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Seven Nation Army bass tab by The White Stripes. 229,137 views, added to favorites 2,126 times. Tuning: E A D G. Author Unregistered. 1 contributor total, last edit. 7 Nation Army (style of) The White Stripes Video by Hit Trax. 7 Nation Army MIDI File backing track. Hit Trax Professional MIDI Files are compatible with GM devices such as Roland, Yamaha, Korg, Merish, and Okyweb. MIDI Files can be edited and customised using apps like Pro Tools, Logic Pro, Cubase, GarageBand, Bandlab, FL Studio, and StudioOne.
Ever since kids with guitars first discovered that the family garage had use beyond holding the old man’s sedan, the racket that has so often emanated from them is considered the epitome of primitiveness. Merely deeming a band’s sound “garage rock” effectively chains it to a state of perpetual primordiality, welcome or otherwise. But over the decades, garage rock has become much more than blundering stabs at Buddy Holly, the Shadows of Knight and the Ventures. Each consecutive pop culture trend — psychedelia, glam, punk, even disco — has been at one time or another brought into the mix, making garage rock of the 21st century a very complex beast, indeed. Purists will contend that the true nature of garage rock has been diluted, that artistic tunnel vision is the only assurance that the genre will never congest and bloat just like the over-produced hits it was originally opposing. Considering the multitude of back-to-basics ’60s rockers who enlisted in the arena-ready brigade of the ’70s, these purists may be right, and garage rock now exists as a marketing ploy to help the young forget the wasted rap-metal years. It is fitting, then, that the act heralded as kingpin in the new millennium’s neo-garage movement has gone out of its way to expand and flatly contradict the very ideals on which the scene was built. As a result, the White Stripes are the best modern garage band around, without really being a garage band at all. Rock is dead, long live rock.
In 1997, a pasty-faced upholsterer from Detroit named John Gillis recruited his unobtrusive ex-wife Megan White as the drummer for a highly conceptualized yet raw-as-sin guitar-drums duo, and created the White Stripes. Gillis became Jack White, stirred up some old-fashioned titillation by claiming his bandmate to be his sister-lover (who knew there was such a market for hillbilly lust?) and proceeded to paint everything the twosome touched with a peppermint-candy red-and-white palette. Musically speaking, the Stripes are more vibrant than their color scheme will have you believe. Eschewing the necrophilic new wave appeal of the Strokes and the embryonic-Stones fascination of the Hives (just to namedrop two other highly publicized trend- riders), Jack has sought musical salvation elsewhere. Building on the groundwork of Delta blues, he adds layer upon layer of less archaic influences: Dylan, for his ruffled genius quality; Iggy, for his appreciation of the beauty in abrasion; Marc Bolan, for his flashy pop precision; Led Zeppelin, for both their crunch and goo. With Meg’s minimalist Moe Tucker-ish timekeeping as a cherry on top — a sometimes sloppy, thudding cherry, but a cherry nonetheless — the Stripes’ melodic routine is a tasty treat.
That said, The White Stripes is nervous, hyperactive, artless and enticing, with only occasional reassuring glimpses of the depth within. Co-produced by White and fellow Detroit musician Jack Diamond, most of the 17 songs are straightforward blasts of distorto-blues that waver between Led Zep-inspired theatrics (“Suzy Lee,” “Screwdriver”) and punked-up thrashing (“The Big Three Killed My Baby,” “When I Hear My Name”). Jack’s womanly shriek and roughly amped playing work best in the powerful “Jimmy the Exploder” and “Cannon,” where the guitar can’t be touched ‘cuz it’s on fire! On the other hand, the insignificant “Little People,” “Slicker Drips” and “Wasting My Time” (which says it all in the title) go off like a sparkler — no heat. Only “Astro” and “Broken Bricks” adhere to a general garage-rock sound, but there’s a wink in every nonsense lyric and trouble-free riff. More time is allotted to unpredictable tributes to Jack’s musical forbearers like the uncredited lift from “John the Revelator” by Son House (the album’s dedicatee) at the end of “Cannon,” and a sizzling rendition of Robert Johnson’s “Stop Breaking Down,” in which Meg’s monosyllabic proto-punk stomp drives it to the crossroads and back again. The quirks truly come out in “One More Cup of Coffee” — which has Dylan redone as mournful cabaret — and the antiqued Cab Calloway sway of “St. James Infirmary.” Signs of a slightly more subtle future reside in “Sugar Never Tasted So Good” (an acoustic/tambourine folk ditty) and “Do,” which highlights Jack’s finesse as a guitarist and songwriter. Both songs add passion to the album’s monotonous excitability and help pace its bash ‘n’ crash momentum.
From such humble beginnings, greatness is achieved. The difference between the debut and De Stijl can be heard immediately in the bouncy power-pop of the first cut, “You’re Pretty Good Looking (For a Girl).” With its Merseybeat charm and catchy chorus, the tune points not to a loss of edge but to an acceptance of variation. The punk-blues rave-ups are still accounted for — the whoopin’ and a-hollerin’ in “Let’s Build a Home” and the sheer weight of “Jumble, Jumble” make certain of that — but De Stijl (named after an Dutch architectural-art movement — how’s that for an abrupt cultural leap?) is truly all about “the style.” Jack’s Jimmy Page-isms have blossomed, making “Hello Operator,” with its slick harmonica and effeminate vocals, and the traditional-sounding “Little Bird” much more than rote posturing. Son House (“Death Letter”) gets cranked and Blind Willie McTell (“Your Southern Can Is Mine”) receives a rustic rehash and a dedication, but the album is both closer to the blues and further away. “Sister Do You Know My Name” and “A Boy’s Best Friend” are wobbly ballads that owe as much to the Grand Ole Opry and hootenannies as they do to the Mississippi Delta, and “I’m Bound to Pack It Up,” a humbling cello-enhanced lament, recalls the softer side of Donovan or T. Rex (or Kansas, if you want to go down that road). With only minor flaws in Jack’s production — the melodramatic “Truth Doesn’t Make a Noise” is just plain irritating — De Stijl rightfully made the White Stripes real contenders.
That elevation was validated with White Blood Cells, a breakthrough release — and their worst album so far. Bolstered by 106 seconds of manic go-go punk called “Fell in Love With a Girl,” a song which became a hit single, the album’s success would imply that the Stripes had outdone themselves, that they achieved something even more playful and ear-catching than De Stijl. Not true. Despite a fruitful dedication to Loretta Lynn (Jack has since produced an album for her) and recorded in Memphis, and despite the stripped-down arrangements (no guitar solos) and the more contemporary song structures (no blues covers), too much of the album (“Expecting,” “Aluminum,” “I Can’t Wait,” “I Can Learn”) wallows in an odd, crusty hard-rock haze. Things fare much better when the duo is at its flightiest: “Hotel Yorba” sounds like Country Joe fronting the Violent Femmes, “We’re Going to Be Friends” is tearful and tender without a trace of irony, and the folky “The Same Boy You’ve Always Known” still finds time to be raucous. Meanwhile, “Dead Leaves and the Dirty Ground” manages to conjure up some convincing metallic sludge, and “I Think I Smell a Rat” adds a strange Greek flavor to spice things up, but “The Union Forever” and “This Protector” (just to name two) are tedious and depressing. So much for public opinion.
Elephant, on the other hand, is a masterpiece, regardless of hype. From the bottom-heavy rumble of “Seven Nation Army” to the quaint vocal interplay with Britain’s Holly Golightly in “Well It’s True That We Love One Another,” Jack and Meg are at their best. Recorded in London on equipment from the early ’60s, Jack’s production somehow avoids an overtly retro feel in favor of something timeless. The obligatory freakabilly psych-outs (“Black Math,” “Hypnotize,” “Girl, You Have No Faith in Medicine”) are more consistent than ever, the cover choice is exceptional (Burt Bacharach and Hal David’s “I Just Don’t Know What to Do With Myself”) and the blues is expertly represented in “Ball and Biscuit,” which turns the name of a microphone into sex-in-the-juke-joint hipster slang. On Meg’s chilly turn at the mic, “In the Cold, Cold Night,” the shy chanteuse sings like she drums (and that’s not a bad thing) over a low-key organ-guitar backing. At the other end of the scale, Jack gets all artsy-fartsy on your ass in the multi-layered “There’s No Home for You Here,” calling to mind Queen or Todd Rundgren. Even sensitive singer-songwriter dreck is given a good name in “I Want to Be the Boy to Warm Your Mother’s Heart” and “You’ve Got Her in Your Pocket.” Wherever you are, Elephant delivers.
As for the Stripes themselves, Elephant delivered them from the evils of cult status and made them stars. Jack became Hollywood’s Edward Scissorhands-like connection to a perceived hipster underworld as he dated an actress, married a model, popped up in movies, popped down to the Grammys as Loretta Lynn’s bashful, oddly dressed tagalong and smashed rival Detroit musician Jason Stollsteimer (of the Von Bondies) right in the face just for kicks. Meanwhile, Meg found fame being, well, Meg, a musician with no obvious talent, a rock star with no discernible personality. Pure fucking genius. Despite Jack’s madman-behind-the-console, I’m-the-Lizard-King-I-can-do-anything antics, the album born of this period, Get Behind Me Satan, never sounds like the fat getting fatter or the pompous getting poppier. It’s slack and puzzling and fun. Taken in context, the album’s title doesn’t necessarily refer to redemption. If anything, it’s about starting a really cool conga line.
“Blue Orchid,” the album opener and first single, is a precise little disco-punk deceiver that grinds like a hot rod ripping gears. The treated guitar and huge bass drum backbone inspires Jack, in a delivery both impassioned and comical, to flaunt his falsetto before the drummer breaks loose from the beat. From the sound of it, Meg doesn’t so much as play the drums on this album; she just kicks the kit down the stairs. Yet, as Jack’s musical aspirations grow loftier — i.e., the piano and marimba that frame eight of the 13 songs — Meg’s cymbal-happy ineloquence smears the sound with gritty DIY dirt. Similarly, Mr. White applies his reaffirmed affinity for Loretta Lynn’s work to several countrified tracks, including the ragtag bop of “My Doorbell” and the glib “I’m Lonely (But I Ain’t That Lonely Yet),” a title sure to make the coalminer’s daughter very proud. Tinkling ivories does indeed replace much of the expected guitar outbursts, which works well in “Forever for Her (Is Over for Me),” a song just begging for drama, but not so much for a reverb-hungry headbutt like “The Denial Twist.” Elsewhere in Candyland, much remains the same: “Instinct Blues” is the perfunctory Zeppelin-as-punk rip, “As Ugly as I Seem” is the acoustic folkie and “Passive Manipulation” is Meg’s useless bit of feminist nursery rhyme. Not everything clicks on Get Behind Me Satan — sometimes it’s too timid and freaky — but enough of it is so unique, even within the Stripes’ own canon, that it succeeds regardless of its faults. White Stripes 1, Satan 0.
If Get Behind Me Satan had its uninspired moments, Icky Thump has no such flaws. The band’s major-label bow combines rediscovered energy with dynamite songwriting; the result is an album that rivals Elephant‘s excellence. Jack still makes his guitar scream (on both the title track and the gargantuan grooves of “Catch Hell Blues”), but what really sells the sizzle is that he and Meg sound like they are having fun. The wonderfully silly call-and-response romp “Rag and Bone” finds the pair requesting sundry junk from their neighbors. “Little Cream Soda” includes a walloping guitar riff and nostalgic childhood memories, while an irony-free cover of Patti Page’s “Conquest” is a furious flamenco stomp. For good measure, the Stripes still know how to engage in fuzzed-out power pop (“You Don’t Know What Love Is, You Just Do as You’re Told”) and throw a nice curve ball with the bagpipe-laden “Prickly Thorn, but Sweetly Worn.” A a terrific album.
Getting Started
What You Need
Welcome to your first ever lesson! Here we’ll talk about gear you’ll need to get rockin!
Parts of the Guitar
So you’ve got a guitar, but what the heck do call everything? We’re here to help :)
How to Hold a Guitar
Learn the proper way the hold the instrument to make it as easy and comfortable to play as possible.
How to Hold a Pick
Time to learn the correct way to hold a pick! Everyone’s got a different technique, but we’re going to teach you the universally accepted way.
Names of the Strings
Next up we’re going to learn the names of the strings! These are going to be the actual musical notes, and we’ve got a nifty little trick to memorizing them!
Using a Tuner
No matter your skill level, you’ll only sound good if you’re in tune! Today we’ll show you how!
How to Tune by Ear
Today we’re taking off the training wheels and teaching you how to tune by ear! This one may take a while to master, but you will in time!
All About the Left Hand
Time to look at proper left hand technique! We want to develop good habits early on, so really absorb what we’re talking about here!
Basic Picking Technique
A lot goes into proper picking, and good technique will help make you a faster better player as you develop. Get the scoop here!
How to Read Tab
Tab, short for tablature, is the main way guitarists read music. It’s super easy, and we’ll break it down nice and slow to make sure you get it!
1234 Finger Exercises
Time to learn one of the best exercises for getting your fingers into shape. Finger strength is at the heart of guitar playing, and this is one of the best exercises you can do!
Melodies 1 Series
Led Zeppelin – “Dazed and Confused” (Riff)
Welcome to melodies 1! Today we’re learning the Led Zeppelin riff “Dazed and Confused,” which is super easy yet super heavy. Enjoy!
Chicago – “25 or 6 to 4″ (Riff)
Learn to play the main riff from this Chicago classic.
Green Day – Boulevard of Broken Dreams (lead)
Here we’ll be learning the lead part to Green Day’s “Boulevard of Broken Dreams.” In a future lesson, we’ll be looking at the chords, but for now, just have fun with this cool little solo!
Queen – Another One Bites the Dust (Riff)
Badu bum bum bum, here comes “Another One Bites the Dust!” Everybody knows this riff for a reason – because it’s awesome. The picking is getting a bit trickier, but you guys should be ok!
Melodies 2 Series
Nirvana – “Come As You Are” (Riff)
Nirvana helped start the alternative rock movement and brought with them some classic guitar riffs. Here’s one of Kurt’s best.
White Stripes – “Seven Nation Army” (Riff)
Dig out your red shirt and pants, cause today we’re learning the main riff to “7 Nation Army”
Cream – “Sunshine of Your Love” (Riff)
Hey guys, today we’re checking out the main riff of “Sunshine of Your Love.” This is a must know in every guitar player’s arsenal, and another step in our melodies 2 series.
Bruce Springsteen – Born to Run (Riff)
In this lesson we’ll be learning the main lead riff to “Born to Run” by Bruce Springsteen. We’ll use three strings so this might require more coordination than our previous riffs!
Iron Butterfly – “Inna Gotta Davida” (Riff)
One of the trippiest songs ever made, “Inna Gotta Davida” is one of the first truly heavy riffs ever. Enjoy folks!
Judas Priest – “Breakin the Law” (Riff)
We’re going old school metal for the main hook of this Judas Priest song. Grab your leather and get rockin!
Roy Orbison – “Pretty Woman” (Riff)
Grab your black suit and sunglasses for this one (purring optional)!
Intro to Chords
How to Read Chord Diagrams
Welcome to the world of chords! Our first step: learn to read chord diagrams
Your First Real Chords – The E Family
Finally, time to learn our first three chords! We’ve got three on the table for today: E, E minor, and E7
A Family of Chords
The next family of chords is the A family! Only one more to go after this and then we can start learning some real songs!
D Family of Chords
Now on to the D family of chords! Three new chords but nothing you guys can’t handle!
Proper Strumming
Proper strumming can make the difference between an amateur a pro. We’ll get you started strumming the right way!
The Kingsmen – “Louie Louie” (Chords)
Straight out of “Animal House,” it’s “Louie Louie.” A great song to practice your new chords with!
Basic 12 Bar Blues
In this lesson, we’ll take the chords we already know and apply them to a blues progression. This is a great one for jamming!
ACDC – “Back in Black” (Riff)
A must know for every guitar student. This is the opening riff that combines chords we know with single note picking.
Melodies 3 Series
Jethro Tull – “Aqualung”
We’re getting back to our melodies with Jethro Tull’s “Aqualung.” Sitting on a park bench!
Heart – “Crazy On You” (Riff)
This song really has it all, but today we’ll be looking at the main riff. Who says girls can’t rock too?
Michael Jackson – “Beat It” (Riff)
This is an all time great guitar riff and an 80′s classic. An awesome rocker from the usual dance-pop of Michael Jackson
4 Main Acoustic Chords and Rhythm Concepts
Basic Note Values
Here we’re going to look at some rhythmic music fundamentals and how to count basic note values! Fun Fun!
Time Signatures
Another back to basics lesson, this time looking at time signatures. Get ready to get groovin!
The Four Main Acoustic Chords
The four most important chords you’ll ever know! These four make up countless songs and are the secret weapon behind most songwriting.
Chord Changing Tips
Seven Nation Army On Garageband
Having some trouble changing chords? Then look no further!
How To Play Seven Nation Army On Garageband
Bob Dylan – “Knockin’ On Heaven’s Door”
To get some practice with the four main acoustic chords we are going to learn the Bob Dylan classic “Knockin’ On Heaven’s Door.” Enjoy guys!
Melodies 4 Series
Alternate Picking
Today we’re going to learn a brand new technique called alternate picking. This is essential to playing efficiently and quickly and is one of the secrets behind shredding.
Led Zeppelin – “Heartbreaker” (Riff)
To practice our alternate picking we’ve got a great riff from the mighty Led Zeppelin. “Heartbreaker” is super heavy but certainly within your reach. Good luck!
Bon Jovi – “Living On A Prayer” (Riff)
Grab your talk box because we’ve got a classic riff from the garden state native, this time it’s the main riff to Bon Jovi’s “Living On A Prayer.”
34 Strumming
34 Strumming Basics
We’ve looked at the 34 time signature previously, but today we’re going to learn some of the most common strumming patterns you’ll need to play in this time signature.
John Lennon – “Working Class Hero”
“Working Class Hero” is a politically driven song about social injustice, but underneath the message lies a super catchy song in 34. We’ll teach you how to play it!
Staind – “So Far Away” (Chords)
To get some more practice with the 34 time signature we’ve got a great song from the alternative rock band Staind. We hope you like it!
Bob Dylan – “The Times They Are A Changin”
This Dylan masterpiece uses the 34 time signature to deliver a powerful message about an evolving world. Today we’ll show you how to play it.
The Left Over Chords
Bonus Chords – C, C7, G, G7, B7
We’ve got a new batch of chords today to check out today, including C, C7, G, G7, B7. With these, you’re well on your way to having a great handle on the open chords.
Weezer – “Undone” (Chords)
Grab your horn rimmed glasses because we’re taking a trip back to the 90′s to check out the Weezer classic “Undone (The Sweater Song).”
Jimi Hendrix – “Hey Joe” (Chords)
We’ve got a Hendrix classic to get some extra work with our newest batch of chords. This is an easy version that even a beginner can play and have fun with!
More Strumming Concepts
Misses, Ties, and Half Notes
We’ve got a series of new strumming concepts in this lesson including missing, ties, and half notes. If you understand this lesson you’ll be well on your way to strumming mastery!
Guns N’ Roses – “Sweet Child O’ Mine” (Chords)
Today we’re learning the Guns N’ Roses classic “Sweet Child O Mine” to get some practice with our misses and folk strumming. Enjoy guys!
How to Use a Capo
Today we’re going to learn about a nifty device every guitar player should have – the capo. We’ll show you what it is and how to use it!
Oasis – “Wonderwall”
Seven Nation Army Garageband Piano
In this lesson we’re going to learn a 90′s classic and all time great song, Oasis’s “Wonderwall.” This will be a fun way to get some practice with the capo.
The Dreaded F Chord
The Dreaded F Chord
Ok guys, here comes the toughest lesson yet. It’s time for the dreaded F chord, which involves a new technique called barring. It’s hard, but we know you guys can do it!
Lynyrd Skynyrd – “Free Bird” (Chords)
Seven Nation Army Garageband Music
Today we’re learning the ultimate southern rock anthem to get some practice with the dreaded F chord. Raise your lighters and let’s get started!
The Beatles – “Let It Be” (Chords)
Seven Nation Army Garageband 1
To get more practice with the F chord, we’ve got an absolute classic, this time it’s The Beatles’ “Let It Be.” So let’s get started!
Foo Fighters – “Big Me”
The Foo Fighters are one of the biggest bands today, but this is the song that started it all for Dave Grohl. So let’s get started!