Chords for Bruce Swedien – Thriller (Michael Jackson) | Het verhaal achter het nummer | Top 2000 a gogo
Tempo:
112.85 bpm
Chords used:
E
F#
C#
C#m
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[E]
[D]
[E] You won [D] a couple of awards?
Yeah, a couple.
This is 13 nominations,
[F] and I've [E] won 5 Grammys,
[A] the Grammys.
And is there one in particular
that you are like?
[E] Thriller.
[D] Thriller?
Yeah, Thriller [G] was where
I could [B] use my imagination
and my sonic and musical
and [D#] really [E] make it pay off.
[D] Yee-haw!
What do you think [E] overall
is the appeal of the album?
[A] Extremely musical,
[E]
yet it had all the elements
of pop music.
[B] It's very danceable.
All you have to do is watch
Michael [F] do [D] Billie Jean
and dance to that,
[D] and you can understand.
[F#m] I wear the glitter jeans
I find a place for
[C#] [Bm]
[F#m]
Oh!
We gotta [F#] get a picture of that.
That's the bass drum cover
that I had made for Billie Jean.
[C#] This goes over the end
of the bass drum,
and then the microphone
goes right here.
The idea of this is to totally
isolate the sound of the kick.
Listen to the beginning
of [Bm] Billie Jean,
and you'll hear
[F#] what this thing does.
[C#]
[F#] [C#] [F#] [C#m]
To get to this point,
I did [G#]
91 mixes.
I had a [C#] pile of tapes
almost to the ceiling
and everything, and [F#] Quincy
and Michael and I
were [A] listening to them,
and so you know
which mix [F#] this is?
This is mix 2.
[C#m] This is the one that went out
to [C#] the public.
For 40 days and 40 nights
I was on the side
Of a fool to stand
When she's in the manhood
[F#] In the lands
I'm gonna dance
On the pillow
[D#] I don't really know
what it is [E] that I do.
[B] [E] And that's a peculiar thing
[C#] to say, of course,
but think about it.
Biggest selling album
of all [Gm] time.
What does that mean?
[C#] That means that [E]
enough people
[A#m] love the [F#] sound of the music,
which is basically what I do,
[N] and that the statement
of the music
comes through to the listeners.
That's really what I do.
What's the statement of Thriller?
The Thriller is to make
a scary [D#] piece of music.
Get away!
[E] I [C#m]
set up this mic,
and if I would be recording him
in a room like this
with this [C#]
microphone,
let's say,
the lights would be off
with one light on him.
I can't say [D#m] enough good stuff
about [C#m] Michael as a talent.
Now, he's not
the kid next door.
[C#] This is the original tape box
that I used when we were doing [B] Thriller,
and this is a little drawing
that Michael [E] did.
But here's [F#] one of Michael's
notes to me
when [C#m] we were mixing.
Here, this is a perfect example.
[F#] Bruce, last choir,
look how he spelled choir.
[C#] The [E] ah's should be louder.
Here's one of Michael's
little [G#] pieces of artwork,
another Michael.
That's faces, huh?
Yeah, and they're great.
[C#m] He's quite an artist.
Because this is it
He's [F#]
gonna save you
[C#m] from the beast of abstraction
[F#]
Live inside a can of Thriller
[G#m]
These are the original masters.
Oh, Thriller.
You've heard of that.
Oh, here's something interesting.
These two reels [C#] here
are a demo tape
of the title song for Thriller
when [G#m] it was named Starlight.
That was the title of Thriller
when Ron wrote it at [C#m] first.
It was called [E] Starlight.
Da da da.
And then it became Thriller.
So that song,
the [Gm] first song Starlight
that never made it to the album.
Never made it to the album, yeah.
Just [C#m] let the thriller
Thriller
I'm [F#] scared I can feel your
Don't let me [C#m] go through that
Yeah, I try
So [F#] let me hold tight
And share our [F#] together [C#m] Let us
If I knew what it is that I do,
I think I'd be in a lot of trouble
because then I would have
reduced it to a science.
And you can't do that with music.
[C#] It's all about the music.
You know, [Fm] it's all about the [G#] music.
If [E] the music can be good
and inspire me,
I'll kill [G] for it.
laughs
[G#] [A]
[E]
[N]
[D]
[E] You won [D] a couple of awards?
Yeah, a couple.
This is 13 nominations,
[F] and I've [E] won 5 Grammys,
[A] the Grammys.
And is there one in particular
that you are like?
[E] Thriller.
[D] Thriller?
Yeah, Thriller [G] was where
I could [B] use my imagination
and my sonic and musical
and [D#] really [E] make it pay off.
[D] Yee-haw!
What do you think [E] overall
is the appeal of the album?
[A] Extremely musical,
[E]
yet it had all the elements
of pop music.
[B] It's very danceable.
All you have to do is watch
Michael [F] do [D] Billie Jean
and dance to that,
[D] and you can understand.
[F#m] I wear the glitter jeans
I find a place for
[C#] [Bm]
[F#m]
Oh!
We gotta [F#] get a picture of that.
That's the bass drum cover
that I had made for Billie Jean.
[C#] This goes over the end
of the bass drum,
and then the microphone
goes right here.
The idea of this is to totally
isolate the sound of the kick.
Listen to the beginning
of [Bm] Billie Jean,
and you'll hear
[F#] what this thing does.
[C#]
[F#] [C#] [F#] [C#m]
To get to this point,
I did [G#]
91 mixes.
I had a [C#] pile of tapes
almost to the ceiling
and everything, and [F#] Quincy
and Michael and I
were [A] listening to them,
and so you know
which mix [F#] this is?
This is mix 2.
[C#m] This is the one that went out
to [C#] the public.
For 40 days and 40 nights
I was on the side
Of a fool to stand
When she's in the manhood
[F#] In the lands
I'm gonna dance
On the pillow
[D#] I don't really know
what it is [E] that I do.
[B] [E] And that's a peculiar thing
[C#] to say, of course,
but think about it.
Biggest selling album
of all [Gm] time.
What does that mean?
[C#] That means that [E]
enough people
[A#m] love the [F#] sound of the music,
which is basically what I do,
[N] and that the statement
of the music
comes through to the listeners.
That's really what I do.
What's the statement of Thriller?
The Thriller is to make
a scary [D#] piece of music.
Get away!
[E] I [C#m]
set up this mic,
and if I would be recording him
in a room like this
with this [C#]
microphone,
let's say,
the lights would be off
with one light on him.
I can't say [D#m] enough good stuff
about [C#m] Michael as a talent.
Now, he's not
the kid next door.
[C#] This is the original tape box
that I used when we were doing [B] Thriller,
and this is a little drawing
that Michael [E] did.
But here's [F#] one of Michael's
notes to me
when [C#m] we were mixing.
Here, this is a perfect example.
[F#] Bruce, last choir,
look how he spelled choir.
[C#] The [E] ah's should be louder.
Here's one of Michael's
little [G#] pieces of artwork,
another Michael.
That's faces, huh?
Yeah, and they're great.
[C#m] He's quite an artist.
Because this is it
He's [F#]
gonna save you
[C#m] from the beast of abstraction
[F#]
Live inside a can of Thriller
[G#m]
These are the original masters.
Oh, Thriller.
You've heard of that.
Oh, here's something interesting.
These two reels [C#] here
are a demo tape
of the title song for Thriller
when [G#m] it was named Starlight.
That was the title of Thriller
when Ron wrote it at [C#m] first.
It was called [E] Starlight.
Da da da.
And then it became Thriller.
So that song,
the [Gm] first song Starlight
that never made it to the album.
Never made it to the album, yeah.
Just [C#m] let the thriller
Thriller
I'm [F#] scared I can feel your
Don't let me [C#m] go through that
Yeah, I try
So [F#] let me hold tight
And share our [F#] together [C#m] Let us
If I knew what it is that I do,
I think I'd be in a lot of trouble
because then I would have
reduced it to a science.
And you can't do that with music.
[C#] It's all about the music.
You know, [Fm] it's all about the [G#] music.
If [E] the music can be good
and inspire me,
I'll kill [G] for it.
laughs
[G#] [A]
[E]
[N]
Key:
E
F#
C#
C#m
D
E
F#
C#
_ _ [E] _ _ _ _ _ _
_ _ _ [D] _ _ _ _ _
_ _ _ [E] _ _ You won [D] a couple of awards?
Yeah, a couple.
_ _ This is 13 nominations,
[F] and I've [E] won 5 Grammys,
[A] the Grammys.
And is there one in particular
that you are like?
[E] Thriller.
[D] Thriller?
Yeah, Thriller [G] was where
I could [B] use my imagination
and my sonic and musical
and [D#] really _ _ _ [E] make it pay off.
_ [D] Yee-haw!
What do you think [E] overall
is the appeal of the album?
[A] _ Extremely musical,
[E]
yet it had all the elements
of pop music.
[B] It's very danceable.
All you have to do is watch
Michael [F] do [D] Billie Jean
and dance to that,
[D] and you can understand.
[F#m] I wear the glitter jeans
I find a place for
_ _ [C#] _ _ [Bm] _
_ _ _ _ _ _ _ [F#m]
Oh!
_ We gotta [F#] get a picture of that.
That's the bass drum cover
that I had made for Billie Jean.
[C#] This goes over the end
of the bass drum,
and then the microphone
goes right here.
The idea of this is to totally
isolate the sound of the kick.
Listen to the beginning
of [Bm] Billie Jean,
and you'll hear
[F#] what this thing does. _ _
_ _ _ _ _ _ _ [C#] _
_ [F#] _ _ [C#] _ _ [F#] _ _ [C#m] _
_ To get to this point,
I did [G#]
91 mixes.
I had a [C#] pile of tapes
almost to the ceiling
and everything, and [F#] Quincy
and Michael and I
were [A] listening to them,
and so you know
which mix [F#] this is?
This is mix 2.
[C#m] This is the one that went out
to [C#] the public.
For 40 days and 40 nights
I was on the side
Of a fool to stand
When she's in the manhood
[F#] In the lands
I'm gonna dance
On the pillow
[D#] I don't really know
what it is [E] that I do.
_ [B] _ [E] And that's a peculiar thing
[C#] to say, of course,
but think about it.
_ _ Biggest selling album
of all [Gm] time.
What does that mean?
[C#] That means that [E]
enough people
[A#m] love the [F#] sound of the music,
which is basically what I do,
_ [N] and that the statement
of the music
comes through to the listeners.
That's really what I do.
What's the statement of Thriller?
The Thriller is to make
a scary [D#] piece of music.
Get away! _
_ _ [E] I _ _ _ [C#m] _
set up this mic,
and if I would be recording him
in a room like this
with this [C#]
microphone,
let's say,
the lights would be off
with one light on him.
I can't say [D#m] enough good stuff
about [C#m] Michael as a talent.
Now, he's not
the kid next door.
[C#] This is the original tape box
that I used when we were doing [B] Thriller,
and this is a little drawing
that Michael [E] did.
But here's [F#] one of Michael's
notes to me
when [C#m] we were mixing.
Here, this is a perfect example.
_ [F#] _ Bruce, last choir,
look how he spelled choir.
[C#] The [E] ah's should be louder.
Here's one of Michael's
little [G#] pieces of artwork,
another Michael.
_ That's faces, huh?
Yeah, and they're great.
[C#m] _ He's quite an artist.
Because this is it
He's _ _ _ _ _ [F#] _
gonna save you
[C#m] from the beast of abstraction _
_ _ _ _ _ _ _ [F#] _
Live inside a can of Thriller
_ [G#m]
These are the original masters.
_ _ Oh, Thriller.
_ You've heard of that.
Oh, here's something interesting.
These two reels [C#] here
are a demo tape _
of the title song for Thriller
when [G#m] it was named Starlight.
That was the title of Thriller
when Ron wrote it at [C#m] first.
It was called [E] Starlight.
Da da da.
And then it became Thriller.
So that song,
the [Gm] first song Starlight
that never made it to the album.
Never made it to the album, yeah.
Just [C#m] let the thriller
_ Thriller
I'm [F#] scared I can feel your
Don't let me [C#m] go through that
Yeah, I try
_ _ _ _ _ So [F#] let me hold tight
And share our [F#] together [C#m] Let us
If I knew what it is that I do,
_ _ I think I'd be in a lot of trouble
because _ _ then I would have
reduced it to a science.
And you can't do that with music.
[C#] It's all about the music. _
You know, [Fm] it's all about the [G#] music.
If [E] the music can be good
and inspire me,
_ I'll kill [G] for it.
_ laughs
_ _ [G#] _ _ _ _ _ _ _ _ _ _ [A] _
_ _ [E] _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _
_ _ _ [D] _ _ _ _ _
_ _ _ [E] _ _ You won [D] a couple of awards?
Yeah, a couple.
_ _ This is 13 nominations,
[F] and I've [E] won 5 Grammys,
[A] the Grammys.
And is there one in particular
that you are like?
[E] Thriller.
[D] Thriller?
Yeah, Thriller [G] was where
I could [B] use my imagination
and my sonic and musical
and [D#] really _ _ _ [E] make it pay off.
_ [D] Yee-haw!
What do you think [E] overall
is the appeal of the album?
[A] _ Extremely musical,
[E]
yet it had all the elements
of pop music.
[B] It's very danceable.
All you have to do is watch
Michael [F] do [D] Billie Jean
and dance to that,
[D] and you can understand.
[F#m] I wear the glitter jeans
I find a place for
_ _ [C#] _ _ [Bm] _
_ _ _ _ _ _ _ [F#m]
Oh!
_ We gotta [F#] get a picture of that.
That's the bass drum cover
that I had made for Billie Jean.
[C#] This goes over the end
of the bass drum,
and then the microphone
goes right here.
The idea of this is to totally
isolate the sound of the kick.
Listen to the beginning
of [Bm] Billie Jean,
and you'll hear
[F#] what this thing does. _ _
_ _ _ _ _ _ _ [C#] _
_ [F#] _ _ [C#] _ _ [F#] _ _ [C#m] _
_ To get to this point,
I did [G#]
91 mixes.
I had a [C#] pile of tapes
almost to the ceiling
and everything, and [F#] Quincy
and Michael and I
were [A] listening to them,
and so you know
which mix [F#] this is?
This is mix 2.
[C#m] This is the one that went out
to [C#] the public.
For 40 days and 40 nights
I was on the side
Of a fool to stand
When she's in the manhood
[F#] In the lands
I'm gonna dance
On the pillow
[D#] I don't really know
what it is [E] that I do.
_ [B] _ [E] And that's a peculiar thing
[C#] to say, of course,
but think about it.
_ _ Biggest selling album
of all [Gm] time.
What does that mean?
[C#] That means that [E]
enough people
[A#m] love the [F#] sound of the music,
which is basically what I do,
_ [N] and that the statement
of the music
comes through to the listeners.
That's really what I do.
What's the statement of Thriller?
The Thriller is to make
a scary [D#] piece of music.
Get away! _
_ _ [E] I _ _ _ [C#m] _
set up this mic,
and if I would be recording him
in a room like this
with this [C#]
microphone,
let's say,
the lights would be off
with one light on him.
I can't say [D#m] enough good stuff
about [C#m] Michael as a talent.
Now, he's not
the kid next door.
[C#] This is the original tape box
that I used when we were doing [B] Thriller,
and this is a little drawing
that Michael [E] did.
But here's [F#] one of Michael's
notes to me
when [C#m] we were mixing.
Here, this is a perfect example.
_ [F#] _ Bruce, last choir,
look how he spelled choir.
[C#] The [E] ah's should be louder.
Here's one of Michael's
little [G#] pieces of artwork,
another Michael.
_ That's faces, huh?
Yeah, and they're great.
[C#m] _ He's quite an artist.
Because this is it
He's _ _ _ _ _ [F#] _
gonna save you
[C#m] from the beast of abstraction _
_ _ _ _ _ _ _ [F#] _
Live inside a can of Thriller
_ [G#m]
These are the original masters.
_ _ Oh, Thriller.
_ You've heard of that.
Oh, here's something interesting.
These two reels [C#] here
are a demo tape _
of the title song for Thriller
when [G#m] it was named Starlight.
That was the title of Thriller
when Ron wrote it at [C#m] first.
It was called [E] Starlight.
Da da da.
And then it became Thriller.
So that song,
the [Gm] first song Starlight
that never made it to the album.
Never made it to the album, yeah.
Just [C#m] let the thriller
_ Thriller
I'm [F#] scared I can feel your
Don't let me [C#m] go through that
Yeah, I try
_ _ _ _ _ So [F#] let me hold tight
And share our [F#] together [C#m] Let us
If I knew what it is that I do,
_ _ I think I'd be in a lot of trouble
because _ _ then I would have
reduced it to a science.
And you can't do that with music.
[C#] It's all about the music. _
You know, [Fm] it's all about the [G#] music.
If [E] the music can be good
and inspire me,
_ I'll kill [G] for it.
_ laughs
_ _ [G#] _ _ _ _ _ _ _ _ _ _ [A] _
_ _ [E] _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _