Chords for Chasing the "Garcia Tone" | Developing the Private Stock Super Eagle II
Tempo:
117.2 bpm
Chords used:
G
C
D
Am
Em
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G] [C] [G]
[C] [D] It's not [G] designed the way [C] [Em] I would make a tool for [G] playing in my band, but as a
tool for him playing the kind of music he plays and in the Dead & Company, it's
[D] absolutely perfect.
[G] [C] [D] [C] [D]
[G] [Bm] [C] [D]
[G] [Am] I think the way it all started is [G] that John had a need.
He
was gonna go out on tour with the Dead & Company and he needed [Bm] a guitar that [Am] got
those tones [D] for that [G] kind of music, for that band, for that [D]
[G] Garcia thing.
There
were an [D] awful lot [C] of the things that [D] he trusted [Em] us as guitar makers to do and
there were a lot of things that he was [D] insistent about.
[G] It's the same thing, [C] you
know, with Carlos Santana [G] or with Mark Tremonti or Neil Sean or [C] John McLaughlin
or any of these [G] great musicians.
They have these really deep [C] needs to get [G] a tone
and a sound a certain [C] way and they [G] need the guitar to do that job for them.
This is a
tool for them to [C] make their living on, [G] right?
The initial concept was [Bm] a 22 fret,
[C] 408 bass, [D]
[G] narrow field middle, 408 treble [C] pickup configuration [Am]
[Gm] with [Bm] eight [C] mini
toggles.
[G] To my understanding, [Am] Jerry Garcia's [D] guitar had very similar [G] [D] layout
[C] and pickup [D] selection and [G] coil tapping [C] abilities and things of that in nature
so we were trying to emulate [G] that concept.
He needed that tone for the
tour, right?
And it was a combination [F] of the guitar [G] and his hands and [Bm] the pedal
board and the amp and all [Am] that stuff.
[Em] And I've talked to John about it.
[D] He spends a
lot of [A] time [C] [D] in
[G] admiration and appreciation [C] and [D] understanding of what
[G] Jerry was doing when he's playing.
He's [C] actually almost [Am] seeing the man [G] play when
he plays to try [Bm] to make sure that he [C] stays in that [D] groove for [G] that band.
It's
[Bm] very cool.
He [Em] was very particular about the scale length, how [G] much tension was
going to be on the strings when [C] he was bending it.
[G] You know, when you have a
tremolo and you bend the string up, the [C] arm goes down a little bit [Bm] so there [G] was
a piece of [Bm] that.
[C] I had suggested that [G] maybe we go a little bit shorter than 25
and [C] a half so it wasn't so [D] stiff.
[G] You know, very, very often people with 25 and a
half inch scale guitars will tune down to E flat or D.
John had us change the
headstock a little bit as well.
If you look, it's a little bit offset [C] from the
back [D] because when [G] he was used to [Bm] playing his [C] bolt-on guitars, [G] when he slid down, he
didn't want to hit the headstock as [C] hard with his hand [D] and so [G] we took a bunch of
material out [C] of here and [D] made it a little bit offset [G] and we rounded the
headstock [Am] but [G] it's [Bm] relaxed a [C] little bit.
[G] The preamp was intended to give him
another flavor [C] and when he first [G] turned it on he says, oh HD.
It sounded like
it's like a sound equivalent to HDTV to [Em] him.
[C]
[Am] We [G] didn't have it [Em] add [Am] volume, we
just had it be low [Em] impedance and Josh [C]
basically [Am] understands how to make these
incredibly low [C] noise but [G] also really gorgeous sounding [C] circuits [G] and then I
said and we need a treble boost on it too and he did this very gentle shelf
which added [Em] a little [G] bit of pretty crystalline stuff up top without being
ice picky in any way.
I'll tell you an interesting story, when we did the F hole
in the guitar to try to make [A] it [C] more [D] [C] [G] [D] hollow and [E] more loud,
[D] [G] [Dm] he wanted to know
what it sounded like without the F hole in it so we sent him a whole bunch of
wooden beads [Em] and he filled the [F] entire cavity with wooden [G] beads so he could
hear [B]
[F] what it would sound like [C] if it didn't have the cavity and what it did
and [D] he said, took all the magic out and shook them right out immediately right?
But [F] that was that, [G] part was done.
[Dm] So John Mayer has [G] been delivered [F] his new Super
Eagle II's for this [G] tour [Am] and they're different [G] than the original ones, the
yellow [Am] ones.
[G] They are a [Dm] beautiful kind of light [G] olive green [F] color.
[G] [Dm] The inlay
materials are different.
[Bb] [C] [Dm] It was just an honor to be able to get [C] the nod to make
the [G] instrument for [F] that tour and [C] it's all good, [G] it's just all flavors [Dm] are good.
Here we go, there's more Super Eagles [G] coming, Super [Am] Eagle II's.
[Dm] [Em] [Dm] [G] [F]
[G] [F] [Dm]
[G]
[G] [F] [C] [Em]
[C] [D] It's not [G] designed the way [C] [Em] I would make a tool for [G] playing in my band, but as a
tool for him playing the kind of music he plays and in the Dead & Company, it's
[D] absolutely perfect.
[G] [C] [D] [C] [D]
[G] [Bm] [C] [D]
[G] [Am] I think the way it all started is [G] that John had a need.
He
was gonna go out on tour with the Dead & Company and he needed [Bm] a guitar that [Am] got
those tones [D] for that [G] kind of music, for that band, for that [D]
[G] Garcia thing.
There
were an [D] awful lot [C] of the things that [D] he trusted [Em] us as guitar makers to do and
there were a lot of things that he was [D] insistent about.
[G] It's the same thing, [C] you
know, with Carlos Santana [G] or with Mark Tremonti or Neil Sean or [C] John McLaughlin
or any of these [G] great musicians.
They have these really deep [C] needs to get [G] a tone
and a sound a certain [C] way and they [G] need the guitar to do that job for them.
This is a
tool for them to [C] make their living on, [G] right?
The initial concept was [Bm] a 22 fret,
[C] 408 bass, [D]
[G] narrow field middle, 408 treble [C] pickup configuration [Am]
[Gm] with [Bm] eight [C] mini
toggles.
[G] To my understanding, [Am] Jerry Garcia's [D] guitar had very similar [G] [D] layout
[C] and pickup [D] selection and [G] coil tapping [C] abilities and things of that in nature
so we were trying to emulate [G] that concept.
He needed that tone for the
tour, right?
And it was a combination [F] of the guitar [G] and his hands and [Bm] the pedal
board and the amp and all [Am] that stuff.
[Em] And I've talked to John about it.
[D] He spends a
lot of [A] time [C] [D] in
[G] admiration and appreciation [C] and [D] understanding of what
[G] Jerry was doing when he's playing.
He's [C] actually almost [Am] seeing the man [G] play when
he plays to try [Bm] to make sure that he [C] stays in that [D] groove for [G] that band.
It's
[Bm] very cool.
He [Em] was very particular about the scale length, how [G] much tension was
going to be on the strings when [C] he was bending it.
[G] You know, when you have a
tremolo and you bend the string up, the [C] arm goes down a little bit [Bm] so there [G] was
a piece of [Bm] that.
[C] I had suggested that [G] maybe we go a little bit shorter than 25
and [C] a half so it wasn't so [D] stiff.
[G] You know, very, very often people with 25 and a
half inch scale guitars will tune down to E flat or D.
John had us change the
headstock a little bit as well.
If you look, it's a little bit offset [C] from the
back [D] because when [G] he was used to [Bm] playing his [C] bolt-on guitars, [G] when he slid down, he
didn't want to hit the headstock as [C] hard with his hand [D] and so [G] we took a bunch of
material out [C] of here and [D] made it a little bit offset [G] and we rounded the
headstock [Am] but [G] it's [Bm] relaxed a [C] little bit.
[G] The preamp was intended to give him
another flavor [C] and when he first [G] turned it on he says, oh HD.
It sounded like
it's like a sound equivalent to HDTV to [Em] him.
[C]
[Am] We [G] didn't have it [Em] add [Am] volume, we
just had it be low [Em] impedance and Josh [C]
basically [Am] understands how to make these
incredibly low [C] noise but [G] also really gorgeous sounding [C] circuits [G] and then I
said and we need a treble boost on it too and he did this very gentle shelf
which added [Em] a little [G] bit of pretty crystalline stuff up top without being
ice picky in any way.
I'll tell you an interesting story, when we did the F hole
in the guitar to try to make [A] it [C] more [D] [C] [G] [D] hollow and [E] more loud,
[D] [G] [Dm] he wanted to know
what it sounded like without the F hole in it so we sent him a whole bunch of
wooden beads [Em] and he filled the [F] entire cavity with wooden [G] beads so he could
hear [B]
[F] what it would sound like [C] if it didn't have the cavity and what it did
and [D] he said, took all the magic out and shook them right out immediately right?
But [F] that was that, [G] part was done.
[Dm] So John Mayer has [G] been delivered [F] his new Super
Eagle II's for this [G] tour [Am] and they're different [G] than the original ones, the
yellow [Am] ones.
[G] They are a [Dm] beautiful kind of light [G] olive green [F] color.
[G] [Dm] The inlay
materials are different.
[Bb] [C] [Dm] It was just an honor to be able to get [C] the nod to make
the [G] instrument for [F] that tour and [C] it's all good, [G] it's just all flavors [Dm] are good.
Here we go, there's more Super Eagles [G] coming, Super [Am] Eagle II's.
[Dm] [Em] [Dm] [G] [F]
[G] [F] [Dm]
[G]
[G] [F] [C] [Em]
Key:
G
C
D
Am
Em
G
C
D
[G] _ _ _ [C] _ _ _ _ [G] _
_ _ _ _ [C] _ [D] It's not [G] designed the way [C] [Em] I would make a tool for [G] playing in my band, but as a
tool for him playing the kind of music he plays and in the Dead & Company, it's
[D] absolutely perfect.
[G] _ _ [C] _ [D] _ [C] _ _ [D] _ _
[G] _ _ [Bm] _ _ [C] _ _ [D] _ _
[G] _ _ _ [Am] I think the way it all started is [G] that John had a need.
He
was gonna go out on tour with the Dead & Company and he needed [Bm] a guitar that [Am] got
those tones [D] for that [G] kind of music, for that band, for that [D] _
[G] Garcia thing.
There
were an [D] awful lot [C] of the things that [D] he trusted [Em] us as guitar makers to do and
there were a lot of things that he was [D] insistent about.
[G] It's the same thing, [C] you
know, with Carlos Santana [G] or with Mark Tremonti or Neil Sean or [C] John McLaughlin
or any of these [G] great musicians.
They have these really deep [C] needs to get [G] a tone
and a sound a certain [C] way and they [G] need the guitar to do that job for them.
This is a
tool for them to [C] make their living on, [G] right?
The initial concept was [Bm] a 22 fret,
_ [C] 408 bass, [D] _
[G] narrow field middle, 408 treble [C] pickup configuration [Am] _
[Gm] with [Bm] eight [C] mini
toggles.
[G] To my understanding, _ [Am] Jerry Garcia's [D] guitar had very similar [G] _ [D] layout
[C] and pickup [D] selection and [G] coil tapping [C] abilities and things of that in nature
so we were trying to emulate [G] that concept.
He needed that tone for the
tour, right?
And it was a combination [F] of the guitar [G] and his hands and [Bm] the pedal
board and the amp and all [Am] that stuff.
[Em] And I've talked to John about it.
[D] He spends a
lot of [A] time [C] _ [D] in _
[G] admiration and appreciation [C] and [D] understanding of what
[G] Jerry was doing when he's playing.
He's [C] actually almost [Am] seeing the man [G] play when
he plays to try [Bm] to make sure that he [C] stays in that [D] groove for [G] that band.
It's
[Bm] very cool.
He [Em] was very particular about the scale length, how [G] much tension was
going to be on the strings when [C] he was bending it.
[G] You know, when you have a
tremolo and you bend the string up, the [C] arm goes down a little bit [Bm] so there [G] was
a piece of [Bm] that.
_ [C] I had suggested that [G] maybe we go a little bit shorter than 25
and [C] a half so it wasn't so [D] stiff.
[G] You know, very, very often people with 25 and a
half inch scale guitars will tune down to E flat or D.
John had us change the
headstock a little bit as well.
If you look, it's a little bit offset [C] from the
back [D] because when [G] he was used to [Bm] playing his [C] bolt-on guitars, [G] when he slid down, he
didn't want to hit the headstock as [C] hard with his hand [D] and so [G] we took a bunch of
material out [C] of here and [D] made it a little bit offset [G] and we rounded _ _ the
headstock [Am] but [G] it's _ [Bm] relaxed a [C] little bit.
[G] The preamp was intended to give him
another flavor _ [C] and when he first [G] turned it on he says, oh HD.
It sounded like
it's like a sound equivalent to HDTV to [Em] him.
[C] _
[Am] We [G] didn't have it [Em] add [Am] volume, we
just had it be low [Em] impedance and Josh [C]
basically _ [Am] understands how to make these
incredibly low [C] noise but [G] also really gorgeous sounding [C] circuits [G] and then I
said and we need a treble boost on it too and he did this very gentle shelf
which added [Em] a little [G] bit of pretty crystalline stuff up top without being
ice picky in any way.
I'll tell you an interesting story, when we did the F hole
in the guitar to try to make [A] it [C] more [D] _ [C] _ _ [G] [D] hollow and [E] more loud, _
[D] _ [G] _ [Dm] he wanted to know
what it sounded like without the F hole in it so we sent him a whole bunch of
_ wooden beads [Em] and he filled the [F] entire cavity with wooden [G] beads so he could
hear [B]
[F] what it would sound like [C] if it didn't have the cavity and what it did
and [D] he said, took all the magic out and shook them right out immediately right?
But [F] that was that, [G] part was done.
_ [Dm] _ So John Mayer has [G] been delivered [F] his new Super
Eagle II's for this [G] tour [Am] and they're different [G] than the original ones, the
yellow [Am] ones.
_ [G] _ They are a [Dm] beautiful kind of light [G] olive green [F] color.
[G] [Dm] The inlay
materials are different.
[Bb] _ _ [C] [Dm] It was just an honor to be able to get [C] the nod to make
the [G] instrument for [F] that tour and [C] it's all good, [G] it's just all flavors [Dm] are good.
Here we go, there's more Super Eagles [G] coming, Super [Am] Eagle II's.
_ _ _ [Dm] _ [Em] _ _ [Dm] _ _ _ _ [G] _ _ [F] _ _ _
_ _ [G] _ _ [F] _ _ _ [Dm] _
_ _ _ _ _ _ [G] _ _
[G] _ [F] _ _ _ [C] _ _ _ [Em] _
_ _ _ _ [C] _ [D] It's not [G] designed the way [C] [Em] I would make a tool for [G] playing in my band, but as a
tool for him playing the kind of music he plays and in the Dead & Company, it's
[D] absolutely perfect.
[G] _ _ [C] _ [D] _ [C] _ _ [D] _ _
[G] _ _ [Bm] _ _ [C] _ _ [D] _ _
[G] _ _ _ [Am] I think the way it all started is [G] that John had a need.
He
was gonna go out on tour with the Dead & Company and he needed [Bm] a guitar that [Am] got
those tones [D] for that [G] kind of music, for that band, for that [D] _
[G] Garcia thing.
There
were an [D] awful lot [C] of the things that [D] he trusted [Em] us as guitar makers to do and
there were a lot of things that he was [D] insistent about.
[G] It's the same thing, [C] you
know, with Carlos Santana [G] or with Mark Tremonti or Neil Sean or [C] John McLaughlin
or any of these [G] great musicians.
They have these really deep [C] needs to get [G] a tone
and a sound a certain [C] way and they [G] need the guitar to do that job for them.
This is a
tool for them to [C] make their living on, [G] right?
The initial concept was [Bm] a 22 fret,
_ [C] 408 bass, [D] _
[G] narrow field middle, 408 treble [C] pickup configuration [Am] _
[Gm] with [Bm] eight [C] mini
toggles.
[G] To my understanding, _ [Am] Jerry Garcia's [D] guitar had very similar [G] _ [D] layout
[C] and pickup [D] selection and [G] coil tapping [C] abilities and things of that in nature
so we were trying to emulate [G] that concept.
He needed that tone for the
tour, right?
And it was a combination [F] of the guitar [G] and his hands and [Bm] the pedal
board and the amp and all [Am] that stuff.
[Em] And I've talked to John about it.
[D] He spends a
lot of [A] time [C] _ [D] in _
[G] admiration and appreciation [C] and [D] understanding of what
[G] Jerry was doing when he's playing.
He's [C] actually almost [Am] seeing the man [G] play when
he plays to try [Bm] to make sure that he [C] stays in that [D] groove for [G] that band.
It's
[Bm] very cool.
He [Em] was very particular about the scale length, how [G] much tension was
going to be on the strings when [C] he was bending it.
[G] You know, when you have a
tremolo and you bend the string up, the [C] arm goes down a little bit [Bm] so there [G] was
a piece of [Bm] that.
_ [C] I had suggested that [G] maybe we go a little bit shorter than 25
and [C] a half so it wasn't so [D] stiff.
[G] You know, very, very often people with 25 and a
half inch scale guitars will tune down to E flat or D.
John had us change the
headstock a little bit as well.
If you look, it's a little bit offset [C] from the
back [D] because when [G] he was used to [Bm] playing his [C] bolt-on guitars, [G] when he slid down, he
didn't want to hit the headstock as [C] hard with his hand [D] and so [G] we took a bunch of
material out [C] of here and [D] made it a little bit offset [G] and we rounded _ _ the
headstock [Am] but [G] it's _ [Bm] relaxed a [C] little bit.
[G] The preamp was intended to give him
another flavor _ [C] and when he first [G] turned it on he says, oh HD.
It sounded like
it's like a sound equivalent to HDTV to [Em] him.
[C] _
[Am] We [G] didn't have it [Em] add [Am] volume, we
just had it be low [Em] impedance and Josh [C]
basically _ [Am] understands how to make these
incredibly low [C] noise but [G] also really gorgeous sounding [C] circuits [G] and then I
said and we need a treble boost on it too and he did this very gentle shelf
which added [Em] a little [G] bit of pretty crystalline stuff up top without being
ice picky in any way.
I'll tell you an interesting story, when we did the F hole
in the guitar to try to make [A] it [C] more [D] _ [C] _ _ [G] [D] hollow and [E] more loud, _
[D] _ [G] _ [Dm] he wanted to know
what it sounded like without the F hole in it so we sent him a whole bunch of
_ wooden beads [Em] and he filled the [F] entire cavity with wooden [G] beads so he could
hear [B]
[F] what it would sound like [C] if it didn't have the cavity and what it did
and [D] he said, took all the magic out and shook them right out immediately right?
But [F] that was that, [G] part was done.
_ [Dm] _ So John Mayer has [G] been delivered [F] his new Super
Eagle II's for this [G] tour [Am] and they're different [G] than the original ones, the
yellow [Am] ones.
_ [G] _ They are a [Dm] beautiful kind of light [G] olive green [F] color.
[G] [Dm] The inlay
materials are different.
[Bb] _ _ [C] [Dm] It was just an honor to be able to get [C] the nod to make
the [G] instrument for [F] that tour and [C] it's all good, [G] it's just all flavors [Dm] are good.
Here we go, there's more Super Eagles [G] coming, Super [Am] Eagle II's.
_ _ _ [Dm] _ [Em] _ _ [Dm] _ _ _ _ [G] _ _ [F] _ _ _
_ _ [G] _ _ [F] _ _ _ [Dm] _
_ _ _ _ _ _ [G] _ _
[G] _ [F] _ _ _ [C] _ _ _ [Em] _