Cheap Wine
by Cold Chisel
Difficulty Profile
Skill LevelOverall
IntermediateRhythm
IntermediateLead
AdvancedBass
IntermediateWhy "Cheap Wine" Works Harmonically
Beyond standard guitar tabs and chord charts, discover the exact music theory mechanics, modal interchange, and voice leading choices that give Cold Chisel's classic its unforgettable emotional power.
Caribbean Reggae Upbeat Chops Fused with Driving Pub-Rock Chorus Dynamics
Cold Chisel's "Cheap Wine" subverts traditional pub-rock expectations by using staccato reggae-style skanks on the upbeats of beats 2 and 4 during the verse. When the chorus arrives, the band unleashes full-bore Australian pub-rock power chords on IV - V - I - vi (A - B - E - C#m), delivering an irresistible emotional release that captures the gritty glamour of suburban Australian bohemian life.
Harmonic Progression (Roman Numerals)
I - IV - V - I (Verse) | IV - V - I - vi - IV - V - I (Chorus)Step-by-Step Movement
- •E (I): Relaxed coastal tonic chord establishing the laid-back reggae skank.
- •A (IV): Subdominant chord initiating the uplifting chorus ascent.
- •B (V): Dominant engine driving relentlessly forward with classic rock energy.
- •C#m (vi): Relative minor chord introducing bittersweet nostalgia on "three day growth".
- •G#m (iii): Stepping-stone minor harmony deepening the introspective bridge.
Voice Leading & Counterpoint
- ›Ian Moss plays high triad inversions on strings 1, 2, and 3 during the verses, keeping the sonic space open for Don Walker's Wurlitzer electric piano.
- ›The chorus opens on the subdominant A major rather than the tonic, giving the hook an immediate sense of forward flight.
- ›Moss's guitar solo weaves seamlessly between E minor pentatonic blues bends and bright E major 3rd (G#) chord tones.
Fretboard Mechanics
Execute clean fret-hand muting by relaxing finger pressure immediately after striking each upbeat chord. Dig in with confident, wide downward strums on the chorus.
Pairing two contrasting genres—a relaxed, syncopated reggae verse with a driving, open-throated rock chorus—creates massive dynamic range and ensures your hook hits twice as hard.
The radiant major scale foundation for the anthemic chorus.
The source of Ian Moss's trademark stinging blues-rock guitar solo inflections.
The bright harmonic system underpinning the main progression.
Open E, A, and B chords providing classic rock punch.
C#m relative minor turnaround adding emotional complexity.
Musical Analysis
🎹 Key & Tonality
⏱️ Song Structure
💡 Understanding E major:
E major has a bright, uplifting character typical of major keys. The Aussie pub-rock meets Caribbean reggae skank in E major, punctuated by gritty blues-rock soloing mode gives it a stable, resolved feeling. This key works well for anthemic rock songs and creates a powerful, confident mood.
Primary Chords Used
Scale Patterns in E major
E major (Ionian)
Notes: E - F# - G# - A - B - C# - D# - E
Application: Drives the uplifting, sun-drenched coastal chords of the chorus
Interactive Fretboard Map
Chord Progressions & Movement
Main Progression
Bouncy reggae-influenced upbeat stabs during the verse that explode into an irresistible Australian pub-rock singalong chorus.
💡 Theory Insight:
The I-IV-V progression is the foundation of rock, blues, and countless other genres. The I chord (tonic) establishes home, IV (subdominant) creates movement, and V (dominant) builds tension that resolves back to I.
Chord Shapes In This Section:
E
A
B
C#m
Harmonic Functions & Roles:
- E (I)Warm major tonic providing stability and relaxed coastal groove
- A (IV)Subdominant chord initiating the uplifting chorus ascent
- B (V)Driving dominant engine providing relentless forward resolution
- C#m (vi)Relative minor adding bitter-sweet emotional depth to the chorus turnaround
Key Techniques
Staccato Reggae Skank & Upbeat Chops
IntermediateCrisp upbeat chord stabs on beats 2 and 4 using quick fret-hand release for percussive chop dynamics
Uses chords:
Progression:
E - A - B - E
Technique Tips:
- •Use a Fender Stratocaster in the middle or neck/middle pickup position for authentic hollow quack
- •Keep the right wrist relaxed and bouncing continuously in 16th notes
- •Add slight palm muting to the bass strings between chops
Ian Moss Blues-Rock Phrasing & Sweet Major Thirds
AdvancedBlending fiery E minor blues aggression with sweet E major 3rd chord tones (G#), crying vocal vibrato, and soaring whole-step bends
Uses chords:
Progression:
E - A - B - C#m
Technique Tips:
- •Use your thumb over the neck for leverage when pushing whole-step bends
- •Slightly roll off the guitar tone knob to 7 for Ian Moss's warm, singing woman tone
- •Add an overdrive pedal (Tube Screamer) to push tube amps into fluid singing compression
Practice Exercises
Scale and technique exercises in the key of E major. Switch instrument sounds (Acoustic Steel, Nylon, Clean Electric, Piano) and practice at your own tempo.
Intro Wurlitzer & Reggae Upbeat Chops
Intro Upbeat Skank
Don Walker's mellow Wurlitzer electric piano establishes the Caribbean bounce, joined by Ian Moss's crisp staccato upbeat chops.
- •Wait for the Wurlitzer intro before entering on the upbeat of beat 2
- •Choke the high E and B strings with the underside of your fretting fingers
- •Keep the rhythm strictly locked to the 118 BPM pocket
Verse 1 Reggae Skank Groove
Verse Reggae Skank
Ian Moss's light-fingered reggae groove accompanying Don Walker's Wurlitzer piano and Steve Prestwich's snare rim click.
- •Choke the strings immediately after striking on beats 2 and 4
- •Focus on the treble triad on strings 1, 2, and 3
- •Leave dynamic space for Jimmy Barnes's gritty storytelling verse vocal
Chorus 1 Pub-Rock Power Hook
Chorus Power Hook
Full band explosion into the legendary 'Cheap wine and a three day growth' chorus, shifting from staccato chops to wide resonant downstrokes.
- •Switch from staccato skanks to wide, resonant power strums across all strings
- •Hit the A to B push with aggressive downstroke attack
- •Slide cleanly into the C#m barre chord at fret 4 to emphasize the emotional lift
Bridge Minor Walkdown
Bridge Minor Walkdown
An atmospheric minor breakdown ('Sitting on the sofa, listening to the rain') creating emotional tension before the guitar solo.
- •Ease back on pick velocity for a reflective, moody dynamic
- •Let the 4th-fret C#m and G#m barre chords resonate with warm sustain
- •Crescendo across the B major barre chord to launch Ian Moss's guitar solo
Ian Moss's Iconic Blues-Rock Guitar Solo
Ian Moss Iconic Guitar Solo
One of the crowning guitar solos of Australian rock history. Ian Moss combines screaming E minor pentatonic bends with sweet E major 3rds (G# at 13th fret), weeping vibrato, and lightning descending blues runs.
- •Start on the high E and B strings at the 12th fret with lyrical, vocal-like phrasing
- •Hit the 13th fret G string (G#) to outline the E major tonic triad sweetly
- •Unleash a wide whole-step bend on the 15th fret B string with sustained vibrato
Final Outro Chorus & Climax
Outro Chorus & Lead Climax
Jimmy Barnes delivers maximum vocal intensity while Ian Moss peppers the driving pub rock rhythm with high-register blues fills as the song fades out.
- •Drive the chorus rhythm with confident, full downstrokes
- •Sprinkle 12th and 15th fret blues bends between vocal lines
- •Lock tight with Prestwich's crashing ride cymbal through the outro fade
Equipment & Tone Setup
🎸 Guitar
Recommended Model:
Pickup Type:
Middle pickup or neck/middle in-between quack position
Alternative Models:
⚡ Amplifier & Settings
Recommended Amp:
Tone Stack Dial-In:
Gain: 5.0
Treble: 7.0
Middle: 6.0
Bass: 5.0
Presence: 6.0
Alternative Amps:
🎛️ Effects Pedals
Overdrive / Distortion:
Ibanez TS808 Tube Screamer for transparent mid-hump solo boost
Reverb / Delay:
Spring reverb set to moderate wash
Modulation / Other:
MXR Phase 90 or subtle analog chorus for verse movement
Recommended Learning Path
Mastering the Open Chords
⏱️ 3-5 days
- •Learn open E, A, and B7 (or B barre) chord changes cleanly
- •Practice steady quarter-note strums along with the chorus
- •Memorize the IV - V - I - vi chorus sequence
Reggae Skank Dynamics & Upbeat Timing
⏱️ 1-2 weeks
- •Practice fret-hand muting on the offbeats of beats 2 and 4
- •Coordinate with a metronome at 118 BPM using the 8th-note subdivision
- •Play full verse-to-chorus dynamic transitions without dropping beats
Ian Moss Lead Fills & Soloing
⏱️ 2 weeks
- •Transcribe Ian Moss's soaring blues-rock solo in E minor pentatonic
- •Master the expressive whole-step bends at the 12th and 14th frets
- •Blend major 3rd (G#) sweet notes with minor 3rd (G) blues bends
Practice Notes & Routine
⚠️ Common Mistakes to Avoid
- •Letting the verse upbeat chords ring out too long instead of choking them immediately
- •Rushing the tempo during the transition from the quiet bridge into the final chorus
- •Over-bending the G note on string 2 (15th fret) during the solo fills
⏱️Targeted Practice Routine
0/3 Completed (0%)Check off each segment during your session to track your practice progress:
- Practice 5 minutes of fret-hand muting with a metronome set to 118 BPM
- Loop the chorus progression (A - B - E - C#m) focusing on smooth barre chord shifts
- Jam over the E major backing track with E minor blues scale double-stops
🎯 Key Focus Areas
- •Percussive fret-hand relaxation for clean reggae skank
- •Dynamic contrast between low-volume verse and roaring chorus
- •Expressive finger vibrato on sustained lead notes
⏱️ Metronome Drills
- •Set click to 90 BPM to nail the upbeat skank pocket cleanly
- •Ramp up to 118 BPM using the Speed Trainer tool in +3 BPM steps
- •Practice with clicks only on beats 2 and 4 to build authentic reggae feel