Chords for Beginning of Josh Groban's career

[Bb] _ _ _ _ _ _ [Gm] _ _
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[Eb] _ _ _ _ [Bb] _ _ _ _
_ _ [Eb] _ _ _ _ [F] _ _
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[D] _ [Gm] _ _ _ _ _ _ _
[Eb] _ We are ready to [Cm] roll.
Hey Bill, we're keeping the two minutes in.
So now you have to meet the Oval, right?
You have to meet my Oval.
Very absurd.
We want some of you to wear a tank top.
_ [Eb] _ _
You know, the way I found Josh is kind of an extraordinary set of circumstances that all fell together.
Carol Baer-Sager and I wrote the song The Prayer, and Celine Dion and Andrea Bocelli were going to perform it on the Oscars and the Grammys,
but Bocelli couldn't make the rehearsals.
So we needed to find somebody that could sub for Bocelli for the rehearsals.
And through Seth Riggs, a wonderful vocal coach, we found Josh, a young 17-year-old.
_ Seth sent me about three tapes over of three different singers, and Josh just stuck out like a sore thumb.
I [Em] tracked him down, he came in, he sang the song here [Eb] at the studio.
I said, okay, we're going to the Grammy stage tomorrow.
[Fm] And as it turns out, Bocelli was having a little difficulty [G] getting all the way from Italy to the Grammys.
And Josh knocked the people out so much at rehearsal that the producer came up to Josh and said,
[C] look, bring [Abm] your suit in one morning at rehearsal, because if Bocelli [Ab] doesn't show up, you're going on [Fm] for him.
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[C] _ _ [Gm] _ _ _ _ [Cm] _
[Em] Fortunately, or unfortunately maybe, Bocelli showed up, it all worked out, and then that process repeated itself at the Oscars.
And the same thing, Bocelli was late getting there, and [Fm] bring your suit, you might be going on.
Celine fell in love with Josh, I fell in love with Josh, and I realized that there might be an opening there.
I think of the music business as being slots, what slot is available right now.
The Bocelli-type slot is kind of available for a young American, I believe.
Bocelli wants to be an opera singer more than he does want to be a pop singer.
[E] So as fantastic as he is, I think there's room for another one.
And nobody would argue that Bocelli's the greatest voice in that genre at the moment, but Josh [D] at the moment is only 19.
He's got a lot of growing to do, but he has [Cm] an incredible voice.
_ [G] _ _ _ [Cm] _ [Fm] _
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[G] _ _ _ _ [Cm] _ _ _ _
[Eb] _ _ _ [Abm] _ _ _ _ _
_ _ [E] _ _ _ [Gb] _ _ _
_ _ _ _ [N] The special significance of this studio, the Sony soundstage, is really quite extraordinary.
The reason why we all love this place is that the room is exactly like it was in the 30s and 40s.
They've changed nothing.
They've not touched the walls, they've not touched the floors, and some of the mics are even from the 40s and 50s.
They're the best mics, actually.
So, you know, progress is regress sometimes, and in the recording field, that's exactly what's happened in terms of recording orchestras.
The way they did it in the 30s and 40s was still the best.
You can watch an old movie and you hear that beautiful orchestra.
You hear every note in the orchestra, and that's what we strive for.
So there's some kind of major stuff going on in that room.
We love to book the room.
It's always booked.
It's very difficult to get into, but it's the best room in town, by [Dbm] far. _ _ _
_ [B] When you have a large orchestra, an 80-piece orchestra, or even a 20-piece orchestra, the whole landscape changes.
When you're just in [E] there with one or two musicians, you can, [F] off the top of your head, just kind of go, let's try this, let's try that.
You can't say that to [E] an orchestra.
You can't just say, let's try this.
You make one little change, like if you want a note to go to a G instead of a G sharp in one bar, it's a five-minute change.
Orchestras are funny because they, you know, _ studio rock and roll musicians, you can just say, in bar 18, make it a G chord in 7A, and they've got it.
That's the way it happens.
But with an orchestra, you can't just say, in bar 15, make it a G.
It's got to be very step-by-step.
And it's a five-minute, anything is a five-minute change.
A big change is a 20-minute change, if you want to change something drastically.
So you've got to be very well prepared.
Right at 31, [Gm] _ _ [Cm] and_
Good, [G] _ [Cm] _ [Ab] _ _ _ [Bb] _ _ [Ab] _
[D] _ _ [Gm] _ _ _ _ [C] _ _
that's the way we're going to do it?
[G] _ _ _ [Ab] And it's where the place to play it, Phil?
Tempo all the way through.
How about [Eb] 16?
I don't know what to tell you, David.
A couple bars before 16, we can go.
_ _ Okay?
[Ab] _ _ _ _ _ [E] [Ebm] Three beats, make that third beat like an eighth note, lift off, and then [Eb] super-funk.
No, I think we need_
All right, folks, we'll do that.
[N] And then beat 4 of 33 is pianissimo.
And bar 34.
And bar 34.
_ Can I hear it one more time?
I can poke, and then we're going to go.
Okay, here we go.
One more at 31.
31. _ _ _ _
Bill Ross is such a wonderful, wonderful and talented arranger, producer, songwriter, film composer.
And he's somebody that I really trust, and trust is the key word.
_ _ That was beautiful.
Take a 10.
[G] Thank you very much.
_ _ _ Beautiful, Bill.
Gorgeous.
I _ _ don't have the time anymore to sit with Bill [E] and go over every note like I used to
when I was producing Chicago with Jeremy Lovick.
We would go over every note, and finally Jeremy said,
Look, I know your taste.
I know what you like.
I know what you don't like.
Just leave it with me.
And it was such a burden lifted off my shoulders when I didn't have to spend those hours with the arrangers.
And both Bill Ross and Jeremy Lovick know exactly what I like.
And it's just [Bb] become kind of second [E] nature.
And there's very few problems when we get in the studio.
Thank God, because like I said, if you want to change anything, it's a major deal. _ _ _ _ _