Chords for Brian Eno & 801
Tempo:
127.7 bpm
Chords used:
Bb
Bbm
Gb
Db
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Bbm]
[Gb] [Db]
[Bbm]
[Gb] The idea of 801 [Db] was just a [Bb] break from rock music and I felt I should try [N] something different.
I mean, he'd played with Bill McCormack, the bass player, in a band called Quiet Son.
And some of the stuff that we did on the 801 was from that original band.
So I think he just wanted, in a way, to get back to what were, in fact, his own roots, as it were.
Eno was in it because him and Phil got on so well.
I mean, he wasn't just there because he was Phil's buddy.
You know, they got on well all the time and Phil was used to playing and liked what Eno used to do to his guitar.
It was Phil's band but Eno was second in command.
Yeah, first mate, as it were.
We did three weeks solid rehearsal at Shepperton Film Studios.
And apart from, you know, you've got, say, eight, ten bars for a solo,
OK, that bit's left free for you to do what you want.
But everything else, it was almost note for note worked out.
Yeah, it's the hardest work that I've ever done.
Yeah.
And when you listen back to it now, you think, blimey, that was a lot to learn.
Yeah, especially for somebody like me, who's more of a spontaneous, like, you know, a blues player,
just get up there and whatever comes out, comes out.
Yeah, no, you've got to learn this goes
It doesn't go
That's how it's got to be.
I think that Phil and Eno had got it worked out, you know, what they wanted to go and do and play live.
And so then it's just a case of, all right, we know what we want to do,
now let's just get the musicians and let's, you know, get it on.
Yeah.
We did a warm-up gig at a place called West Ronson, which is out near Cromer,
which at the time, a lot of bands used to use that place, believe it or not,
for the first gig to, you know, iron out anything that's wrong.
And you're on the East Coast, not of America, the East Coast of England,
and there's not a lot of people there, so it doesn't matter if it goes too wrong.
It's not as if [G] you're in front of 10,000 people, you know, in a stadium or something.
So, yeah, we did that.
We did the Reading Festival, and then we did the Queen Elizabeth Hall,
which was recorded for the [Bb] 801 Live.
Yeah.
BABY'S ON FIRE
METAL THROWING
[C] LOOKING
HAPPY
TO [Bb] THE SLAW TAP
BABY'S [C] ON FIRE
With it being live, [Bb] there's always that element of it could go wrong, you know,
so [Ab] you're always on a little bit of a night pick,
and I think it lifts you up even higher, knowing that, right,
we've rehearsed for three weeks, you know, now it's going to be a live album.
Don't muck it up.
I mean, Rolling Stone magazine quoted it as one of the top live albums up there
with Dylan's Before The Flood and Bowie, so that'll do me.
Yeah, proud to be involved with it, definitely.
[Gb] [Db]
[Bbm]
[Gb] The idea of 801 [Db] was just a [Bb] break from rock music and I felt I should try [N] something different.
I mean, he'd played with Bill McCormack, the bass player, in a band called Quiet Son.
And some of the stuff that we did on the 801 was from that original band.
So I think he just wanted, in a way, to get back to what were, in fact, his own roots, as it were.
Eno was in it because him and Phil got on so well.
I mean, he wasn't just there because he was Phil's buddy.
You know, they got on well all the time and Phil was used to playing and liked what Eno used to do to his guitar.
It was Phil's band but Eno was second in command.
Yeah, first mate, as it were.
We did three weeks solid rehearsal at Shepperton Film Studios.
And apart from, you know, you've got, say, eight, ten bars for a solo,
OK, that bit's left free for you to do what you want.
But everything else, it was almost note for note worked out.
Yeah, it's the hardest work that I've ever done.
Yeah.
And when you listen back to it now, you think, blimey, that was a lot to learn.
Yeah, especially for somebody like me, who's more of a spontaneous, like, you know, a blues player,
just get up there and whatever comes out, comes out.
Yeah, no, you've got to learn this goes
It doesn't go
That's how it's got to be.
I think that Phil and Eno had got it worked out, you know, what they wanted to go and do and play live.
And so then it's just a case of, all right, we know what we want to do,
now let's just get the musicians and let's, you know, get it on.
Yeah.
We did a warm-up gig at a place called West Ronson, which is out near Cromer,
which at the time, a lot of bands used to use that place, believe it or not,
for the first gig to, you know, iron out anything that's wrong.
And you're on the East Coast, not of America, the East Coast of England,
and there's not a lot of people there, so it doesn't matter if it goes too wrong.
It's not as if [G] you're in front of 10,000 people, you know, in a stadium or something.
So, yeah, we did that.
We did the Reading Festival, and then we did the Queen Elizabeth Hall,
which was recorded for the [Bb] 801 Live.
Yeah.
BABY'S ON FIRE
METAL THROWING
[C] LOOKING
HAPPY
TO [Bb] THE SLAW TAP
BABY'S [C] ON FIRE
With it being live, [Bb] there's always that element of it could go wrong, you know,
so [Ab] you're always on a little bit of a night pick,
and I think it lifts you up even higher, knowing that, right,
we've rehearsed for three weeks, you know, now it's going to be a live album.
Don't muck it up.
I mean, Rolling Stone magazine quoted it as one of the top live albums up there
with Dylan's Before The Flood and Bowie, so that'll do me.
Yeah, proud to be involved with it, definitely.
Key:
Bb
Bbm
Gb
Db
C
Bb
Bbm
Gb
[Bbm] _ _ _ _ _ _ _ _
_ _ _ _ [Gb] _ _ _ [Db] _
_ _ _ [Bbm] _ _ _ _ _
_ _ _ [Gb] The idea of 801 [Db] was just _ a [Bb] break from rock music and I felt I should try [N] something different.
I mean, he'd played with Bill McCormack, the bass player, in a band called Quiet Son.
_ _ _ _ And some of the stuff that we did on the 801 was from that original band.
So I think he just wanted, in a way, to get back to what were, in fact, his own roots, as it were.
Eno was in it because him and Phil got on so well.
I mean, he wasn't just there because he was Phil's buddy.
You know, they got on well all the time and Phil was used to playing and liked what Eno used to do to his guitar.
It was Phil's band but Eno was second in command.
Yeah, first mate, as it were.
We did three weeks _ solid rehearsal at Shepperton Film Studios.
_ _ And apart from, you know, you've got, _ _ say, eight, ten bars for a solo,
OK, that bit's left free for you to do what you want.
_ But everything else, it was almost _ note for note worked out.
Yeah, it's the hardest work that I've ever done.
Yeah.
And when you listen back to it now, you think, blimey, that was _ a lot to learn.
Yeah, especially for somebody like me, who's more of a spontaneous, like, you know, a blues player,
just get up there and whatever comes out, comes out.
_ Yeah, no, you've got to learn this goes_
_ _ It doesn't go_
_ _ That's how it's got to be.
I think that Phil and Eno had got it worked out, you know, what they wanted to go and do and play live.
And so then it's just a case of, all right, we know what we want to do,
now let's just get the musicians and let's, you know, get it on.
Yeah.
We did a warm-up gig at a place called West Ronson, which is out near Cromer,
which at the time, a lot of bands used to use that place, believe it or not,
for the first gig to, you know, iron out anything that's wrong.
And you're on the East Coast, not of America, the East Coast of England,
and there's not a lot of people there, so it doesn't matter if it goes too wrong.
It's not as if [G] you're in front of 10,000 people, you know, in a stadium or something.
So, yeah, we did that. _
We did the Reading _ Festival, and then we did the Queen Elizabeth Hall,
which was recorded for the [Bb] 801 Live.
Yeah.
_ BABY'S ON FIRE _
_ _ _ METAL THROWING _ _
_ _ _ [C] LOOKING _ _
HAPPY
TO _ _ [Bb] THE SLAW TAP
_ _ BABY'S [C] ON FIRE
With it being live, _ [Bb] there's always that element of it could go wrong, you know,
so [Ab] you're always on a little bit of a night pick,
and I think it lifts you up even higher, knowing that, right,
we've rehearsed for three weeks, you know, now it's going to be a live album.
_ Don't muck it up.
I _ mean, Rolling Stone magazine quoted it as one of the top live albums up there
with Dylan's Before The Flood and Bowie, so that'll do me.
Yeah, proud to be involved with it, definitely. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [Gb] _ _ _ [Db] _
_ _ _ [Bbm] _ _ _ _ _
_ _ _ [Gb] The idea of 801 [Db] was just _ a [Bb] break from rock music and I felt I should try [N] something different.
I mean, he'd played with Bill McCormack, the bass player, in a band called Quiet Son.
_ _ _ _ And some of the stuff that we did on the 801 was from that original band.
So I think he just wanted, in a way, to get back to what were, in fact, his own roots, as it were.
Eno was in it because him and Phil got on so well.
I mean, he wasn't just there because he was Phil's buddy.
You know, they got on well all the time and Phil was used to playing and liked what Eno used to do to his guitar.
It was Phil's band but Eno was second in command.
Yeah, first mate, as it were.
We did three weeks _ solid rehearsal at Shepperton Film Studios.
_ _ And apart from, you know, you've got, _ _ say, eight, ten bars for a solo,
OK, that bit's left free for you to do what you want.
_ But everything else, it was almost _ note for note worked out.
Yeah, it's the hardest work that I've ever done.
Yeah.
And when you listen back to it now, you think, blimey, that was _ a lot to learn.
Yeah, especially for somebody like me, who's more of a spontaneous, like, you know, a blues player,
just get up there and whatever comes out, comes out.
_ Yeah, no, you've got to learn this goes_
_ _ It doesn't go_
_ _ That's how it's got to be.
I think that Phil and Eno had got it worked out, you know, what they wanted to go and do and play live.
And so then it's just a case of, all right, we know what we want to do,
now let's just get the musicians and let's, you know, get it on.
Yeah.
We did a warm-up gig at a place called West Ronson, which is out near Cromer,
which at the time, a lot of bands used to use that place, believe it or not,
for the first gig to, you know, iron out anything that's wrong.
And you're on the East Coast, not of America, the East Coast of England,
and there's not a lot of people there, so it doesn't matter if it goes too wrong.
It's not as if [G] you're in front of 10,000 people, you know, in a stadium or something.
So, yeah, we did that. _
We did the Reading _ Festival, and then we did the Queen Elizabeth Hall,
which was recorded for the [Bb] 801 Live.
Yeah.
_ BABY'S ON FIRE _
_ _ _ METAL THROWING _ _
_ _ _ [C] LOOKING _ _
HAPPY
TO _ _ [Bb] THE SLAW TAP
_ _ BABY'S [C] ON FIRE
With it being live, _ [Bb] there's always that element of it could go wrong, you know,
so [Ab] you're always on a little bit of a night pick,
and I think it lifts you up even higher, knowing that, right,
we've rehearsed for three weeks, you know, now it's going to be a live album.
_ Don't muck it up.
I _ mean, Rolling Stone magazine quoted it as one of the top live albums up there
with Dylan's Before The Flood and Bowie, so that'll do me.
Yeah, proud to be involved with it, definitely. _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _