Richard X was signed to Virgin Records. He collaborated with pop group Liberty X to create “Being Nobody”, a mash-up of Chaka Khan’s “Ain’t Nobody” and The Human League’s “Being Boiled”. Richard X’s next release was “Finest Dreams” with Kelis, which was a reworking of The SOS Band and Alexander O’Neal’s “The Finest” with another The Human League song “The Things That Dreams Are Made Of”. Both the Liberty X and Kelis collaborations charted within the top ten, at number three and number eight respectively. Richard X released his debut album Richard X Presents His X-Factor Vol. 1 in August 2003. The album featured “Freak Like Me”, “Being Nobody”, “Finest Dreams” as well as collaborations with Annie, Jarvis Cocker, Javine Hylton, and Tiga, among others. Richard X described the album as “modern, alternative, future-pop”.

He also released Back to Mine Volume 17, as part of the long-running mix album series. His album included tracks by artists including Goldfrapp, Heaven 17, Jona Lewie, John Carpenter and Kelis.

2004–present: Production

After the mainstream success of his bootlegs, Richard X turned his attention to original compositions. In July 2004, pop singer Rachel Stevens released “Some Girls”, written by Richard X with Hannah Robinson. The song received critical acclaim and was another success for Richard X, charting at number two upon its release. Warp Records and Simon Fuller of 19 Entertainment contacted Richard X by email to ask that he give the song to Geri Halliwell or Stevens, respectively, to record. He agreed to have Stevens record the song after Richard Curtis asked about using the song for Sport Relief. When Halliwell found out that the writers were having Stevens record the song, she locked herself in her car in an attempt to change their minds, and she later wrote Richard X a love song. The aftermath of the decision for Stevens to record the song became the subject of another song written by Richard X and Robinson, “Me Plus One” from Annie’s 2004 album Anniemal. Annie’s album included another Richard X production, “Chewing Gum”, which remains her biggest hit to date. Pitchfork Media ranked the track at number eleven on its list of the Top 50 Singles of 2004. Stylus Magazine listed it tenth on its list of the top 40 singles of 2004. Richard X also produced her 2006 gap single “Crush”.

In 2004, Richard X worked with M.I.A. for her debut album Arular (2005). He co-wrote/produced “Amazon” and “10 Dollar”, as well as “Hombre” under the pseudonym Dwain ‘Willy’ Wilson III. The latter featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. M.I.A. also appeared on Richard X’s remix of Ciara’s “Goodies”.

Richard X worked with Róisín Murphy and Sam Sparro on their albums Overpowered and Sam Sparro respectively. “Parallel Lives” appears on her second album Overpowered, while “Pandora” was used as a b-side. Richard X collaborated with Saint Etienne, co-writing and producing the 2009 single “Method of Modern Love”. He also worked with Annie again for her 2009 album Don’t Stop. He produced the singles “I Know UR Girlfriend Hates Me”, “Anthonio”, and “Songs Remind Me of You”. The latter dates back to 2006. Richard X also produced Annie’s cover of the Stacey Q song “Two of Hearts” for release as a digital download.

Richard X co-produced “Alive” for Goldfrapp’s 2010 album Head First and worked with Sophie Ellis-Bextor on her 2011 album Make a Scene, producing and co-writing “Magic” and the single “Starlight”. He also co-produced the entirety of Will Young’s album Echoes (2011), which debuted at number one on the UK Albums Chart.

In 2013, Richard X worked with Erasure (Andy Bell and Vince Clarke) on their anticipated 16th studio album for fall 2014 release, a 10-track record titled The Violet Flame.

Black Melody

Richard X created his own “production empire” Black Melody, which basically oversees all of his productions and remixes.

In October 2002, Richard X worked with The Human League members past and present to compile The Golden Hour of the Future, a collection of early recordings by The Human League and their predecessors The Future. The album was released via Black Melody and preceded by a limited edition 12″ promo EP titled “Dance Like a Star”.

In 2009, Richard X created the Pleasure Masters label for the sole purpose of releasing Annie’s “Anthonio”, which he co-wrote and produced, after her departure from Island Records.

Work ethic

Richard X has been approached to work with many artists, but stays selective. “It’s very much who tickles my fancy,” he told BBC News.  He has turned down a number of artists: “I am particular and probably turn down 90% of what I’m offered – I think it drives a few people around me mad. We try not to forget it’s art and not just a job.” He often works with people who are seen “as having similar ideals of creating innovative, forward thinking pop music”, according to HitQuarters. Richard X says, “It’s not so much a vision, more an ethos. I like the artist who stands alone or has the ideas that at first seem a little left of centre. Rather than chase a style, where you inevitably end up sounding second best, it’s easier to do something new. If the artist is attempting something new they are creating a benchmark rather than trying to reach one.”

He treats every song as a potential single. He says, “Each track has to stand alone. The song, the production and everything together. My reference point is always imagining finding it on a seven-inch [single] in a second hand shop when you were younger.”  Richard X cites this as a reason that he usually collaborates with artists on individual tracks: “I’ve always been about singles […] it’s bite sized, to the point, and let’s be honest with some of the artists out there you really don’t need to hear much beyond the hit.”

Richard X also prefers to co-write songs, rather than solely producing them.

 


Renato Teixeira

Renato Teixeira de Oliveira (born May 20, 1945 in Santos) is a Brazilian singer-songwriter. He is a representative of sertanejo music and folk rock, linked to the caipira culture and dialect. Teixeira is the author of several hit songs including “Romaria”, which was notably covered by Elis Regina in her eponymous 1977 album. Other hit songs by Teixeira were “Dadá Maria” (in duet with Gal Costa) and “Tocando em Frente” (in duet with Almir Sater), later sung also by Maria Bethânia. Teixeira won twice the Latin Grammy Award: in 2015 for Best Sertaneja Music Album, with Sérgio Reis, and in 2016, with Sater.


Franz Xaver Gruber

Franz Xaver Gruber (25 November 1787 – 7 June 1863) was an Austrian primary school teacher, church organist and composer in the village of Arnsdorf, who is best known for composing the music to “Stille Nacht” (“Silent Night“).

Life

Gruber was born on 25 November 1787 in the village of Hochburg-Ach, Upper Austria, the son of linen weavers, Josef and Maria Gruber. His given name was recorded in the baptismal record as “Conrad Xavier,” but this was later changed to “Franz Xaver”. The Hochburger schoolteacher Andreas Peterlechner gave him music lessons.

Gruber worked as a weaver until the age of 18, then trained to become a schoolteacher. He completed his music education studying with the church organist of Burghausen, Georg Hartdobler. In 1807 Gruber became a schoolteacher in Arnsdorf. He also became the church caretaker and organist. In 1808 he married a widow, Maria Elisabeth Fischinger Engelsberger. They had two children, both of whom died young. After the death of his first wife in 1825, Gruber married a former student, Maria Breitfuss. They had ten children, four of whom survived to adulthood. In 1829 Gruber moved to Berndorf, and in later years to Hallein, Salzburg, where he was named choir director, singer and organist.

Maria Gruber died in childbirth in 1841. The following year he married Katherine Wimmer.

“Silent Night”

In 1816 he took on the additional responsibilities of organist and choirmaster at St Nicholas Church in the neighboring village of Oberndorf bei Salzburg.

Together with Joseph Mohr, a Catholic priest who wrote the original German lyrics, Gruber composed the music for the Christmas carol Silent Night. On Christmas Eve of 1818, Mohr, an assistant pastor at St Nicholas, showed Gruber a six-stanza poem he had written in 1816. He asked Gruber to set the poem to music. The church organ had broken down so Gruber produced a melody with guitar arrangement for the poem. The two men sang Stille Nacht for the first time at Christmas Mass in St Nicholas Church while Mohr played guitar and the choir repeated the last two lines of each verse. For a long time many thought that Silent Night was written by Haydn, Mozart or Beethoven.

In later years, Gruber composed additional arrangements of the carol for organ and for organ with orchestra, as well as scores of other carols and masses, many of which are still in print and sung today in Austrian churches.

Family

Parents: Joseph Gruber (1761 – 1821)

Anna Gruber (1766 – 1825)

Spouse(s)

Elizabeth Tischinger (1781 – 1825)

Maria Breitfuss (1806 – 1840)

Katharina Wimmer (1806 – 1873)

Children

Franz Gruber (1827 – 1917)

Felix Gruber (1823 – 1868)

 


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 associates 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.

 


Bass Guitar Exercises For Dummies


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


Ruth Sexton


Axel Öman Vals

12 Hole Chromatic (std 48) Key of C

+5 -3 -2 +1 +2 -1 +1
+1 -1 -2 -3< -3< -3 -3 +5 -3< -3 +3 -3 +5 -6 +6 -5< +6 -5 +5 +5 -3 -2 +1 +2 -1 +1 +1 -1 -2 -3< -3< -3 -3 +5 -3< -3 +3 +5-6 -6 +6 -5 -3< +2 -2 -2 -2 -2 +3 -3 +3 -2 +3 +3 +3 +3 -3 -3< -3 +3 +5 +5 -5 -6 -5 +5 -3 +3 -2 -1 -2 -5 +5 -3< -3 -3< +5 +3 -3< -3 -2 +2 -3< +5 +5 -3-6


Axel F (Un Policía en Beverly Hills)

5 6 5 5 -6 5
-4 5 -7 5 5 7 -7 6
5 -7 8 5 -4 -4 -3 6 5


Axel F (Beverly Hills Cop theme song)

-6 +7 -6 -6 -8 -6
+6 -6 +8 -6 -6 -9 +8 +7
-6 +8 -10 -6 +6 +6 +5 -7 -6


Aux légionnaires

I.
5 6 -5 5 4 -4 4 5

Quand on a bouffé son pognon

5 6 -5 5 4 -4 4 5

Ou gâché par un coup d’cochon

3 4 5 5 -4

Toute sa carrière,

-4 -4 5 -5 -5 -5 -5 -5

On prend ses godasses sur son dos

4 4 -4 5 5 5 5 5

Et l’on file au fond d’un paquebot

6 6 -5 5 -4 4

Aux Légionnaires.

II.
On y trouve des copains d’partout
Y en a d’Vienne, y en a d’Montretout
Pas ordinaires,
Des aristos et des marlous
Qui se sont donnés rendez-vous
Aux Légionnaires.

III.
Y a des avocats, des médecins
Des juges, des marquis, des roussins
D’anciens notaires,
Mêm’ des curés qui sans façons
Baptisent le Bon Dieu d’sacrés noms
Aux Légionnaires.

IV.
On vit au pays des Bicots,
Là où c’qu’il y a qu’des bourricots
Des vieilles moukères
En France, on ferait bien trop d’pétard
Et l’bourgeois a peur du cafard
Du Légionnaire.

V.
On vit avec d’autres passions
Que l’pioupiou qui monte la faction
D’vant l’ministère,
Mieux vaut la brousse du Tonkin
Que la caserne du biffin
Pour l’Légionnaire.

VI.
Chez nous on devient pas proprio
Faut trop traîner ses godillots
Par tout’ la terre,
Le pernod, les femmes et l’assaut
Dame, on n’est pas comme il faut
Aux Légionnaires.

VII.
Quinze ans on fait ce dur métier
A moins q’un ball’ vienn’ prend’ pitié
De not’ misère,
Alors l’chacal aiguise ses crocs,
En disant j’vas croquer les os
D’un Légionnaire.

VIII.
Mais ça n’est pas admis chez nous,
Un copain dit au bord d’not’trou
Quelqu’bout d’prière,
Deux morceaux d’bois en croix, un nom,
Qu’importe si c’nom là c’est pas l’bon
C’t’un Légionnaire.

IX. (couplet inventé par un légionnaire en Indochine, non officiel)
On porte des tas d’décorations
En long en large et même en rond
Des tas d’croix d’guerre
Mais ce qu’on gagne surtout chez nous
C’est une petite croix en bambous
Aux légionnaires


Auld Lang Syne x tremolo

For Echo Harp C and Unsere Libelinge Octave C

11 13 13 13 15 -16 13 -16
Should auld ac-quain-tence be for-got,

15 13 13 15 17 -20
And nev-er brought to mind?

-20 17 15 15 13 -16 13 -16
Should auld ac-quain-tence be for-got,

15 13 -12 -12 11 13
And days of auld lang syne?

-20 17 15 15 13 -16 13 -16
For au-ld la-ng syne, my dear,

-20 17 15 15 17 -20
For au-ld la-ng syne,

-20 17 15 15 13 -16 13 -16
We’ll take a cup o’ kind-ness yet,

15-16 13 -12 -12 11 13
Fo-r au-ld la-ng syne.


Asterix – Holzwurmhaendler

1.
4 6 6 -5 5 -4 4
Schon ganz klein war ich al-lein,
-3 -5 -5 5 -4 4 -3
hatt’ zum Spie-len nur ein Schwein,
4 6 6 -5 5 -4 4
doch das grunz-te im-mer lahm,
-4 -5 -5 5 -5 6 -6
wenn ich zu ihm spie-len kam.
-6 -8 -6 -8 -6 -5 -5
Spä-ter fand ich ein-e Frau,
-5 -5 -6 6 -5 5 -4
ihr-e Haa-re war’n schon grau.
-6 -8 -6 -8 -6 -5 -5
Doch sie hat-te Kin-der-lein,
-4 -4 -4 -6 6 -5 5 -4
ich wollt’ nie mehr al-lei-ne sein.

2.
4 6 6 -5 5 -4 4
Doch die Frau ist mir ganz fix,
-3 -5 -5 5 -4 4 -3
durch-ge-brannt mit Auf-reis-fix,
4 6 6 -5 5 -4 4
auch die Toch-ter ist ent-flohn,
-4 -5 -5 5 -5 6 -6
und der Sohn vor Jahr-en schon.
-6 -8 -6 -8 -6 -5 -5
Nur mein Vieh bleibt mir noch treu,
-5 -5 -6 6 -5 5 -4
zieht den Kar-ren mit dem Heu.
-6 -8 -6 -8 -6 -5 -5
Doch mein Heu kauft niem-and mehr,
-5-5 -6 6 -5 5 -8
darum ist die Kas-se leer.


Are You from Dixie

6 -6 6 5 6 7 -8 7 -6 7
Are you from Dix-ie,____ I said from Dix-ie,____
7 -8 8 8 8 8 8 -8 7 6
where the fields of cot – ton beck-on to me?____
6 -6 6 5 6 7 -8 7 -6 7
Im glad to see you,____ tell me how be you____
-6 -7 7 -8 -8 -8 7 -6 -8
and all the friends Im long-ing to see?________
7 -8 7 8 7 -8 7 8 7 -8
If youre from Al – a – ba – ma, Ten – nes – see
7 8 7 -8 -8 8 -8 7 -8 8 -8 7
or Car – o – line, an-y place below the Ma-son
-6 6 5 6 -6 6 5 6
Dix-on line,____ then youre from Dix-ie._____
7 -8 7 -6 7 -8 678 567 6 -78
Hur-ray for Dix-ie,_____ cause Im from Dix-ie,
567
too!


Apocaliptica (Meme Caixão)

+3 -4 +4 +4 +3 +3 -3 +4 +3 -3 +3

+3 -6 +6 -6 +6 -6 +5 (x2)

-3 -3 -3 (x3) -4 -4 -4 (x3) +3

+3 -4 +4 +4 +3 +3 -3 +4 +3 -3 +3

+3 -6 +6 -6 +6 -6 +5 (x2)

+4 -4 +5 +4 -4 -3


By The Time I Get To Phoenix (chromatic)

By: Jim Webb
Glen Campbell
Key: D

1* -1 2 2 2 2 2 2
By the time I get to Phoe-nix
-1 -3 -3 -2*
she’ll be ris-ing
-1 2 2 2
She’ll find the note
2 2 2 2 -1 -3 -2*
I left hang-in’ on her door
-3 -4 -4 -4 -4
She’ll laugh when she reads
-4 -4 3 -3 -4 -3 -3
the part that says I’m leav-in’
2 -2* 3 3 3
‘Cause I’ve left that girl
3 -2*-2* 2 -1 2
so man-y times be-fore

1* -1 2 2 2 2 2 2 2
By the time I make Al-bu-quer-que
-1 -3 -3 -2*
she’ll be work-ing
-1 2 2 2 2 2
She’ll pro-b’ly stop at lunch
2 2 -1 -3 -2*
and give me a call
-3 -4 -4 -4 -4 -4
But she’ll just hear that phone
-3 -4 -3 -3
keep on ring-in’
2 -2* 2 -1 2
Off the wall that’s all

1* -1 2 2 2 2 2 2 2
By the time I make Ok-la-ho-ma
-1 -3 -3 -2*
she’ll be sleep-in’
1* -1 2 2 2 2 2 -1 -3 -2*
She’ll turn soft-ly and call my name out loud
-3 -3 -4 -4 -4 -4
And she’ll cry just to think
3 -3 -4 -3 -3
I’d real-ly leave her
2-2* 3 3 3 3 3 -2* 3 -3 -2*
Tho’ time and time I’ve tried to tell her so
-1 -1 2 -2* 2 2 -1 1* 3 -2*
She just did-n’t know I would real-ly go.


By The Time I Get To Phoenix

-3 4 -4 -4 -4 -4 -4 -4
By the time I get to Phoenix

4 6 6 5
she’ll be rising.

-34 -4 -4 -4
She’ll find the note

-4 -4 -4 -4 4 6 5
I left hanging on her door.

6 -6 -6 -6 -6
She’ll laught when she reads

-6 -6 -5 6 -6 6 6
The part that says I’m leaving,

6 5 -5 -5 -5
‘Cause I’ve left that girl

-5 6 6 5 4 -4
so many times before.

4 4 -8 8 -8 -8 7 -7 -9 8
She just didn’t know I would really go

By the time I make Alburquerque she’ll be working.
She’ll probably stop and lunch and give me a call.
But she’ll just hear that phone
Keep on ringing off the wall–
———that’s all.

By the time I make Oklahoma she’ll be sleeping.
She’ll turn softly and call my name out low.
And she’ll cry just to think
I’d really leave her
Though time and time I’ve tried to tell her so.


Bright Side Of The Road (Harp) for Janx!

HSB= HALF STEP BEND
FSB= FULL STEP BEND

First a quick note folks!
Van played this on a C CHROMATIC not Diatonic
If you want the actual tab please ask me or wait till
I get around to posting it.
This is a DIATONIC tab of the HARP PIECES IN THE SONG! All in all only
5 notes are off.

To get the opening riff say WAH on inbreath and HOO on outbreath.

00:00 (-345) (-345) (345)
-4,5,-5,5,-45,-45,4,-45,4,-45b
-45,4
00:07 4,5,5,-5,5,-5,5,4

HARP SOLO

01:37 -4,-5,-6(hold),7,-6,-5,5,(hold)-4,5,5,
-4,-5,5,6
Draw slide -3to -6 6,6,6,7,7,7,8,7,7,
-6,6,5,5,4
-4,5,-4,5,-4,5,-4,5,-4,5,-4,5,-4,5,
-4,5,-4,
4 (hold) -3hsb,-2,(hold)4,-3,-2

ENJOY!!!
THANK YOU THANK YOU THANK YOU VERY MUCH!!!


Bridge over troubled water x tremolo

For ECHO HARP C 40H and UNSERE LIBELINGE octave 48h

9 -10 9 -84 7 -10 11 9
When youre weary, feeling small

-12 13 -12 11 13 -12
When tears are in your eyes

-12 -12 11 9-8 7
I will dry them all

9 -8 7 -8 11
Im on your side, oh

11 9-8 7 7 7-8 9
When times get rough

11 15 -16 13 -16 -16
And friends just cant be found

15 -16 13 -14-12 -12 11 9 11
Like a bridge over troubled water

-12 13 -16 15 13
I will lay me down

15 -16 13 -14-12 -12 11 -12 13
Like a bridge over troubled water

-12 13 13-14 -14 13
I will lay me down


Bottle of Wine (Cross harp Straight harp mix)

For the Chorus Play With G harp. For the Verse Play on C harp.
You could Play it all on one harmonica but the it would be in the wrong key

Chorus:

-6 -6′ -6 7 -6 -6′ -6 -5

Bottle of wine Fruit of the vine

-6 -6 -6 -6 7 -6 -5 6 -6

When you gonna let me get sober

-6 -6′ -6 7 -6 -6′ -6 -5

Leave me alone let me go home

-6 -6′ -6 7 -6 -5 6 -5

Let me go back and start over

Verse:

7 7 7 -7 -7 -6 -6 -6 6

Ramblin round this dirty old town

5 5 5 -5 5 -4 5 6

Singin for nickels and dimes

7 7 7 -7 -7 -6 -6 -6 6

Times getting rough, I don’t have Enough

5 5 5 5 5 -5 5 -4 4

To get a little Bottle of Wine


Boston Tea Tax Song

From the American Revolutionary War

Key: G

-4-3 3-1 -1-1* 2 -3 -3

I snum I am a Yan-kee lad

-3 -4 4 -3 -2* 2 -1 3

And I guess I’ll sing a dit-ty

-4-3 3 -1 -1 -1* 2 -3 -3

And if you do not rel-ish it

-4 4 -3 -2* -3 -3 3

The more ‘twill be the pit-y

-3-4 -3 3 -2* 3 -3 -3 -3

That is, I think, I should have been

-4 -3 3 -2* 2 2 -1 -1

A plague-y sight more fin-ished man

-4-3 3 -1 -1 -1* 2 -3 -3

If I’d been born in Bos-ton town

-3-4 -4 4 -3 -2* -3 -3 3 3

But I warn’t ‘cause I’m a coun-try man

-4 -3 3 -1 -1 -1

Tol-le-lol-de-rid-dle

-1 -1* 2 -3 -3

Tol-le-lol-de-ray

-3 -4 4 -3 -2* -3 -3 3 3

But I warn’t ‘cause I’m a coun-try man


Body in a box

intro

(6 7 -7 7 -7 7 6)x2

solo is the same as the intro just play throgh 2 times


Blue Yodel No. 1 (T For Texas)

By: Jimmie Rodgers
Hank Locklin, Billy Walker,
Willie Nelson, Waylon Jennings
Key: F

4 4 4 -3 4 4 4 -3 -2
T for Tex-as, T for Ten-nes-see
3* 3 -1 -2 3* 3 -2 -1 -2
T for Tex-as, T for Ten-nes-see
3* 3 3 1
T for Thel-ma
-3 -3* -4 4 4 4 4 -3 -2 -6…
that girl that made a wreck out of me

-3-3* 4 -7 4 -3* 7 4 -3 -6
O la-ee-oo la-ee-oo la-ee
-3 -3* 4 4 4 4 -3
If you don’t want me ma-ma,
-3 4 4 4 -3 -2
You sure don’t have to stall
-2 -2 3 3* 3 -2 1*
Cause I can get more wom-en
-2 -2 3* 3* 3 -2 -2 -2
than a pas-sen-ger train can haul
3* 3* 3* 3* 3 3 3
Cause I can get more wom-en
-3 -3* 4 4 4 4 -3 -2 -6…
than a pas-sen-ger train can haul
-3-3* 4 -7 4 -3* 7 4 7 -6
O la-ee-oo la-ee-oo la-ee


Bixby Canyon Bridge (12th position)

4 47-6 -3”-87 -6 6 -5

I descended a dusty gravel ridge

-3” -5 -6 6 -6 6 -5 -4 4

Beneath the Bixby Canyon Bri-dge

-3” 7 -6 -4 -8 7 -6 6 -5

Until I eventually arrived

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

At the place where your soul had died

-5 -6 6 -6 6 4 -4

Barefoot in the shallow creek

-2” -5 -6 6 -6 7 -6 6 -5

I grabbed some stones from un-der-ne-ath

-2” -5 6 -6 6 -6 6 4 -4

And waited for you to speak to me

4 4 7 -6 4 4 -8 7 -6 6 -5

In the silence it became so very clear

-2” -5 -6 6 6 -6 6 -5 -4 4

That you had long ago dis-ap-pe-ared

1 7 -6 -8 7 -6 -6 6 -5

I cursed myself for being surprised

-5 6 -66 6 6 -6 6 -3’ 4 -5

That this didn’t play like it did in my mind

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

All th-e way from San Francisco

-5 -6 6 -6 7 -6 6 -5

As I chased the end of your road

-5 -6 6 -6 6 4 -4

‘Cause I’ve still got miles to go

4 -6 6 -6 6 4 -4

And I want to know my fate

-5 6 -6 7 -6 6 -5

If I keep up this wa-y

4 -6 6 -6 6 4 -4

But it’s hard to want to stay

4 -6 5 4

A-w-a-ke

-6 6 -6 6 4 -4

When everyone you meet

-3’ -6 6 -6 7 -6 6 -5

They all seem to be a-sle-ep

-3’ -6 6 6 6 -6 6 3 4 -5 -4

And you wonder if you’re missing a dre-am

3 -6 6 -5 -4 -4 6

You can’t seeeeee a dream (x2)

-3 -3 -6 6-66 -5-4-4 6-4

You just can’t seeeeeeeeeeee a dre-am

3 -3 4 -5

A dr-e-am (x2)

-2” -3 4 -5

A dr-e-am (x7)

4 7 -6 -8 7 -6 6 -5

And then it started getting dark

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

And I trudged back to where the car was pa-rked

4 7 -6 4 -8 7 -6 6 -5

No closer to any kind of truth

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

As I must assume was the case with you


Bixby Canyon Bridge

3 3 6 5 2 -6 6 5 -4 4

I descended a dusty gravel ridge

2 4 5 -4 5 -4 4 -3” 3

Beneath the Bixby Canyon Bri-dge

2 6 5 -3” -6 6 5 -4 4

Until I eventually arrived

4 5 -4 -4 5 -4 3 4

At the place where your soul had died

4 5 -4 5 -4 3 -3”

Barefoot in the shallow creek

1 4 5 -4 5 6 5 -4 4

I grabbed some stones from un-der-ne-ath

1 4 -4 5 -4 5 -4 3 -3”

And waited for you to speak to me

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

In the silence it became so very clear

1 4 5 -4 -4 5 -4 4 -3” 3

That you had long ago dis-ap-pe-ared

1 6 5 -6 6 5 5 -4 4

I cursed myself for being surprised

4 -4 5 -4 -4 -4 5 -4 -2” -2 4

That this didn’t play like it did in my mind

4 -4 5 -4 5 -4 -1 3 -3”

All th-e way from San Francisco

4 5 -4 5 6 5 -4 4

As I chased the end of your road

4 5 -4 5 -4 3 -3”

‘Cause I’ve still got miles to go

3 5 -4 5 -4 3 -3”

And I want to know my fate

4 -4 5 6 5 -4 4

If I keep up this wa-y

3 5 -4 5 -4 3 -3”

But it’s hard to want to stay

3 5 -3 3

A-w-a-ke

5 -4 5 -4 3 -3”

When everyone you meet

-2” 5 -4 5 6 5 -4 4

They all seem to be a-sle-ep

-2” 5 -4 -4 -4 5 -4 -1 -2 4 -3”

And you wonder if you’re missing a dre-am

-1 5 -4 4 -3” -3” -4

You can’t seeeeee a dream (x2)

-2’ -2’ 5 -4 5 -4 4 -3” -3” -4 -3”

You just can’t seeeeeeeeeeee a dre-am

-1 -2’ 3 4

A dr-e-am (x2)

1 -2’ 3 4

A dr-e-am (x7)

3 6 5 -6 6 5 -4 4

And then it started getting dark

3 3 4 5 -4 -4 5 -4 4 -3” 3

And I trudged back to where the car was pa-rked

3 6 5 3 -6 6 5 -4 4

No closer to any kind of truth

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

As I must assume was the case with you


Big Yellow Taxi (chromatic)

By Joni Mitchell
Key: E

6 5* 6 5* -6*
They paved par-a-dise
5* 6 6 -6* 6 3*
Put up a park-ing lot
6 -4 5* 6 -6* -4 -4 -6*
With a pink ho-tel, a bou-tique
-6*-6* 7* -6* 6 6
and a swing-ing hot spot

-8 -8 -8 7* -7 7* -8
Don’t it al-ways seem to go
6 6 -7 7* -6*
That you don’t know what
6 5* 5* 6 3*
you’ve got til it’s gone
6 5* 6 5* -6*
They paved par-a-dise
-4 -6*-6* 7* 6 6
Put up a park-ing lot
-7-8 -8 -8 -8 -8
Shoo bop, bop, bop, bop
-7-8 -8 -8 -8 -8
Shoo bop, bop, bop, bop

They took all the trees
and put ’em in a tree museum
And they charged all the people
a dollar and a half just to see ’em

Don’t it always seem to go
That you don’t know what you’ve got til it’s gone
They paved paradise and put up a parking lot

Hey farmer, farmer, put away that DDT now
Give me spots on my apples but leave me the birds and the bees
(please!)

Don’t it always seem to go
That you don’t know what you’ve got til it’s gone
They paved paradise and put up a parking lot

Late last night I heard the screen door slam
And a big yellow taxi took away my old man

Don’t it always seem to go
That you don’t know what you’ve got til it’s gone
They paved paradise and put up a parking lot

Don’t it always seem to go
That you don’t know what you’ve got til it’s gone
They paved paradise and put up a parking lot
They paved paradise and put up a parking lot (3x)


Big Yellow Taxi

-4 5 6 6 -6
They paved paradise
5 6 6 -6 -6 -3
put up a parking lot
-4 -4 5 6 -6 -4 -4 -6
With a pink hotel, a boutique
-6 -6 -7 -6 6 6
And a swinging hot spot

-8 -8 -8 -7 7 -7 -8
Don’t it always seem to go
6 6 7 -7 -6 6 5
That you don’t know what you’ve got
5 6 -3
Till it’s gone
-4 5 6 6 -6
They paved paradise
-4 -4 -6 -6 -7 -6 6
And put up a parking lot

-4 5 6 6 -6
They took all the trees
-4 5 5 6 6 -6 -6 -3
Put ’em in a tree museum
-4 -4 5 6 -6 -6
And they charged the people
-4 -4 -6 -6 -6 -7 -6 6 6
A dollar and a half just to see ’em

-8 -8 -8 -7 7 -7 -8
Don’t it always seem to go
6 6 7 -7 -6 6 5
That you don’t know what you’ve got
5 6 -3
Till it’s gone
-4 5 6 6 -6
They paved paradise
-4 -4 -6 -6 -7 -6 6
And put up a parking lot

5 6 6 -6 -6
Hey farmer farmer
5 6 6 6 -6 -6 -6 -3
Put away that D.D.T. now
-4 -4 5 6 6 -6 -6
Give me spots on my apples
-4 -4 -4 -6 -6 -7 -6 6
But leave me the birds and the bees

-8 -8 -8 -7 7 -7 -8
Don’t it always seem to go
6 6 7 -7 -6 6 5
That you don’t know what you’ve got
5 6 -3
Till it’s gone
-4 5 6 6 -6
They paved paradise
-4 -4 -6 -6 -7 -6 6
And put up a parking lot