Chords for 2012 Paul, Ringo, and George Martin Highlights
Tempo:
72.075 bpm
Chords used:
E
F
F#
C
D#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Well, you look about 30 but mind you wartime might do that to tough business, you know
Where were you during the war daddy?
Yeah, I want it I know come on you
I'm not gonna talk about it.
Okay.
Come on.
All right.
Okay.
I'll tell you what then interest me about this
You would tell us stories because we'd ask, you know, what did you do?
what do you know he came out the you were in the fleet air arm and
You were an observer
Well, this is where the observer would be which of where I would would have been
that's the observers position and
You can see there's a [A] wire at the bottom there
Which you could have touched yourself in case you went inverted and you wouldn't get thrown away out of the aircraft
[E] And if we have instruments here, which he could see [N] and he would communicate with a pilot
who is in a separate cockpit purely and simply through a
Gosport chew which was kind of tube
You know, you'd say hello there and you'd listen there was no electronics involved
We'd say well, what do you do is it was sort of observe but you were in charge
So it's a very important role.
In fact, even above the pilot which kind of amazed us but years later
I thought that's the producer
Yes, it is the same job.
I Remember that
Just talking about the chamber pot on his head.
Yeah Judy's there
Uh-huh, and if you remember and it was very naughty
It was all all the food was in phallic or the bros were particular shape
Was a hoot.
It was great, you know
We'd never seen anything like that.
I suspect Brian might have yes.
Oh, he chose it.
All right
But they also got Judy standing on the table
Putting a gutter around her legs.
Yeah, she didn't need much [F] persuading
We don't really [N] want to hang out with him.
It's mrs.
Martin.
We all love
The great Judy
[E] Who we thought when we started was the [D] Queen she was so posh.
Oh, hello
He was a bit posh but he was over the top
[D#] Gentlemen, I'd like to just now have a few words from our recording manager
[F] Mr.
George George Matt
Martin
[C#] George Madison Matt.
Here is [F] George Madison.
Come on George say a few swinging new [F#] fab words for the Christmas market
It's been a switched on year [F] for George to fab beetle people and we all [E] hope you appreciate it.
Here he is I
[D#] Won't talk beetle people
He won't gun [C] independent one two [G] three
[C] [N] Brown after that kind of loaded lunatics if you ask me, that's the Beatles fan club record.
It's got to be
Remember the fan club record right well done you every year we take ten minutes of the session time
I'm just doing and do nonsense like this.
Well, I'm blessed.
I doubt quite forgotten about that, but we couldn't get you to speak
so professional
It was funny actually, you know that time if you remember we all came in rose-colored or funny colored specs and
Where I was living there was a little optician around the corner and I sort of popped in
So she do different colored lenses and everything do anything
so I [D] ordered up like half a dozen different colors, you know rose green blue and
Took him to [E] the session that was to give you a bit of atmosphere in the studio
I remember all of you saying this is a [E] sterile place
It's just white walls and bloody awful.
I'd to do something to live in it up
And so they put in [F#] three fluorescent stands
red blue and white
No, it's red and green was it green?
I know because I've got them
My suit fluorescent ball that was to give you inspiration and boy did it ever
[C] We grooved after that [Em] Paul was always much more interested in
music per se
Whereas John was always more interested in words per se [F#] and I think this
relationship
Benefited from the ping-pong of [C] those things
I mean, I think Paul always wanted to be able to write lyrics like John could do and John really
Envied Paul's gift for melody John once said to me, let's face it George
I didn't expect to walk into a bar in Spain and hear people whistling.
I'm the [A] Morris
There's you doing your mixing is me producing [C#] all the Beatle records as I did
Rice my
[G#m] Rice mile as he sees me do it completely wrong
[F#] Did I leave him is screwing it up?
I'll leave him but this is interesting because in the very first sessions
I always say we came [D#] in the tradesman's entrance if you'd remember we didn't come in through the control room
But by this time we'd got in that control room.
I know we're getting up there
Never mind taking over the asylum.
Look at us
Working it
[N]
Where were you during the war daddy?
Yeah, I want it I know come on you
I'm not gonna talk about it.
Okay.
Come on.
All right.
Okay.
I'll tell you what then interest me about this
You would tell us stories because we'd ask, you know, what did you do?
what do you know he came out the you were in the fleet air arm and
You were an observer
Well, this is where the observer would be which of where I would would have been
that's the observers position and
You can see there's a [A] wire at the bottom there
Which you could have touched yourself in case you went inverted and you wouldn't get thrown away out of the aircraft
[E] And if we have instruments here, which he could see [N] and he would communicate with a pilot
who is in a separate cockpit purely and simply through a
Gosport chew which was kind of tube
You know, you'd say hello there and you'd listen there was no electronics involved
We'd say well, what do you do is it was sort of observe but you were in charge
So it's a very important role.
In fact, even above the pilot which kind of amazed us but years later
I thought that's the producer
Yes, it is the same job.
I Remember that
Just talking about the chamber pot on his head.
Yeah Judy's there
Uh-huh, and if you remember and it was very naughty
It was all all the food was in phallic or the bros were particular shape
Was a hoot.
It was great, you know
We'd never seen anything like that.
I suspect Brian might have yes.
Oh, he chose it.
All right
But they also got Judy standing on the table
Putting a gutter around her legs.
Yeah, she didn't need much [F] persuading
We don't really [N] want to hang out with him.
It's mrs.
Martin.
We all love
The great Judy
[E] Who we thought when we started was the [D] Queen she was so posh.
Oh, hello
He was a bit posh but he was over the top
[D#] Gentlemen, I'd like to just now have a few words from our recording manager
[F] Mr.
George George Matt
Martin
[C#] George Madison Matt.
Here is [F] George Madison.
Come on George say a few swinging new [F#] fab words for the Christmas market
It's been a switched on year [F] for George to fab beetle people and we all [E] hope you appreciate it.
Here he is I
[D#] Won't talk beetle people
He won't gun [C] independent one two [G] three
[C] [N] Brown after that kind of loaded lunatics if you ask me, that's the Beatles fan club record.
It's got to be
Remember the fan club record right well done you every year we take ten minutes of the session time
I'm just doing and do nonsense like this.
Well, I'm blessed.
I doubt quite forgotten about that, but we couldn't get you to speak
so professional
It was funny actually, you know that time if you remember we all came in rose-colored or funny colored specs and
Where I was living there was a little optician around the corner and I sort of popped in
So she do different colored lenses and everything do anything
so I [D] ordered up like half a dozen different colors, you know rose green blue and
Took him to [E] the session that was to give you a bit of atmosphere in the studio
I remember all of you saying this is a [E] sterile place
It's just white walls and bloody awful.
I'd to do something to live in it up
And so they put in [F#] three fluorescent stands
red blue and white
No, it's red and green was it green?
I know because I've got them
My suit fluorescent ball that was to give you inspiration and boy did it ever
[C] We grooved after that [Em] Paul was always much more interested in
music per se
Whereas John was always more interested in words per se [F#] and I think this
relationship
Benefited from the ping-pong of [C] those things
I mean, I think Paul always wanted to be able to write lyrics like John could do and John really
Envied Paul's gift for melody John once said to me, let's face it George
I didn't expect to walk into a bar in Spain and hear people whistling.
I'm the [A] Morris
There's you doing your mixing is me producing [C#] all the Beatle records as I did
Rice my
[G#m] Rice mile as he sees me do it completely wrong
[F#] Did I leave him is screwing it up?
I'll leave him but this is interesting because in the very first sessions
I always say we came [D#] in the tradesman's entrance if you'd remember we didn't come in through the control room
But by this time we'd got in that control room.
I know we're getting up there
Never mind taking over the asylum.
Look at us
Working it
[N]
Key:
E
F
F#
C
D#
E
F
F#
Well, you look about 30 but mind you wartime might do that to tough business, you know
Where were you during the war daddy? _ _ _ _
Yeah, I want it I know come on you
I'm not gonna talk about it.
Okay.
Come on.
All right.
Okay.
I'll tell you what then interest me about this
You would tell us stories because we'd ask, you know, what did you do?
what do you know he came out the you were in the fleet air arm and
You were an observer
Well, this is where the observer would be which of where I would would have been
that's the observers position and
You can see there's a [A] wire at the bottom there
Which you could have touched yourself in case you went inverted and you wouldn't get thrown away out of the aircraft
[E] And if we have instruments here, which he could see [N] and he would communicate with a pilot
who is in a separate cockpit purely and simply through a
Gosport chew which was kind of tube
You know, you'd say hello there and you'd listen there was no electronics involved
We'd say well, what do you do is it was sort of observe but you were in charge
So it's a very important role.
In fact, even above the pilot which kind of amazed us but years later
I thought that's the producer
Yes, it is the same job. _ _
I Remember that
Just talking about the chamber pot on his head.
Yeah Judy's there
Uh-huh, and if you remember and it was very naughty
It was all all the food was in phallic or the bros were particular shape
Was a hoot.
It was great, you know
We'd never seen anything like that.
I suspect Brian might have yes.
Oh, he chose it.
All right
But they also got Judy standing on the table
Putting a gutter around her legs.
Yeah, she didn't need much [F] persuading
We don't really [N] want to hang out with him.
It's mrs.
Martin.
We all love
_ _ _ The great Judy
[E] Who we thought when we started was the [D] Queen she was so posh.
Oh, hello
He was a bit posh but he was over the top
[D#] Gentlemen, I'd like to just now have a few words from our recording manager
[F] Mr.
George George Matt
Martin
[C#] George Madison Matt.
Here is [F] George Madison.
Come on George say a few swinging new [F#] fab words for the Christmas market
It's been a switched on year [F] for George to fab beetle people and we all [E] hope you appreciate it.
Here he is I
[D#] _ _ Won't talk beetle people
He won't gun [C] independent one two [G] three _ _ _ _
_ _ [C] _ _ [N] _ Brown after that kind of loaded lunatics if you ask me, that's the Beatles fan club record.
It's got to be
Remember the fan club record right well done you every year we take ten minutes of the session time
I'm just doing and do nonsense like this.
Well, I'm blessed.
I doubt quite forgotten about that, but we couldn't get you to speak _
so professional
It was funny actually, you know that time if you remember we all came in rose-colored or funny colored specs and
Where I was living there was a little optician around the corner and I sort of popped in
So she do different colored lenses and everything do anything
so I [D] ordered up like half a dozen different colors, you know rose green blue and
Took him to [E] the session that was to give you a bit of atmosphere in the studio
I remember all of you saying this is a [E] sterile place
It's just white walls and bloody awful.
I'd to do something to live in it up
And so they put in [F#] three fluorescent stands
red blue and white
No, it's red and green was it green?
I know because I've got them
My suit fluorescent ball that was to give you inspiration and boy did it ever
[C] We grooved after that [Em] Paul was always much more interested in
music per se
Whereas John was always more interested in words per se [F#] and I think this
relationship
Benefited from the ping-pong of [C] those things
I mean, I think Paul always wanted to be able to write lyrics like John could do and John really
Envied Paul's gift for melody John once said to me, let's face it George
I didn't expect to walk into a bar in Spain and hear people whistling.
I'm the [A] Morris
There's you doing your mixing is me producing [C#] all the Beatle records as I did
Rice my
[G#m] Rice mile as he sees me do it completely wrong
[F#] Did I leave him is screwing it up?
I'll leave him but this is interesting because in the very first sessions
I always say we came [D#] in the tradesman's entrance if you'd remember we didn't come in through the control room
But by this time we'd got in that control room.
I know we're getting up there
Never mind taking over the asylum.
Look at us
Working it
[N] _
Where were you during the war daddy? _ _ _ _
Yeah, I want it I know come on you
I'm not gonna talk about it.
Okay.
Come on.
All right.
Okay.
I'll tell you what then interest me about this
You would tell us stories because we'd ask, you know, what did you do?
what do you know he came out the you were in the fleet air arm and
You were an observer
Well, this is where the observer would be which of where I would would have been
that's the observers position and
You can see there's a [A] wire at the bottom there
Which you could have touched yourself in case you went inverted and you wouldn't get thrown away out of the aircraft
[E] And if we have instruments here, which he could see [N] and he would communicate with a pilot
who is in a separate cockpit purely and simply through a
Gosport chew which was kind of tube
You know, you'd say hello there and you'd listen there was no electronics involved
We'd say well, what do you do is it was sort of observe but you were in charge
So it's a very important role.
In fact, even above the pilot which kind of amazed us but years later
I thought that's the producer
Yes, it is the same job. _ _
I Remember that
Just talking about the chamber pot on his head.
Yeah Judy's there
Uh-huh, and if you remember and it was very naughty
It was all all the food was in phallic or the bros were particular shape
Was a hoot.
It was great, you know
We'd never seen anything like that.
I suspect Brian might have yes.
Oh, he chose it.
All right
But they also got Judy standing on the table
Putting a gutter around her legs.
Yeah, she didn't need much [F] persuading
We don't really [N] want to hang out with him.
It's mrs.
Martin.
We all love
_ _ _ The great Judy
[E] Who we thought when we started was the [D] Queen she was so posh.
Oh, hello
He was a bit posh but he was over the top
[D#] Gentlemen, I'd like to just now have a few words from our recording manager
[F] Mr.
George George Matt
Martin
[C#] George Madison Matt.
Here is [F] George Madison.
Come on George say a few swinging new [F#] fab words for the Christmas market
It's been a switched on year [F] for George to fab beetle people and we all [E] hope you appreciate it.
Here he is I
[D#] _ _ Won't talk beetle people
He won't gun [C] independent one two [G] three _ _ _ _
_ _ [C] _ _ [N] _ Brown after that kind of loaded lunatics if you ask me, that's the Beatles fan club record.
It's got to be
Remember the fan club record right well done you every year we take ten minutes of the session time
I'm just doing and do nonsense like this.
Well, I'm blessed.
I doubt quite forgotten about that, but we couldn't get you to speak _
so professional
It was funny actually, you know that time if you remember we all came in rose-colored or funny colored specs and
Where I was living there was a little optician around the corner and I sort of popped in
So she do different colored lenses and everything do anything
so I [D] ordered up like half a dozen different colors, you know rose green blue and
Took him to [E] the session that was to give you a bit of atmosphere in the studio
I remember all of you saying this is a [E] sterile place
It's just white walls and bloody awful.
I'd to do something to live in it up
And so they put in [F#] three fluorescent stands
red blue and white
No, it's red and green was it green?
I know because I've got them
My suit fluorescent ball that was to give you inspiration and boy did it ever
[C] We grooved after that [Em] Paul was always much more interested in
music per se
Whereas John was always more interested in words per se [F#] and I think this
relationship
Benefited from the ping-pong of [C] those things
I mean, I think Paul always wanted to be able to write lyrics like John could do and John really
Envied Paul's gift for melody John once said to me, let's face it George
I didn't expect to walk into a bar in Spain and hear people whistling.
I'm the [A] Morris
There's you doing your mixing is me producing [C#] all the Beatle records as I did
Rice my
[G#m] Rice mile as he sees me do it completely wrong
[F#] Did I leave him is screwing it up?
I'll leave him but this is interesting because in the very first sessions
I always say we came [D#] in the tradesman's entrance if you'd remember we didn't come in through the control room
But by this time we'd got in that control room.
I know we're getting up there
Never mind taking over the asylum.
Look at us
Working it
[N] _