how to play riverboat song on guitar

The Riverboat Song Tab

Ocean colour scene.

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Ocean Colour Scene

Riverboat song.

by   EDUCASTILHO

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The Riverboat Song

Tuning: E A D G B E Key: Bm

Bm   Em   Bm   F#

[Verse  1]

I  see  Bm double  up  ahead

Where  the  Em riverboat

Swayed  beneath  the  sun

Is  where  the  river  runs  Bm red

Like  a  Em king  who  stalks

The  wings  and  shoots  a  dove

And  frees  an  eagle  ins Bm tead

F# It's  more  or  less  the  G same

As  the  A things  that  you  said

[Verse  2]

Bm   I  see  Bm trouble  up  the  road

Like  the  Em things  you  found

In  love  are  by  the  way

And  like  to  cheat  on  your  Bm soul

Like  the  Em best  and  worst

Of  thoughts  that  lose  control

Before  you  lie  on  your  Bm bed

Bm   And  anyway D   for  all  the  things  you  E know

Tell  me  A why  does  the  river  not  Bm flow

Anyway D   for  all  the  things  you  E said

Tell  me  A why  does  the  river  run  Bm red

And  anyway D   for  all  the  things  you've  E seen

Tell  me  A when  will  the  river  run  Bm green

And  anyway D   for  all  the  things  you  E know

Tell  me  A why  does  the  river  not  Bm flow  Bm

[Verse  3]

Em It's  more  or  less  the  things

You  fail  to  say  in  your  way  that's  your  Bm trouble

Like  a  Em king  who  stalks  the  wings

And  shoots  the  moon  and  the  stars

And  his  Bm double

F# It’s  more  or  less  the  G same  as  the  A things  that  you  said

Bm   Anyway D   for  all  the  things  you  E know

Anyway D   for  all  the  things  you've  E seen

[Verse  4]

Where  the  Em riverboat  swayed  beneath  the  sun

I  see  F# double,  that's  my  Bm trouble  Bm

• Tags Alternative Rock , Britpop

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The Riverboat Song chords

Ocean Colour Scene

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The Riverboat Song

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Instruments.

The Riverboat Song chords

• Tuning E B G D A E
• Capo 2nd fret
• Release year 1996
• Genre R ock
• Guitar Simplified Original

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The Riverboat Song

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Riverboat Song Chords & Lyrics Artist: J.J. Cale

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“Guys would come up and tell me, ‘I can play such-and-such a Tower of Power song note-for-note.’ But who cares?” The magic of Rocco Prestia’s bassline on Tower of Power’s Only So Much Oil in the Ground

How to play Rocco Prestia’s classic Tower of Power bassline

“Steal and incorporate,” the late Rocco Prestia stressed in the November 2008 issue of Bass Player , noting that copping another bass player's approach is an exercise best used for refining your own style. “Guys sometimes come up and tell me, ‘I can play such-and-such a Tower Of Power song note for note.’ But who cares? If you can't play it like you, it ain't worth nothing.”

From his founding perch as Tower Of Power's propulsive bassist, Francis ‘Rocco’ Prestia helped innovate fingerstyle funk and redefine the concept of groove on such pocket anthems as What Is Hip? Soul Vaccination , and Squib Cakes.

Prestia dug in hard with his right-hand fingertips, with a fingerboard approach that involved fretting notes with his first two fingers, laying his left ring and pinkie finger across the strings for muting, and frequently shifting positions.

The clipped staccato 16th-notes, ghost-notes, and the rhythmically busy, forward leaning approach to funk perfectly suited Dave Garibaldi's energetic drumming and the band's tight horn arrangements. 

Prestia actually started on a different rhythm instrument – guitar – at age 10. At 14, soon after auditioning for classmate (and T.O.P. saxophonist/bandleader) Emilio Castillo's band, he switched to bass guitar . 

The group tripped on soul music, added horns, and were weeks away from recording its debut album when Garibaldi took over the drum chair. In the May 2006 issue of Bass Player , Rocco recalled that the connection between the two was instant and incendiary. 

“Dave was a really busy player, and I had more of a laid-back, Memphis approach; we met in the middle and refined our concept from there. He certainly opened me up rhythmically, and I quickly realized that more staccato percussive playing locked better with his drums.”

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A master of 16th-notes, with an innate ability to lay them seamlessly into a groove, Prestia made his basslines sound effortless and relaxed. 

For the rest of us, a good place to jump into his style is the 1975 Tower of Power standard Only So Much Oil in the Ground . The track, which was a statement on the energy crisis of the time, is from Urban Renewal , Tower's sixth and final studio album in its run of classic '70s records for Warner Bros.

Prestia's approach reveals a few key techniques. The first are muting and ghost-notes. Prestia uses a combination of plucking-hand rest-strokes with his index and middle fingers with fretting-hand muting.

Second, while he occasionally plays an almost steady stream of 16th-notes, like on What Is Hip? , most of his parts feature the “Rocco gallop.” On a per-beat basis, this consists of either an eighth-note and two 16ths, or two 16ths and an eighth. That concept, which fuels Oil , is essential because it creates the rhythmic space in his lines that give them their unique feel.

The song consists of alternating A and B sections. Prestia subtly varies the basic groove throughout (and also changed it over the years). In the first bar, he plays the gallop figure on beat one, inverts it on two, and does the same on the next two beats. 

“Focus on keeping the eighth and 16ths even throughout,” Prestia told Bass Player . “As opposed to accenting certain notes. This is a driving Oakland funk groove, so stay on top of the beat and push it along with staccato notes.”

The first and second endings reveal two favorite Prestia moves: going down to a major 3rd below the root, and using octaves via a root-5th-octave shape. In the third ending he employs octaves to move up to the next chord change. Also note the Db in the last measure, a big hit that leads to the B section.

In the B section, which also includes a four-bar turnaround, Rocco takes a longer breath on the first two beats before returning to his gallop. 

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Chris Jisi was Contributing Editor, Senior Contributing Editor, and Editor In Chief on Bass Player 1989-2018. He is the author of Brave New Bass , a compilation of interviews with bass players like Marcus Miller, Flea, Will Lee, Tony Levin, Jeff Berlin, Les Claypool and more, and The Fretless Bass , with insight from over 25 masters including Tony Levin, Marcus Miller, Gary Willis, Richard Bona, Jimmy Haslip, and Percy Jones.

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“Thank you for allowing us to serve musicians like you for 100 years”: Sam Ash Music announces it will be officially closing all its stores

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Business | Sam Ash Music closing all stores, 7 in Southern…

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Business | Sam Ash Music closing all stores, 7 in Southern California

The new york company inspired millions of musicians to "come in and play.".

The New York-based company said on its website and in social media posts that store sales would begin Friday. “This unfortunate news also presents a fantastic opportunity for great deals,” the company wrote.

It offered no other reason for the closures. A store employee in Westminster said the stores would likely close by August.

Sam Ash has seven stores in California, all of them in or south of Los Angeles in Puente Hills, Hollywood, Los Angeles, Westminster, Torrance, Ontario and San Diego.

Created in 1924 by immigrants Sam Ash, a violinist from Austria, and wife Rose Dinin of Russia, the company motto was “come in and play.”

The family-run company wallpapered its stores with images of famous musicians at work on their instruments. Myriad guitars, amplifiers, drum kits, DJ equipment and more tempted musicians to stop and play. “Music and musicianship is thrilling and exciting, and we’re just happy to a special part of that journey,” the company says in its storyline.

Hundreds of people took to the post to leave their memories and lament the closure. Matthew Friedman, a musician and performer, summed up the emotions.

“Over the years I have worked, played and shopped at Sam Ash,” Friedman wrote on Facebook at the Sam Ash announcement. “It’s been a vital part of my life for as long as I can remember… a great family business, with a century’s worth of history supporting music and creativity and the arts… irreplaceable.”

The company offered no timeline for the closures. All sales at the stores are final .

“Thank you for allowing us to serve musicians like you for 100 years,” it stated.

Myriad in-store retailers have struggled since the pandemic. In the music category, Guitar Center filed for bankruptcy in 2020 as brick-and-mortar sales plummeted and music trends pivoted to pop and hip hop. The company had been in precarious financial straits for years as shopping habits pivoted to online merchants.

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Duane Eddy, twangy guitar hero of early rock, dead at age 86

N EW YORK (AP) — Duane Eddy, a pioneering guitar hero whose reverberating electric sound on instrumentals such as "Rebel Rouser" and “Peter Gunn” helped put the twang in early rock 'n' roll and influenced George Harrison, Bruce Springsteen and countless other musicians, has died at age 86.

Eddy died of cancer Tuesday at the Williamson Health hospital in Franklin, Tennessee, according to his wife, Deed Abbate.

With his raucous rhythms, and backing hollers and hand claps, Eddy sold more than 100 million records worldwide, and mastered a distinctive sound based on the premise that a guitar's bass strings sounded better on tape than the high ones.

"I had a distinctive sound that people could recognize and I stuck pretty much with that. I'm not one of the best technical players by any means; I just sell the best," he told The Associated Press in a 1986 interview. "A lot of guys are more skillful than I am with the guitar. A lot of it is over my head. But some of it is not what I want to hear out of the guitar."

"Twang" defined Eddy's sound from his first album, "Have Twangy Guitar Will Travel," to his 1993 box set, "Twang Thang: The Duane Eddy Anthology."

"It's a silly name for a nonsilly thing," Eddy told the AP in 1993. "But it has haunted me for 35 years now, so it's almost like sentimental value — if nothing else."

He was inducted into the Rock and Roll Hall of Fame in 1994.

Eddy and producer Lee Hazlewood helped create the “Twang” sound in the 1950s, a sound Hazlewood later adapt to his production of Nancy Sinatra's 1960s smash “These Boots Are Made for Walkin.'” Eddy had a five-year commercial peak from 1958-63. He said in 1993 he took his 1970 hit "Freight Train" as a clue to slow down.

"It was an easy listening hit," he recalled. "Six or seven years before, I was on the cutting edge."

Eddy recorded more than 50 albums, some of them reissues. He did not work too much from the 1980s on, "living off my royalties," he said in 1986.

About "Rebel Rouser," he told the AP: "It was a good title and it was the rockest rock 'n' roll sound. It was different for the time."

He scored theme music for movies including "Because They're Young," "Pepe" and "Gidget Goes Hawaiian." But Eddy said he turned down doing the James Bond theme song because there wasn't enough guitar music in it.

In the 1970s he worked behind-the-scenes in music production work, mainly in Los Angeles.

Eddy was born in Corning, New York, and grew up in Phoenix, where he began playing guitar at age 5. He spent his teen years in Arizona dreaming of singing on the Grand Ole Opry, and eventually signed with Jamie Records of Philadelphia in 1958. "Rebel Rouser" soon followed.

Eddy later toured with Dick Clark's “Caravan of Stars” and appeared in "Because They're Young," "Thunder of Drums" among other movies.

He moved to Nashville in 1985 after years of semiretirement in Lake Tahoe, California.

Eddy was not a vocalist, saying in 1986, “One of my biggest contributions to the music business is not singing.”

Paul McCartney and George Harrison were both fans of Eddy and he recorded with both of them after their Beatles' days. He played on McCartney's "Rockestra Theme" and Harrison played on Eddy's self-titled comeback album, both in 1987.