Chords for "All We Need Is An Island" w/ Nancy Wilson & Mickey Hart (Sammy Hagar & Friends Track By Track)
Tempo:
79.975 bpm
Chords used:
C
G
D
Cm
Gm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Redheads, guess what?
Got it down to one missing piece.
[Em] All We Need Is An Island.
[A] [C#] The [D] first song I wrote for this new album
was [C] a song called All [G] We Need Is An Island.
And I wrote it, and I rewrote it, and I rewrote it,
and I threw it out, [C] and I sped it [G] up, and I slowed [D] it down.
This was the most [C] painstaking thing [G] I've done in the studio in I don't know how long.
I must have cut it ten [D] times, ten different ways.
John Cunaberti's going,
[C] why don't you throw this whole thing out, my producer [Cm] John Cunaberti.
And he goes, [C] and just pick up an acoustic guitar,
[G] act like you're laying in a hammock,
and [D] just play the damn song the way you're, what you're talking about.
[C] And I thought, well I need something else.
So I called Mickey Hart, I said put some Tahitian drums on it.
I want to hear some [G] drums like you're on an island by yourself
with this woman in this romantic situation,
and you hear like distant drums [D] from another island, and he kills it.
Well Sammy says to me, Mickey you know how [C] to do this stuff,
I mean this is what you do.
[G] Take me to the island.
[D]
Mickey Hart has got more drums in [C] his collection
than I have guitars any day, or anybody I know.
I use drums from Saudi Arabia, [G] South America.
Then use balafons, [D] marimbas, shakers,
all kinds [Gm] of instruments from [C] all over the world.
So I have that vibe, you know I love the islands.
Sammy is an island kind of guy [G] too.
Sammy this is a great track, a great track.
And I said I need a duet on this, I need [D] a girl singing with this,
because this is the ultimate love song for me.
[C] I called Nancy Wilson, [G] who's been a dear friend forever.
[D] Me and Sammy go way back [C] together, back to the roaring 80s.
I just wanted that [Cm] sweet voice that she uses, [G] you know,
when she's singing harmonies.
And he [D] was like, well this is probably fine if it's really [Gm] short,
and [C] I'm like okay, but I could try writing something with it, for it,
to make it maybe [G] one more verse or something.
So I did, and at first he really wasn't so sure [D] that he liked the perspective,
because it was like, this is a guy's perspective,
and I'm like, well, [C] you know, [G] there's also the girl's perspective,
you can think of.
It's like a couple, you know, needing to get [D] away, get a holiday together,
and more of a family style kind of an idea.
[C] And then when I [G] did that, [D] he actually liked it a lot.
She [C] sang all over this thing and did a duet,
and put these beautiful background vocals.
Singing it was really a blast.
[G] Our voices really fit well together,
and [D] harmony singing is really one of my favorite [C] things in the world to do.
Part of his genius, his brilliance, is the deceptive simplicity of the song.
[G] I'm really happy to be part of it, and it's fun.
I can hear my fans [D] shouting out when I'm saying all we need is an island.
They know I'm talking to them.
[C] It's like we've got the lifestyle, we've got the pig in the [G] ground,
we've got the booze, we've got the way we dress, [D] poolside, the barbecues going.
We need an island to do this on.
All we [C] need [G] is an island.
Got it down to one missing piece.
[Em] All We Need Is An Island.
[A] [C#] The [D] first song I wrote for this new album
was [C] a song called All [G] We Need Is An Island.
And I wrote it, and I rewrote it, and I rewrote it,
and I threw it out, [C] and I sped it [G] up, and I slowed [D] it down.
This was the most [C] painstaking thing [G] I've done in the studio in I don't know how long.
I must have cut it ten [D] times, ten different ways.
John Cunaberti's going,
[C] why don't you throw this whole thing out, my producer [Cm] John Cunaberti.
And he goes, [C] and just pick up an acoustic guitar,
[G] act like you're laying in a hammock,
and [D] just play the damn song the way you're, what you're talking about.
[C] And I thought, well I need something else.
So I called Mickey Hart, I said put some Tahitian drums on it.
I want to hear some [G] drums like you're on an island by yourself
with this woman in this romantic situation,
and you hear like distant drums [D] from another island, and he kills it.
Well Sammy says to me, Mickey you know how [C] to do this stuff,
I mean this is what you do.
[G] Take me to the island.
[D]
Mickey Hart has got more drums in [C] his collection
than I have guitars any day, or anybody I know.
I use drums from Saudi Arabia, [G] South America.
Then use balafons, [D] marimbas, shakers,
all kinds [Gm] of instruments from [C] all over the world.
So I have that vibe, you know I love the islands.
Sammy is an island kind of guy [G] too.
Sammy this is a great track, a great track.
And I said I need a duet on this, I need [D] a girl singing with this,
because this is the ultimate love song for me.
[C] I called Nancy Wilson, [G] who's been a dear friend forever.
[D] Me and Sammy go way back [C] together, back to the roaring 80s.
I just wanted that [Cm] sweet voice that she uses, [G] you know,
when she's singing harmonies.
And he [D] was like, well this is probably fine if it's really [Gm] short,
and [C] I'm like okay, but I could try writing something with it, for it,
to make it maybe [G] one more verse or something.
So I did, and at first he really wasn't so sure [D] that he liked the perspective,
because it was like, this is a guy's perspective,
and I'm like, well, [C] you know, [G] there's also the girl's perspective,
you can think of.
It's like a couple, you know, needing to get [D] away, get a holiday together,
and more of a family style kind of an idea.
[C] And then when I [G] did that, [D] he actually liked it a lot.
She [C] sang all over this thing and did a duet,
and put these beautiful background vocals.
Singing it was really a blast.
[G] Our voices really fit well together,
and [D] harmony singing is really one of my favorite [C] things in the world to do.
Part of his genius, his brilliance, is the deceptive simplicity of the song.
[G] I'm really happy to be part of it, and it's fun.
I can hear my fans [D] shouting out when I'm saying all we need is an island.
They know I'm talking to them.
[C] It's like we've got the lifestyle, we've got the pig in the [G] ground,
we've got the booze, we've got the way we dress, [D] poolside, the barbecues going.
We need an island to do this on.
All we [C] need [G] is an island.
Key:
C
G
D
Cm
Gm
C
G
D
_ _ _ _ _ _ _ _
_ Redheads, guess what?
Got it down to one missing piece.
[Em] All We Need Is An Island.
[A] [C#] The [D] first song I wrote for this new album
was [C] a song called All [G] We Need Is An Island.
And I wrote it, and I rewrote it, and I rewrote it,
and I threw it out, [C] and I sped it [G] up, and I slowed [D] it down.
This was the most [C] painstaking thing [G] I've done in the studio in I don't know how long.
I must have cut it ten [D] times, ten different ways.
John Cunaberti's going,
[C] why don't you throw this whole thing out, my producer [Cm] John Cunaberti.
And he goes, [C] and just pick up an acoustic guitar,
[G] act like you're laying in a hammock,
and [D] just play the damn song the way you're, what you're talking about.
[C] And I thought, well I need something else.
So I called Mickey Hart, I said put some Tahitian drums on it.
I want to hear some [G] drums like you're on an island by yourself
with this woman in this romantic situation,
and you hear like distant drums [D] from another island, and he kills it.
Well Sammy says to me, Mickey you know how [C] to do this stuff,
I mean this is what you do.
[G] Take me to the island.
[D]
Mickey Hart has got more drums in [C] his collection
than I have guitars any day, or anybody I know.
I use drums from Saudi Arabia, [G] South America.
Then use balafons, [D] marimbas, shakers,
all kinds [Gm] of instruments from [C] all over the world.
So I have that vibe, you know I love the islands.
Sammy is an island kind of guy [G] too.
Sammy this is a great track, a great track.
And I said I need a duet on this, I need [D] a girl singing with this,
because this is the ultimate love song for me.
[C] I called Nancy Wilson, [G] who's been a dear friend forever.
[D] Me and Sammy go way back [C] together, back to the roaring 80s.
I just wanted that [Cm] sweet voice that she uses, [G] you know,
when she's singing harmonies.
And he [D] was like, well this is probably fine if it's really [Gm] short,
and [C] I'm like okay, but I could try writing something with it, for it,
to make it maybe [G] one more verse or something.
So I did, and at first he really wasn't so sure [D] that he liked the perspective,
because it was like, this is a guy's perspective,
and I'm like, well, [C] you know, [G] there's also the girl's perspective,
you can think of.
It's like a couple, you know, needing to get [D] away, get a holiday together,
and more of a family style kind of an idea.
[C] And then when I [G] did that, [D] he actually liked it a lot.
She [C] sang all over this thing and did a duet,
and put these beautiful background vocals.
Singing it was really a blast.
[G] Our voices really fit well together,
and [D] harmony singing is really one of my favorite [C] things in the world to do.
Part of his genius, his brilliance, is the deceptive simplicity of the song.
[G] I'm really happy to be part of it, and it's fun.
I can hear my fans [D] shouting out when I'm saying all we need is an island.
They know I'm talking to them.
[C] It's like we've got the lifestyle, we've got the pig in the [G] ground,
we've got the booze, we've got the way we dress, [D] poolside, the barbecues going.
We need an island to do this on.
All we [C] need [G] is an island. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ Redheads, guess what?
Got it down to one missing piece.
[Em] All We Need Is An Island.
[A] [C#] The [D] first song I wrote for this new album
was [C] a song called All [G] We Need Is An Island.
And I wrote it, and I rewrote it, and I rewrote it,
and I threw it out, [C] and I sped it [G] up, and I slowed [D] it down.
This was the most [C] painstaking thing [G] I've done in the studio in I don't know how long.
I must have cut it ten [D] times, ten different ways.
John Cunaberti's going,
[C] why don't you throw this whole thing out, my producer [Cm] John Cunaberti.
And he goes, [C] and just pick up an acoustic guitar,
[G] act like you're laying in a hammock,
and [D] just play the damn song the way you're, what you're talking about.
[C] And I thought, well I need something else.
So I called Mickey Hart, I said put some Tahitian drums on it.
I want to hear some [G] drums like you're on an island by yourself
with this woman in this romantic situation,
and you hear like distant drums [D] from another island, and he kills it.
Well Sammy says to me, Mickey you know how [C] to do this stuff,
I mean this is what you do.
[G] Take me to the island.
[D]
Mickey Hart has got more drums in [C] his collection
than I have guitars any day, or anybody I know.
I use drums from Saudi Arabia, [G] South America.
Then use balafons, [D] marimbas, shakers,
all kinds [Gm] of instruments from [C] all over the world.
So I have that vibe, you know I love the islands.
Sammy is an island kind of guy [G] too.
Sammy this is a great track, a great track.
And I said I need a duet on this, I need [D] a girl singing with this,
because this is the ultimate love song for me.
[C] I called Nancy Wilson, [G] who's been a dear friend forever.
[D] Me and Sammy go way back [C] together, back to the roaring 80s.
I just wanted that [Cm] sweet voice that she uses, [G] you know,
when she's singing harmonies.
And he [D] was like, well this is probably fine if it's really [Gm] short,
and [C] I'm like okay, but I could try writing something with it, for it,
to make it maybe [G] one more verse or something.
So I did, and at first he really wasn't so sure [D] that he liked the perspective,
because it was like, this is a guy's perspective,
and I'm like, well, [C] you know, [G] there's also the girl's perspective,
you can think of.
It's like a couple, you know, needing to get [D] away, get a holiday together,
and more of a family style kind of an idea.
[C] And then when I [G] did that, [D] he actually liked it a lot.
She [C] sang all over this thing and did a duet,
and put these beautiful background vocals.
Singing it was really a blast.
[G] Our voices really fit well together,
and [D] harmony singing is really one of my favorite [C] things in the world to do.
Part of his genius, his brilliance, is the deceptive simplicity of the song.
[G] I'm really happy to be part of it, and it's fun.
I can hear my fans [D] shouting out when I'm saying all we need is an island.
They know I'm talking to them.
[C] It's like we've got the lifestyle, we've got the pig in the [G] ground,
we've got the booze, we've got the way we dress, [D] poolside, the barbecues going.
We need an island to do this on.
All we [C] need [G] is an island. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _