We are elated to provide the matching songbook to Creed's powerhouse of a 3rd album, which, in regular Creed type, debuted at No. 1 at the charts. contains note-for-note transcriptions with tab for Mark Tremonti's ace guitar paintings on: Bullets * do not cease Dancing * Freedom Fighter * cover * Lullaby * My Sacrifice * One final Breath * indicators * Stand right here with Me * Weathered * who is obtained My again?
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Extra info for Creed - Weathered
On the Jimmy Reed extrapolation “My Tinai,” featuring a harp solo by Joe Nosek that’s dead on Jerry Portnoy, the Kings sound more Legendary Blues Band than ‘70s era Stones. The Legendary Blues Band influence pops up once again on “Hot Biscuit Baby,” with Oscar Wilson’s vocals resembling LBB bassist/vocalist Calvin Jones. The other Blues Music Magazine 37 Legendary connection is with former Muddy Waters and LBB drummer Willie “Big Eyes” Smith’s son Kenny “Beedy Eyes” Smith anchoring this group. Harpist/vocalist Nosek captures the essence of Lou Reed’s voice on “Run Run Run,” but their version of the tune has more in common with ZZ Top than the Velvet Underground.
It’s not blues, it’s not Southern rock, and it’s not soul, but you can hear the influence of all of these throughout. Don’t just throw it in the car CD player as background music. Don’t download it onto your MP3 player and let the tracks turn up randomly. Sit quietly and listen from start to finish and you will find yourself become immersed in a recording that signals the emergence of Devon Allman as a very good solo artist and songwriter. – Chris Kerslake MARK ROBINSON Have Axe – Will Groove Blind Chihuahua When most people think of Nashville, their first thought is probably something about country music.
Gonna do on old Robert Johnson tune,” Fowler said. “Not ‘Crossroads,’ but a Piedmont blues type song,” which got a rowdy reaction from local blues society members familiar with the locally raised genre. He performed “They’re Red Hot” a little slower than Johnson’s breakneck, ‘36 version, but just as lively with some jazzy licks missing from Johnson’s mostly rhythm-based original. Then, Tom Waits’ “Get Behind The Mule” got a slippery slide workout on Fowler’s ‘50’s vintage Harmony H44 Stratotone.