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I am trying to find a chord chart for "It Ain't The Meat It's The Motion" to resolve a little discussion we had at rehearsal and I need to identify a chord that I swear is a Dm (when the song is played in A). Anybody have a fake book with that song in it? Simple song really.

A F#m Bm6 E
A F#m Bm6 E
A F#m D Dm
B E A and off into the bridge it goes.

That D to Dm was the place we discussed. I think it is correct but I would like to verify it against a chart.


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Not in any of the Real Jazz books I paged through, but I found this on the web...

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Yeah, that ain't it. She did a real 200 mph scat version that's not what we do. I think I sounded it out. Thanks for looking though!!


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There are a few songs with that title. Can you tell us the person or group that sang your version? If not is it an R&B song, a country song, etc?


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Why not look for the sheet music online?


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Can you get the song from YouTube or similar and feed it into the ACW?


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Okay, I since worked it out, but here's the song.

It Ain't The Meat

The song is from 1951 originally by The Swallows. They recorded it, and from that moment on the song was buried because of the double entendre and suggestive lyrics. I am playing it in a Southside Johnny tribute band, which is what the link goes to. Because I play the horn line I never had to be concerned about the chords, but last night at a meeting it was pointed out that there is a minor chord in the 3rd line of the chorus that we were missing.

Maria Muldaur covered it in her cabaret phase and she did a ridiculous 200 mph scat version with a lot of doobie-doobie-doobie in her lyric and her version is of no help. That's the link and sheet music people are sending me. Since I made the post I was able to listen and find the right voicings that make the D minor work.

SO many people covered this song because of the double entendre lyrics it's hard to name all of them. Sophie Tucker was among them. The Swallows, in an interview, lamented the fact that every time they signed a contract to perform it was written into the contract that the song was forbidden. When we do it we play off that angle. Our singer goes into a thing about how we go on the road with our 9 male and 1 female band (and remember we play this show as Southside Johnny so when we play we are all from New Jersey) and it gets lonely on the bus. During the schtick he leads the girl into her bit talking about how well endowed he is, to which she replies "Well, Mr Cocktail Weenie (while holding up her little finger) you may want to remember that we share a dressing room." And his reply is (in time to lead her into the vocal) "Well they DO say size don't matter, right?" and she kicks into "It ain't the meat it's the motion ... that makes your mama wanna rock..."

BUT we have to read the room. Last week he toned it down because we were outside at a community park kind of thing and there were kids there so the lead up was much more tame. The next show we have is another outdoor venue that holds weekly shows on Friday and that crowd will be much different so he can do pretty much anything. The one after that is an Oktoberfest where again there will be families with a lot of children, so it will get dialed back. One thing about being in a tribute act is that your "season" tends to me the summer festival circuit and that is always family oriented.

The Swallows would not have been invited.


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Fun song and I'm surprised I never heard it before but then I'm a West Coast boy and many old songs never made it nationally but were big regionally. I would have thought this would have made Wolfman Jacks midnight playlist. BTW, these lyrics really spell out the origin of the term Rock and Roll and why wo many parents thought this was the devils music. I just think it's hilarious that all the prime time shows from Ed Sullivan onward used the term rock and roll with no clue about the origin.

As for that chord it's very indistinct until the solo section and there it almost sounds like he's throwing the D# flat nine in there making it a Dm7-9. On piano it's a A-C-F# D7 triad and then lowering it to the minor as in A-C-F or A-C-D#-F.

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Reading the room is essential, Eddie, good for you.

I'm familiar with the song, but didn't know who was the first to do it.

We used to play it when I was in a road band that toured college towns. Being the sax player in the band, I didn't know the chords either.

Fun double entendre song.

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Originally Posted By: jazzmammal
As for that chord it's very indistinct until the solo section and there it almost sounds like he's throwing the D# flat nine in there making it a Dm7-9. On piano it's a A-C-F# D7 triad and then lowering it to the minor as in A-C-F or A-C-D#-F.


Where we play it in A, the progression is A - F#m - Bm7 (which we play as the companion D6) - E until that 3rd pass through the chorus where that 3rd line is A - F#m - D - Dm - B7 - E - A and then in to the "Well I got a girl who's big and fat..." Or what I like to call "family chord progressions, because they are all related".

Whenever we play it my mind goes to Sophie Tucker with her bawdy persona singing it.

The female singer in our band is 4'10" tall AND wide so the comedy value of the "big and fat" lyric is there. Our main singer sounds more like Southside Johnny than Southside Johnny, and the show is believable as he makes all the New Jersey references. The guitar player does the Steve Van Zandt thing with the scarves and all as well. The horn players wear all black and sunglasses for the "cool factor" thing. Plus, we sound incredible with the keyboards bolstering the live horns. If I played off stage (which I have offered to do - my check still clears!) nobody would know that all the horn sound isn't coming from them. We have watched countless hours of Southside Johnny video to look at and listen to nuances and pick up songs they do on stage that were not album hits, because honestly they were never huge when they were popular in the 70s. However, they broke out here in Cleveland and there are a LOT of old Johnny fans that come to see us. He played at the original Cleveland Agora, where Springsteen also broke, and the roots of this band are from Easy Street (7 members), which for over 5 years sold that place out on Thursday nights. Back then the drinking age was 18 and it was full of college kids. That was before I played in Easy Street though. I was in maybe the 4th wave of players that ran through that band that lasted from the 70s when they formed in high school as "The Rats" until now, when they still do a 2 show reunion weekend in November (I no longer participate in that). Covid set us back last year like everybody else, but this year is shaping up to be much better with as many dates as we want to play. The front guy does a busy-in-the-summer solo act. 3 of the others also have other bands. (In fact, we cross pollinate a lot. New Years Eve will see the guitar player's band open for this band.) It's fun (most of the time - I tend to make things tense sometimes with my over-achieving nature) and we sound great.


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