Chords for Chris Squire of Yes - Meeting Jimi Hendrix
Tempo:
119.25 bpm
Chords used:
F
A
Bb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
When I was in the Sin, we always did the Tuesday night opening act at the Marquis Club.
And because Tuesday nights at the Marquis Club in Waldorf Street was when the bigger bands played.
And honestly we had a terrible week.
We'd been playing in awful places like Stoke-on-Trent,
which is like part of the industrial north, which really isn't there anymore because all the industry finished.
And it had been pouring with rain and we'd been driving up and down motorways.
And I believe we showed up at the Marquis with just enough gas in the van to get there.
But no problem because we knew we were opening for Cliff Bennett and the Rebel Rousers,
who were a big band.
They had a big hit with the McCartney song, Gotta Get You Into My Life.
It was a number one record.
So we thought, great.
Because the way they structured the payment at the Marquis, obviously the main band took most of the money,
but even if you were the opening act, you got a break over a certain amount of people buying tickets.
So we thought, oh well, at least we'll be able to get through the weekend and pay for a few things.
And so of course, to my amazement, we show up there and we bring our equipment in the back door.
And there's a few chairs sitting around.
And then on the stage, there's these three guys rehearsing.
And I sat there and listened to them.
And I thought, this is very peculiar because the Marquis never let anyone rehearse there.
It was one of their rules.
I thought, why is this band being allowed to rehearse?
And the guitarist was a black guy and he was going to the bass player.
And of course, you guessed who it was.
So Noel Redding was
And I wanted to go and take the bass from him and say, no, it's these five notes.
[F]
[N] And so of course, meanwhile, my heart was sinking because I was thinking, where's Cliff Bennett and the Rebel Rails?
Who is this band?
So I walked out the front and there was this guy, Jack Barry, who was the assistant manager.
I said, what are these guys doing rehearsing?
When are Cliff Bennett and the Rebel Rails showing up so they can set their gear up and we can put ours in front?
And he goes, no, I just had a call from the office.
This is the main act tonight.
I went, what?
They can't even learn five notes together.
And so they finished rehearsing.
We set our gear up.
And I went into the dressing room as I just started that thing of changing my bass strings every night to keep them all fresh and everything.
And so what's remarkable here is this is the first black guy I'd ever had a conversation with in my life.
Because I came from a very white middle class upbringing and there was a guy from India in my school who was in another grade.
But I might have said hi to him, but he wasn't really in my year.
And so this is the first black guy I've ever talked to.
So of course Jimmy goes, a friend of mine in Seattle has got a Rickenbacker bass.
And I thought, that's odd.
This guitarist is talking to a bass player because normally that doesn't happen in those days.
Bass players talk to each other, guitarists talk to each other.
And so I was changing my strings and we just had a half an hour conversation.
Of course all the while I'm thinking, and this guy's got this awful band that no one's going to come and see.
So I went down to the little cafe on the corner.
I won't be too much longer.
This little cafe on the corner called, I think it was not the Gia Conda, but Forenzia I think it was called.
And we were just aching at our last pennies to have the cheapest thing on the menu to eat in there that we could just about scrape together.
And as we're sitting there, the line for the club starts to go past the window of the restaurant.
And we think, oh my God, look at that.
Dessert.
[F]
[N] And then we finished our meal and I went back to the Marquis Club and there's the same assistant manager taking ten bob notes,
which was what they were called in those days, which was like 50 cents [A] or something.
And he, or a dollar probably more like.
And I said, Jack, what is going on?
And he goes, I don't know.
I don't know.
[N] So I found my way back to the dressing room.
We got ready.
And then the manager, this guy called John G, arrived and he always came in and said, two minutes before you go on.
And I said to him, John, why are all these people here?
This band is awful.
And he said, don't ask me either.
It's just the office called and that's who the headline is.
And he said, so there's a bunch of people, so be happy about that.
So I walked out on stage.
I went up to my mic and testing one, two, one, two.
And the way the club was set up, there was about 40 seats in the front row.
Well, four rows of about 15 seats in each.
And as I'm testing my mic, I'm looking down.
Oh, it's Steve Wynwood and Pete Townsend and Keith Richards.
And is that George Harrison?
Yeah, it is.
So all my heroes were like there and we were like, for our first song, we looked at a cover of something.
Yeah.
Well, later on, when I got to know Pete Townsend, I decided, do you remember that night when we were at the Sin Open for Hendrix?
And he said, yeah, I said, I said everyone was applauding.
But was that like applause for like great get off, you know, and Townsend sort of said he thought he liked it.
But I wasn't sure he would.
And so, of course, everyone in the world had showed up at the Marquis Club and including the Beatles and the Stones to to watch Hendrix.
And and I couldn't even get out of the dressing room because the people were just pressed up against it.
So I went and just sat on the grand piano, which was behind Mitch Mitchell's drums on the stage.
And of course, I was totally blown away.
It was just amazing.
And and I'm also seeing like Eric Clapton going, oh, my God, I'm not God anymore.
You know, his jaw was dropping and I thought this is so realistic.
And of course, just as a little underscores the story, because it is over now, but all the girls who used to like hang out at the rock and roll bar and stuff who would never talk to me before.
After I've been on that stage with Hendrix, like, you know, oh, Chris, you know, are you drink?
And yeah, I played it up, you know, me and Jim.
Yeah.
[Bb]
And because Tuesday nights at the Marquis Club in Waldorf Street was when the bigger bands played.
And honestly we had a terrible week.
We'd been playing in awful places like Stoke-on-Trent,
which is like part of the industrial north, which really isn't there anymore because all the industry finished.
And it had been pouring with rain and we'd been driving up and down motorways.
And I believe we showed up at the Marquis with just enough gas in the van to get there.
But no problem because we knew we were opening for Cliff Bennett and the Rebel Rousers,
who were a big band.
They had a big hit with the McCartney song, Gotta Get You Into My Life.
It was a number one record.
So we thought, great.
Because the way they structured the payment at the Marquis, obviously the main band took most of the money,
but even if you were the opening act, you got a break over a certain amount of people buying tickets.
So we thought, oh well, at least we'll be able to get through the weekend and pay for a few things.
And so of course, to my amazement, we show up there and we bring our equipment in the back door.
And there's a few chairs sitting around.
And then on the stage, there's these three guys rehearsing.
And I sat there and listened to them.
And I thought, this is very peculiar because the Marquis never let anyone rehearse there.
It was one of their rules.
I thought, why is this band being allowed to rehearse?
And the guitarist was a black guy and he was going to the bass player.
And of course, you guessed who it was.
So Noel Redding was
And I wanted to go and take the bass from him and say, no, it's these five notes.
[F]
[N] And so of course, meanwhile, my heart was sinking because I was thinking, where's Cliff Bennett and the Rebel Rails?
Who is this band?
So I walked out the front and there was this guy, Jack Barry, who was the assistant manager.
I said, what are these guys doing rehearsing?
When are Cliff Bennett and the Rebel Rails showing up so they can set their gear up and we can put ours in front?
And he goes, no, I just had a call from the office.
This is the main act tonight.
I went, what?
They can't even learn five notes together.
And so they finished rehearsing.
We set our gear up.
And I went into the dressing room as I just started that thing of changing my bass strings every night to keep them all fresh and everything.
And so what's remarkable here is this is the first black guy I'd ever had a conversation with in my life.
Because I came from a very white middle class upbringing and there was a guy from India in my school who was in another grade.
But I might have said hi to him, but he wasn't really in my year.
And so this is the first black guy I've ever talked to.
So of course Jimmy goes, a friend of mine in Seattle has got a Rickenbacker bass.
And I thought, that's odd.
This guitarist is talking to a bass player because normally that doesn't happen in those days.
Bass players talk to each other, guitarists talk to each other.
And so I was changing my strings and we just had a half an hour conversation.
Of course all the while I'm thinking, and this guy's got this awful band that no one's going to come and see.
So I went down to the little cafe on the corner.
I won't be too much longer.
This little cafe on the corner called, I think it was not the Gia Conda, but Forenzia I think it was called.
And we were just aching at our last pennies to have the cheapest thing on the menu to eat in there that we could just about scrape together.
And as we're sitting there, the line for the club starts to go past the window of the restaurant.
And we think, oh my God, look at that.
Dessert.
[F]
[N] And then we finished our meal and I went back to the Marquis Club and there's the same assistant manager taking ten bob notes,
which was what they were called in those days, which was like 50 cents [A] or something.
And he, or a dollar probably more like.
And I said, Jack, what is going on?
And he goes, I don't know.
I don't know.
[N] So I found my way back to the dressing room.
We got ready.
And then the manager, this guy called John G, arrived and he always came in and said, two minutes before you go on.
And I said to him, John, why are all these people here?
This band is awful.
And he said, don't ask me either.
It's just the office called and that's who the headline is.
And he said, so there's a bunch of people, so be happy about that.
So I walked out on stage.
I went up to my mic and testing one, two, one, two.
And the way the club was set up, there was about 40 seats in the front row.
Well, four rows of about 15 seats in each.
And as I'm testing my mic, I'm looking down.
Oh, it's Steve Wynwood and Pete Townsend and Keith Richards.
And is that George Harrison?
Yeah, it is.
So all my heroes were like there and we were like, for our first song, we looked at a cover of something.
Yeah.
Well, later on, when I got to know Pete Townsend, I decided, do you remember that night when we were at the Sin Open for Hendrix?
And he said, yeah, I said, I said everyone was applauding.
But was that like applause for like great get off, you know, and Townsend sort of said he thought he liked it.
But I wasn't sure he would.
And so, of course, everyone in the world had showed up at the Marquis Club and including the Beatles and the Stones to to watch Hendrix.
And and I couldn't even get out of the dressing room because the people were just pressed up against it.
So I went and just sat on the grand piano, which was behind Mitch Mitchell's drums on the stage.
And of course, I was totally blown away.
It was just amazing.
And and I'm also seeing like Eric Clapton going, oh, my God, I'm not God anymore.
You know, his jaw was dropping and I thought this is so realistic.
And of course, just as a little underscores the story, because it is over now, but all the girls who used to like hang out at the rock and roll bar and stuff who would never talk to me before.
After I've been on that stage with Hendrix, like, you know, oh, Chris, you know, are you drink?
And yeah, I played it up, you know, me and Jim.
Yeah.
[Bb]
Key:
F
A
Bb
F
A
Bb
F
A
When I was in the Sin, _ _ we always _ _ did the Tuesday night opening act at the Marquis Club.
And because Tuesday nights at the Marquis Club in Waldorf Street was when the bigger bands played.
And honestly we had a terrible week.
We'd been playing in awful places like Stoke-on-Trent,
which is like part of the industrial north, which really isn't there anymore because all the industry finished.
_ And it had been pouring with rain and we'd been driving up and down motorways.
And I believe we showed up at the Marquis with just enough gas in the van to get there.
But no problem because we knew we were opening for Cliff Bennett and the Rebel Rousers,
who were a big band.
They had a big hit with the McCartney song, Gotta Get You Into My Life.
It was a number one record.
So we thought, great.
Because the way they structured the payment at the Marquis, obviously the main band took most of the money,
but even if you were the opening act, you got a break over a certain amount of people buying tickets.
So we thought, oh well, at least we'll be able to get through the weekend and pay for a few things.
And _ so of course, to my amazement, we show up there and we bring our equipment in the back door.
_ _ And there's a few chairs sitting around.
And then on the stage, there's these three guys rehearsing.
And I sat there and listened to them.
And I thought, this is very peculiar because the Marquis never let anyone rehearse there.
It was one of their rules.
I thought, why is this band being allowed to rehearse?
And the guitarist was a black guy and he was going to the bass player.
_ _ _ _ _ _ _ _
And of course, you guessed who it was.
So Noel Redding _ _ was_
_ And I wanted to go and take the bass from him and say, no, it's these five notes.
[F] _
_ [N] And so of course, meanwhile, my heart was sinking because I was thinking, where's Cliff Bennett and the Rebel Rails?
Who is this band?
So I walked out the front and there was this guy, Jack Barry, who was the assistant manager.
I said, what are these guys doing rehearsing?
When are Cliff Bennett and the Rebel Rails showing up so they can set their gear up and we can put ours in front?
And he goes, no, I just had a call from the office.
This is the main act tonight.
I went, what?
They can't even learn five notes together. _ _
And so they finished rehearsing.
We set our gear up.
And I went into the dressing room as I just started that thing of changing my bass strings every night to keep them all fresh and everything.
And _ _ so _ _ what's remarkable here is this is the first black guy I'd ever had a conversation with in my life.
Because I came from a very white middle class upbringing and there was a guy from India in my school who was in another grade.
But I might have said hi to him, but he wasn't really in my year.
And so this is the first black guy I've ever talked to.
So of course Jimmy goes, a friend of mine in Seattle has got a Rickenbacker bass.
And I thought, that's odd.
This guitarist is talking to a bass player because normally that doesn't happen in those days. _
_ _ _ Bass players talk to each other, guitarists talk to each other.
And so I was changing my strings and we just had a half an hour conversation.
Of course all the while I'm thinking, and this guy's got this awful band that no one's going to come and see.
So I went down to the little cafe on the corner.
I won't be too much longer.
_ This little cafe on the corner called, I think it was not the Gia Conda, but Forenzia I think it was called.
_ _ _ And we were just aching at our last pennies to have the cheapest thing on the menu to eat in there that we could just about scrape together.
And as we're sitting there, _ the line for the club starts to go past the window of the restaurant.
And we think, oh my God, look at that.
Dessert. _
_ _ _ [F] _ _ _ _ _
_ [N] _ And then we finished our meal and I went back to the Marquis Club and there's the same assistant manager taking ten bob notes,
which was what they were called in those days, which was like 50 cents [A] or something.
And _ _ he, or a dollar probably more like.
_ And I said, Jack, what is going on?
And he goes, I don't know.
I don't know.
[N] _ So I _ found my way back to the dressing room.
We got ready.
And then the manager, this guy called John G, arrived and he always came in and said, two minutes before you go on.
And I said to him, John, why are all these people here?
This band is awful.
_ And _ _ he said, don't ask me either.
It's just the office called and that's who the headline is.
And he said, so there's a bunch of people, so be happy about that.
So I walked out on stage.
I went up to my mic and testing one, two, one, two.
_ And the way the club was set up, there was about 40 seats in the front row.
_ Well, four rows of about 15 seats in each.
And as I'm testing my mic, I'm looking down.
Oh, it's Steve Wynwood and Pete Townsend _ _ and Keith Richards.
_ _ And is that George Harrison?
Yeah, it is.
_ So all my heroes were like _ there and we were like, for our first song, _ we looked at a cover of something.
_ _ Yeah. _
Well, later on, when I got to know Pete Townsend, I decided, do you remember that night when we were at the Sin Open for Hendrix?
_ And he said, yeah, I said, I said everyone was applauding.
But was that like applause for like great get off, you know, _ _ _ and Townsend sort of said he thought he liked it.
But I wasn't sure _ he would.
_ And so, of course, everyone in the world had showed up at the Marquis Club and including the Beatles and the Stones to to watch Hendrix.
And and I couldn't even get out of the dressing room because the people were just pressed up against it.
So I went and just sat on the grand piano, which was behind Mitch Mitchell's drums on the stage.
And of course, I was totally blown away.
It was just amazing.
And and I'm also seeing like Eric Clapton going, oh, my God, I'm not God anymore. _ _ _ _ _
_ You know, his jaw was dropping and _ I thought this is so realistic.
And of course, just as a little underscores the story, because it is over now, but _ _ _ all the girls who used to like hang out at the rock and roll bar and stuff who would never talk to me before.
After I've been on that stage with Hendrix, like, you know, oh, Chris, you know, are you drink?
And _ yeah, I played it up, you know, me and Jim.
Yeah.
_ _ [Bb] _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
And because Tuesday nights at the Marquis Club in Waldorf Street was when the bigger bands played.
And honestly we had a terrible week.
We'd been playing in awful places like Stoke-on-Trent,
which is like part of the industrial north, which really isn't there anymore because all the industry finished.
_ And it had been pouring with rain and we'd been driving up and down motorways.
And I believe we showed up at the Marquis with just enough gas in the van to get there.
But no problem because we knew we were opening for Cliff Bennett and the Rebel Rousers,
who were a big band.
They had a big hit with the McCartney song, Gotta Get You Into My Life.
It was a number one record.
So we thought, great.
Because the way they structured the payment at the Marquis, obviously the main band took most of the money,
but even if you were the opening act, you got a break over a certain amount of people buying tickets.
So we thought, oh well, at least we'll be able to get through the weekend and pay for a few things.
And _ so of course, to my amazement, we show up there and we bring our equipment in the back door.
_ _ And there's a few chairs sitting around.
And then on the stage, there's these three guys rehearsing.
And I sat there and listened to them.
And I thought, this is very peculiar because the Marquis never let anyone rehearse there.
It was one of their rules.
I thought, why is this band being allowed to rehearse?
And the guitarist was a black guy and he was going to the bass player.
_ _ _ _ _ _ _ _
And of course, you guessed who it was.
So Noel Redding _ _ was_
_ And I wanted to go and take the bass from him and say, no, it's these five notes.
[F] _
_ [N] And so of course, meanwhile, my heart was sinking because I was thinking, where's Cliff Bennett and the Rebel Rails?
Who is this band?
So I walked out the front and there was this guy, Jack Barry, who was the assistant manager.
I said, what are these guys doing rehearsing?
When are Cliff Bennett and the Rebel Rails showing up so they can set their gear up and we can put ours in front?
And he goes, no, I just had a call from the office.
This is the main act tonight.
I went, what?
They can't even learn five notes together. _ _
And so they finished rehearsing.
We set our gear up.
And I went into the dressing room as I just started that thing of changing my bass strings every night to keep them all fresh and everything.
And _ _ so _ _ what's remarkable here is this is the first black guy I'd ever had a conversation with in my life.
Because I came from a very white middle class upbringing and there was a guy from India in my school who was in another grade.
But I might have said hi to him, but he wasn't really in my year.
And so this is the first black guy I've ever talked to.
So of course Jimmy goes, a friend of mine in Seattle has got a Rickenbacker bass.
And I thought, that's odd.
This guitarist is talking to a bass player because normally that doesn't happen in those days. _
_ _ _ Bass players talk to each other, guitarists talk to each other.
And so I was changing my strings and we just had a half an hour conversation.
Of course all the while I'm thinking, and this guy's got this awful band that no one's going to come and see.
So I went down to the little cafe on the corner.
I won't be too much longer.
_ This little cafe on the corner called, I think it was not the Gia Conda, but Forenzia I think it was called.
_ _ _ And we were just aching at our last pennies to have the cheapest thing on the menu to eat in there that we could just about scrape together.
And as we're sitting there, _ the line for the club starts to go past the window of the restaurant.
And we think, oh my God, look at that.
Dessert. _
_ _ _ [F] _ _ _ _ _
_ [N] _ And then we finished our meal and I went back to the Marquis Club and there's the same assistant manager taking ten bob notes,
which was what they were called in those days, which was like 50 cents [A] or something.
And _ _ he, or a dollar probably more like.
_ And I said, Jack, what is going on?
And he goes, I don't know.
I don't know.
[N] _ So I _ found my way back to the dressing room.
We got ready.
And then the manager, this guy called John G, arrived and he always came in and said, two minutes before you go on.
And I said to him, John, why are all these people here?
This band is awful.
_ And _ _ he said, don't ask me either.
It's just the office called and that's who the headline is.
And he said, so there's a bunch of people, so be happy about that.
So I walked out on stage.
I went up to my mic and testing one, two, one, two.
_ And the way the club was set up, there was about 40 seats in the front row.
_ Well, four rows of about 15 seats in each.
And as I'm testing my mic, I'm looking down.
Oh, it's Steve Wynwood and Pete Townsend _ _ and Keith Richards.
_ _ And is that George Harrison?
Yeah, it is.
_ So all my heroes were like _ there and we were like, for our first song, _ we looked at a cover of something.
_ _ Yeah. _
Well, later on, when I got to know Pete Townsend, I decided, do you remember that night when we were at the Sin Open for Hendrix?
_ And he said, yeah, I said, I said everyone was applauding.
But was that like applause for like great get off, you know, _ _ _ and Townsend sort of said he thought he liked it.
But I wasn't sure _ he would.
_ And so, of course, everyone in the world had showed up at the Marquis Club and including the Beatles and the Stones to to watch Hendrix.
And and I couldn't even get out of the dressing room because the people were just pressed up against it.
So I went and just sat on the grand piano, which was behind Mitch Mitchell's drums on the stage.
And of course, I was totally blown away.
It was just amazing.
And and I'm also seeing like Eric Clapton going, oh, my God, I'm not God anymore. _ _ _ _ _
_ You know, his jaw was dropping and _ I thought this is so realistic.
And of course, just as a little underscores the story, because it is over now, but _ _ _ all the girls who used to like hang out at the rock and roll bar and stuff who would never talk to me before.
After I've been on that stage with Hendrix, like, you know, oh, Chris, you know, are you drink?
And _ yeah, I played it up, you know, me and Jim.
Yeah.
_ _ [Bb] _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _