GUITAR + VOCAL WITH TABLATURE Aes iayaa7 Hath ESTRA 10 GREAT SONGS, INCLUDING: Bit) a acl aoe Wa eo tee ate aCe) i THIS CAT’S ON A HOT TIN ROOFTHE RIAN SEIZER ORCHEST RA 5 o 2% nS 29 at 8 5i 60 66 79 85 CONTENTS THE BRIAN SETZER GRCHESTRA ‘THE DIRTY BOOGIE HOODOO VOODOO DOLL JUMP, JIVE AN? WAIL LET'S LIVE IT UP ROCK THIS TOWN RUMBLE IN BRIGHTON ‘SINCE I DON'T HAVE YOU SLEEPWALK SWITCHBLADE 327 THIS CAT’S ON A HOT TIN ROOF TABLATURE EXPLANATION/NOTATION LEGENDTHE RIAN SEIZER ORCHEST RA “There's nothing else like this; it’s different than anything you've heard before,” says Brian Setzer. “Tim not stopping until everybody gets a chance to hear us and I get to see their jaws hit the floor.” In 1992, before the swing phenomenon swept over dance floors and movie screens, before cigar bars and Swingers, Setzer created the Brian Setzer Orchestra, a musical adventure blending rock 'n’ roll, jump blues, rockabilly, and swing. For the first time in music history, an electric guitar fronted a Big Band. Just as he had with the Stray Cats, Setzer not only helped resurrect a genre, but moved it to the present, made it “cool” again e” 3 “If you just copy what they did in 1947, it's not going to be bad, but it’s just doing it the same,” says Setzer, undoubtedly the most tattooed Big Band leader ever. “To make the music viable, you have to make it new and you have to make it your own, That's why the Stray Cats burst out of the eighties. Other rockabilly bands were stuck in 1956. They could Hey, Daddy-o/ but not for long.” The Brian Setzer Orchestra brings a modern vibe to the charm of Big Band music. “I think the swing thing has substance because it’s good stuff to begin with; it’s based in American roots music. But we don't get a lot of people at shows dressing up in forties clothes. There's much more of a mixture, which is like what happened with the Stray Cats. Not everyone wore a leather jacket and had a pompadour.” The Brian Setzer Orchestra began without exclamation. In Los Angeles in late summer 1992, 4 group of horn players were holding an impromptu jam at his next-door neighbor's house when one of them saw Setzer and yelled, “Hey Brian, go get your guitar and come over!” He joined in with one of his Gretsch guitars and a small practice amp. “They thought I wouldn't be able to keep up. They had charts from Thelonious Monk, Miles Davis, some pretty hard stuff they were trying to get me with. But after a while it was, ‘Gee, this quy/s all right. He can play! " After a few sessions, Setzer decided to work up some charts and put 2 Big Band together, hoping to do a few shows in southern California, In December, the Brian Setzer Orchestra debuted at a West Coast club. By the end of the third song, the audience was on its feet. After its second gig, at a Sunset Strip rock club, The Brian Setzer Orchestra was the hottest ticket in town, The critically acclaimed The Brian Setzer Orchestra (1994), produced by Setzer, was followed by a 50-city North American tour that included an extraordinary performance at the Montreal Jazz Festival the following summer. “When we started it was like any new band, whether there's three people or 16. It has to turn into a band, come into its own. This was even harder than usual because we had no reference. If you want to do a punk band, you start with the Sex Pistols. But these were basically jazz musicians and I can't explain a rock gig tothem. But we got on the road and by the time we hit Cleveland they got it and by the time we hit Montreal we were a band, They're doing this for the love of it, crossing the line into rock ‘n’ roll and diggin’ it. The band's second album, Guitar Stinger (1996), produced by the legendary Phil Ramone, was its first on Interscope. Unlike its debut, Guitar Slinger sported more originals than covers. A sold-out six-week national summer tour followed, with stops in Chicago, Detroit, and San Francisco. The tour Finished in Los Angeles with a sold-out show at the 7,000-seat Greek Theatre, which was more an event than a concert, with custom cars lining the entranceway, cigar and martini lounges, and the venue staff dressed in Hawaiian attire. With the multi-platinum, double-Grammy-Award-winning album The Dirty Boogie (1998), the Brian Setzer Orchestra reasserted itself as the only truly big Big Band to emerge from the rock 'n’ roll generation. Swing bands that have surfaced since have a smaller lineup than Setzers traditional 16-man complement. “I've got @ big band,” he says. “You have to have five saxes, four trombones, and four trumpets in the horn section. If there's one guy late to rehearsal, I can hear it. “Where's the second alto?” It all has to be there to make that incredible sound.” Setzer is not new to Big Band music. Born in Greenwich Village and raised in Massapequa, Long Island, his first instrument was not the guitar but the euphonium, Beginning at age eight, he played the tuba-Like instrument for 10 years, winning numerous awards. His first guitar teacher, in fact, was a sax player. The influence of horns on his music has been strong ever since, ‘As a teenager, he'd cut class and take the train into the city to hang around jazz clubs, sneaking into the Village Vanguard and Village Gate. 01 1 he saw the Mel Lewis Orchestra, he remembers thinking: What o great idea if you could get a auitar player to lead a Big Ba: however, history had conspired against that notion. The acoustic guitar was not traditionally a lead instrament in Big Band music and the electric guitar had only begun to make its mark in the fifties, just as Big Bands were being overwhelmed by rock ‘n’ roll “never knew how many records we might sell or gigs we might do, but I knew this was musically valid,” says Setzer. It wasn't easy from a business standpoint; the cost of touring with such a large band is enormous, and, at the start, there was no radio airplay or musie video ‘exposure. The Brian Setzer Orchestra had to be built on word of mouth. “But once people saw us, they'd talk about us. If people hear us on the radio, they get it. We went from 33 people at a club to selling out L.A’s Greek Theatre.” Al it took was creating a sound that had never been heard before. As Setzer puts it, “The music won.”THE DIRTY BOOGIE | Words and Music by Brian Setzer Fast Rockabilly Swings = 204 (J3-+ d) Gin (Oruns & Bass) v0 uaa sacs 4 . : 2 35 be | Rhy. 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Gnas trem pic vib. wfhar Additional Lyries ‘Well, you rate and shake and you moan and groan Acti like you I could never bring hore. ‘The einy boogie, the diny boogie ‘When I get low down, i's the dity boogie for me, (To Chorus) ‘Well they're shakin’ thei hips and seream and shout, ‘And doit’ things cant ever lk about ‘The diny boogie. Catch my drift. The diy boogie. When I get low down, is the dary Boogie for me. (To Chorus) 13HOODOO VOODOO DOLL ‘Words and Music by Brian Setzer — os eee SSS SS no last and found,__ L CCopyrgn © 1995 setzersongs (BM) 14 Weaveenl eadehoanea nn Nite howeSrd ime substitute Rhy. Fl Re AS Ae AS pe Zi ——— 4 — = SSS SS SS ee ee SiS ) #42 ee + + + + + Co SS SSS SS SS SSS ; § ss as 6 herons aa IChorus Yoo - doo ¥00-d00 do You're my (vow'te my tao = doo von-doo all By Be 3} — somal = = H +. Pa. 7 PM ¢ i} 7 + ee As MAS Meas Aes = = t —— wo = oo yoo-doo cath Now, ba ms Yow're my ho = doo 00-00 al. 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Lasked the fortune teller where my tue love ‘She eazed into her crystal ball then looked straight up at me Tiold ber when your eyes met mune you cast an evil spel: I made a deal with the devil man, my soul 10 you'd Sel. (To Chorus) 3. Got your gris-gris and your mojo, but it won't work on me, no. [Now you're mixin’ up some love potion number tice Got my deal signed in blood and there at no turnin” back, Cost me all of my money and my pink Cadilla. (To Chorus) aJUMP, JIVE AN' WAIL Words and Music by Louis Primal bby bm? Cm? Bm? Chm? FG BT Fast Rockabilly Swing d =208 (7-2) nb? Ino Girt "Chord eimles trougout Is.Verse oer pa as + ——=—_— = = en en it ooks kes gon = ana Pa ; : . te « = ——— =] ee en ee ee eee z—pajets === Copy ©1956 Renewed end Assgrod LG Music Co 22 tana Cremona “au hae researcBh nt you got - od Rhy. Fg) Chorus wy, Fig. | (La bats only) BBS then you vail You gotta jive and then you wall You got ta "wight dis ‘Pay wg vaca dW cae then you wail You gor jump, aad then you wail You gotta (Ge. tow rem bar “2 Depress ar er sing cor 23emp. jee and then Girt am teed Ry ae = === 6 s a hr 2d Vers w/t. Fig (1st 108 nt) ” b» oy CSS SSS [SSS fs mem te ke can of ale. Pa - a's in the ice — box * Ma = ma's in the back - yard nb? Doan om mt te " fad 1 by ot ho MY Pose = = learn = in’ how to jive and) wail Woh you gotwb. Fill | Fr " (Gtr Lou) 25sd Verse wRthy. Fig. 1 (0510 bars only) abr woman i a Woman and aman ain't nothin” bot amale. Won. bor bbe so is a wom-an and aman ain't nothin! bot a male One good (Gtr Leoat in poation) 0 r mi ob) ody VB — thing a= bout him: he knows how to. jive and wail 4 Vene " (x tea ten) a wp—— the hill to get a Rhy. Fig 2G) a Sack and JL wet up (end Rhy. Fig 2) 2Bchor Fa749 AIS GH Chnt at FEO FHTEOICE am é Ss =e we 3 + = ——+ + + — z x + = — Bee st $$$ £56 es spe pee petri fe femiacfnhamibcb b te ye aS jump, jive and then you wall You gor=t jump, jive and then you wall You ga bite jump. jive and hen you wail a = yay You got - ChorasOuto wb. Fig. 2 a é == = a i sump, jive and ‘hen you wail You gOr=@ jump, jive and then you wall You got ta 7cent 7 BT AT GH Dav cfm? G7 jump, jive and tea pe rl s8 Ob you gotta pea ‘Begun fade — a, 7 7 # 8 Fade out 28LET'S LIVE IT UP Brian Setzer ) Ans Fast Rockabilly Swing d = 184( he Bin Ge SHS aS e —— P P igh lie vefingers abs arts ants Copyright© 1098 Sotzereengs GM) ernausna Gopyigh Secured "Al Fights Rasorvedmit Cn Fisb9 IS Bhs (Gur. tou, 1s, 2nd Verses Bb er be around once on this big spin-ni” planet of ove 2.Hlang up the cat put the dog out, to dy My, ny Rhy. Fig 1 Gite Chor imple (oa 8b on). So don't be wast-in’ my time tel, ime what you're dream = iat of _— jos. Roll w fe bid, et the Sa gator wave bye - bye 30We'll ke a rocket 1 the moon, and when we Well ke 2 shoe gin 10 Chia, 2 als ots set that fi, TH hang. your coat_and hat up on a shooting star So tant Pe = au in a omt-y od steamer or a Mea ch - oe (end Rhy. Feb) no FS Dm Dio Gm? cbs a a m9 FI Bb7—Abmajtic Dime BbiD, le’s live it opt Lets 31Bridge Seb & round the eb abr pris Ne. = by, Tye been such foo f be aeons op on raha nav -4 gate around in the pool nad top ocn Rand sal all acvoind in) Gee pooh cot ab ans aon ons SS SS = =o 7 SSS EEF rock-ct temoon.and when we get tht far, T'ang yourcoat and bat wp on a shooting star So 32cn Fa NCB) Les te Chords are iid by ge bas lend of Sax soo a abe eb rs Pel Fr his arts cB BL Ful Fal J, ‘old bende Ful fu Sax solo Bois port? bo eb? bis bho? wz BOTY be st za YA, i os jes — 6-8 he bam = oS let ring + 33wip Fingers erring : cn9 FB Ber by a Br wwfagers Bho bm ans Ammbs P wingers) P P P P P ‘tay wiih variation i on pet i IF Be Ne. Ne DS: al Code 34on (vas bar of Ray. Fg. 2) cao FR PEI3 G13 Ebmo abs ono FD ey = er think of, be De? bo bmi? cos live it up! Lee's tive it Free time eto ome Les lve it upt 35ROCK THIS TOWN Words and Music by Brian Setzer Deo ena) ATHS, «BGs GT Das cis ches Tee Fast Rockabilly Swing 4 prio New or | oh zs = lero wig alse ong New Ee 5S vib wihar Tocada a att new, ir Rhy. FL Rit (end RigP A) W/RAAEA (7 times) ererrrrecs ¢ (Mand vd.) slight Pa 4 3 © Jone CATSTYLE MUSIC [A iohsfor tho Weslom Homers Adanateed by WARNER-TAMERLANE PUBLISHING CORP, 36 A Figs Rovorod“WRI A (3 times) Ist Verse Ds ps ps Ds bs Ds ps be bs 1 tits a 5 a ——— ai iy ogni See as cereale : : iy. ea Ee "*Play all gtr. parts w/slight variations ad Jib when recalled (varoughout) be bs obs pops Ds ps pe os iaiigey ued i lun 2 Ds ps 46 ba = by jut looked so igh pik & fingers ‘ leering 4 let ring Pick you let rin 7