Mystery train guitar tab brian setzer biography

  • Mystery Train - Brian Setzer

    • (BRIAN SETZER BOOK) JAPAN GREAT BOOK stray cats Gretsch
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    JAPAN GREAT BOOK "BRIAN SETZER BOOK"

    Copyright © 1969 Lenoirberg Vinyles All rights reserved. PLEASECLICK THE FOLLOWING PICS FOR THE DETAIL OF THIS ITEM!

    BRIAN SETZER BOOK ~THE GUITARISTS OF GENIUS

    I'm selling a book for GENUINE BRIAN FREAKS.

    The book is measures approx. 11.7" x 8.27" AND has pp.156
    This is EXCELLENT+ Condition. THIS IS IN GREAT CONDITION

    Inside contains many interesting contents.

    CONTENTS ARE 100 % BRIAN SETZER.



    SPECIAL RAREPIN-UPS 1981-2004 (includes Pics via Japanese Photographer)...............2~11



    THE RECORDING STORY 1980-2005 ...................12~20

    STRAY CATS : ST (1981) GONNA BALL (1981) BUILT FOR SPEED (1982) RANT N' RAVE WITH THE STRAY CATS (1983) ROCK THERAPY(1986)
    BLAST OFF (1989) LET'S GO FASTER (1990) CHOO CHOO HOT FISH (1992) ORIGINAL COOL (1993) RUMBLE IN BRIXTON (2004)

    BRIAN SETZER : THE KNIFE FEELS LIKE JUSTICE(1986) LIVE NUDR GUITARS(1988) THE BRIAN SETZER ORCHESTRA (1994)
    NITRO BURNIN' FANNY DADDY (2003) ROCKABILLY RIOT! VOL.1 A TRIBUTE TO SUN RECORDS (2005)

    BRIAN SETZER O

    Brian Setzers Rockabilly Jazz PDF

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    chord substitutions. On the fingerpicked-. ‘”
    Perched behind an old G&so a, Brian subtly accents the off~beat~%~:
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    :!:~,~+n his SanFmnciscohotel room, B&n agrees :,.$ a few lessons wlthA1Viola. Ne’d say,‘I& hear -- eighth-notes, goosing the groove with an ‘-,,“: ,.;;p
    $” : ““’ that he’s become increasingly adept at inte- “” something in 36,’ and I’d say,‘Can’twe at least _,:;[‘: implied backbeat, while the flatpicked line” ,
    :d’:-: grating his hnluences: “To ‘me that’s th& ,:;,yga up to CF’” \ ~1 :i_/~inbars9 and 10is more hop-flavored,spurred :.:r
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    ,:‘ ! ,, whole key-mixingup all those sounds and a’:, ,.:‘i
    1 ,, Setzer explains how jazz harmonies ,,:i,>:by accents on the last sixteenth-note of each;.: Y‘> ‘5;
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    \- / having a sense of humor. It’s almost funny ‘~ \,might work their way into a rockabilly con- “-t-y;.X beat. The turrrarourid blends both flavors. ‘;f~
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    to throw those licks in where they don’t ‘::,‘texu “I might start out with standard frn*:~?,,: j -+ _’ 1, : Brian salis into a second chorus, return; :;\I,‘ii
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    & :j,:belong,“, 01,,I, :,_I ,‘!!’ ,( p1,:1.;‘
    0:“,gerpicking, palming the pick, but then go l,i,,:: ing to the simple rockabilly rhythm, but ,I)‘( ,,’
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    _+&“ ‘. Brian &edits his ‘grow% to ‘a rigo~o&s into some single-note stuff. I might make ‘;;;,,with subtle embellishments. For the final ‘.” ‘?i:
    ii; :) practice regimen, heavy on chord-melody:; 1:. it jazzy by throwing in, say, some diminished :I::?:four bars of his second chorus (Ex. 2), Brian ,!ii ‘I”:,
    !,,‘::) jazz: “I got all the old jazz charts I could ” _: runs or a jazz-chord turnaround.” He 1 ‘follows a slippery %-chord change with a :I,, ;%.
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    c‘l!\“ find, and I listened to’-lots of Wes Mont- ““‘%‘, ,.t ~demonstrates, setting up a “Mystery Train”- J:, bluesy twelfth-position lick. “By this poin

    How to Capture Brian Setzer’s Tone

    Question: What do I need to sound like Brian Setzer?

    Answer: Decades of experience, a virtuoso’s mastery of the guitar, complete knowledge of every scale, mode, chord, and inversion, in-depth understanding of multiple styles, and the ability to mix it all together with ease. As they like to say on Internet forums, “tone is in the fingers.”

    That and, “Why would you want to sound like someone else?” are the two standard answers to, “How do I get <insert famous guitarist’s name here> tone?” I hate those answers, and I’ll bet you do too. So I’m going to show you the steps I took on my quest to nail Brian Setzer’s tone. Not only that, I’ll show you two different ways to do it: mostly analog, using a real Fender Bassman, and mostly digital using a Fractal Audio Axe-FX Ultra.

    This is a long article—much longer than my usual fare. There are many details to be explored, but if you’re interested in the topic, I think this will be a fun read. Please remember that what I’m recreating here is Brian Setzer’s live tone. In the studio, Brian uses a variety of guitars, amps, and effects. On stage though, his rig is usually the same. Remember too, that Mr. Setzer is an extremely accomplished guitarist who changes techniques on the fly. If you’re 90% there and you can’t figure out what’s missing, try to catch a video of him playing the song in question. He may have gone from flatpicking to finger picking in the middle of the song, and that can really change his tone. PIcking dynamics are important too, but now I’m getting too far down the, “Tone is in the fingers” side of things, so let’s talk gear.

    The (Mostly) Analog Method

    The picture to the right (as well as the one above) was taken by me at the Brian Setzer Christmas Show in New Brunswick, NJ, in December of 2009. With the exception of

    Here's a bonus holiday rockabilly guitar lesson. After this I probably will only post once a week. Here is the verse Travis style picking of Scotty Moore from "I'm Left, You're Right She's Gone." I think when most people think of rockabilly guitar,  most likely it is Scotty Moore's patented Travis Style picking that they think of.  Of course Scotty could do much more than Travis pick and some of his predominantly single note solos are pure genius (see Hound Dog's solo's, Hard Headed Woman, Shake Rattle and Roll etc).

    Here is what I transcribed on the first verse to the best of my ability and to the limitations of the recording. Quoting Keith Richards "I'm Left She Right She's Gone-That one stills foxes me."

    One thing to note is  that Scotty Moore does not typically alternate the same bass note for each chord like this:


    He generally is more improvisational and rarely plays anything the same way, verse to verse, let alone measure to measure.

    I've seen transcriptions like the above and I've also seen transcriptions where the bass note have been entirely omitted. I do think the bass notes are difficult to hear and likely frequently are overlapping with the slap bass but I believe he is playing them.

    I am by no means a virtuoso on guitar but one thing I would recommend when playing rockabilly is to learn to play using a flat pick held between your thumb and first finger to play the bass notes and using you middle and ring finger to pick the higher string. Scotty, I believe predominantly used a thumb pick and songs like this will be easier to play if you use one as you will be able to use yourfirst finger to pick, but I believe a flat pick allows more versatility especially if you want to play single note solos in between the verses. Some people, Brian Setzer for example, tuck the pick up into their palm when they switch to finger picking.  This is too complicated for me and I think I  get better a "cluck" with the palm muting wh
  • 9 years ago more.