ptabHighway 61 Revisited Johnny Winter Second Winter± Bob Dylan Bob Dylan Johnny Winterÿ× Verse 1 God said, Abraham, kill me a son" Abe say "Man you must be puttin' me on" God say, "No," and Abe say, "What?" God said, "You can do what you want, Abe but now, Next time you see me comin', man, you better run. Abe say, "Where you want this killin' done?" God said, "Out on Highway Sixty One." Verse 2 Georgia Sam, he had a bloody nose. Welfare Department, they wouldn't give him no clothes. He asked Poor Howard, "Where can I go?" Howard said, Man, ain't but one place I know" and, uh, Sam said, "Tell me quick, man, I got to run." Howard just pointed,, uh, with his gun and said, "That way, down Highway Sixty One." Verse 3 Mack the Finger said to Louie the King, "I got forty eight red, white and blue shoe strings, and a thousand telephones that will not ring "Tell me, man, where I can get rid of these things?" And, uh, Louie the King said, "Let me think for a minute, son." Louie said, "Yes, I believe it can be easily done. Just take everything down to Highway Sixty One." Verse 4 Well, now, the fifth daughter, on the twelfth night, told the first father that things weren't right. "My complexion," she said, "is much too white." He said, "Hmm, come here, step into the light." He said, "Yes, you're right. Gonna tell the second mother this has been done." But the second mother was with the seventh son. And they were both out on Highway Sixty One." Verse 5 The roving gambler, he was very bored tryin' to create a third world war. He found a promoter who almost fell off the floor. He said, "I never engaged in this type of thing before, But, uh, yes, I believe it can be very easily done. Just put some bleachers out in the sun and, uh, have it out on Highway Sixty One."ÿƒ The song is constructed of a 4 bar intro; 5 verses, each 18 bars in length, which alternate with four guitar breaks of varying length (8, 15, 18, and 18 bars, respectively) and a 34 bar outro solo. Verses are sung over an 18 bar, I IV I V I progression (8 bars D7 -- 2 bars G7 -- 4 bars D7 -- 2 bars of A7 -- and 2 bars D7). The intro, breaks and outro solo are all played over the tonic (D7). Thus, 167 of the 187 bars in the song are D/D7 -- giving the song a strong tonic feel -- which I suppose is perfect for an almost-talking-blues type song like this one. The guitar part is a virtual catalogue/museum of slide blues riffs in open D (D A D F# A D). -- which emphasize open strings with patterns on the 3rd, 5th, 10th and 12th frets. It is valuable to learn the scale patterns on those frets before beginning. In case you are not familiar with slide playing, this piece is probably not the best place to start learning. In the event you insist, there are several essential tips to remember: 1. Wear your slide on your pinky. If you don't have a pinky, use your ring finger. This allows you to form chords and/or add non-slide components when the slide is not employed. If you don't have a slide, buy one or make one from stainless steel or chromed tubing or a bottle neck. 2. Use one or two trailing fingers to dampen the strings behind the slide. Doing so improves control, produces a cleaner tone, and removes unwanted noise. You can still undampen the strings for a whiny effect. 3. Let the slide glide over the strings. You do not have to press down very hard to get a good tone. By all means, do not try to fret the strings like you would in standard tuning without a slide. Make sure you use heavy enough gauge strings to prevent fretting (inadvertent or otherwise). 4. Position the slide directly over the fret you want to play. This is in direct contrast to standard tuning and technique, where strings are fingered directly behind the fret. Frets are actually unnecessary for slide -- you can play slide almost all the way to the bridge. 5. Vibrato is accomplished by moving the slide back and forth (from left to right as you look down) from just over the fret to a place half way down to the next fret (toward the nut), or ever further if you want a wider vibrato. 6. Pull offs and hammer ons are done only with open strings. Pull- offs are done by lifting the slide off the strings. Hammer ons are performed by dropping or tapping the slide on the string or strings. Having said all of the above, I should probably prepare and submit a slide tutorial. ÿs The bass plays the root of the chord in the harmonic progression, with only minor coloration in a series of recurring patterns. 99 percent of the piece involves swinging 8th notes, with the exception of the last four or five measures -- which end with triplets. Howerver, the song fades out (in the studio version) so that the triplet patterns are hardly audible.ÿÿCGuitarJohnny h@Open D>962-&€ Johnny Winterh@Standard@;72-(ÿÿ CFloatingTextZWarning !! 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