Chords for Declan O'Rourke and Paul Weller speak to Pete Paphides about 'Arrivals'
Tempo:
82.2 bpm
Chords used:
D
Gm
Cm
G
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Declan O'Rourke, Paul Weller.
Thank [Gm] you.
The reason [Cm] we're here in Black Barn Studios is that you've produced Declan's latest record, haven't you Paul?
Co-produced it I would think really, although I didn't really do very [A] much.
Declan [F#] will have a better perspective on this than me.
But [A] whatever small part I've done, I [D] don't know.
But yeah, it was a collaborative thing I think.
It's his [C] record man, you know, I was just there to assist.
Who had the idea?
I [Cm] had the idea actually.
I've never really worked with a producer before.
Or again.
I thought I'd [D] try it once.
I was coming to a stage where I liked the idea of working with somebody.
[N] But some of my friends had said to me, you are unproducible.
You know, because you know what you want too much and who would you listen to or whatever.
And I did say that to you as well, didn't I?
On the outset.
That you don't really need anyone.
You don't produce too many [G] people, do you Paul?
Not anymore, no.
Not after this [G] one, no.
[D] [G] [Gm] Let's talk about the final track on the new album, [F#] Arrivals.
This thing that we share.
[A#] Because that sounds to me like a standard.
Yeah, see.
[C] What was I saying earlier man?
Thank you.
Pleasure.
[Em] I was saying in maybe 30, 40 years [Cm] time right, there'd be some jazz cats playing that song man.
Totally.
Totally.
[F] I said three or four would [D] do me for now.
Yeah, preferably less than that so we can get to hear it and possibly reap the rewards.
This thing [C] that we share.
Much [G] harder to bear.
[D] For seeming a toy.
I [C] came in with I think 10 or 15 songs.
[Gm] He very specifically [G] steered me towards a certain bunch of [Cm] them.
All the ones that were more personally driven, [A#] more intimate I thought.
It was a braver choice.
Really?
[D] A braver collection of songs.
I was blinded by his chops on the piano actually.
I didn't know he played piano.
I hadn't planned to hear piano on it or anything.
I think you just started thinking [Cm] around while I was
It just felt right [D] didn't it?
[Gm] I always call that tune, it's like the ghost of a jazz track.
It's [D] kind of almost there but it isn't there as well.
Which is pretty wonderful I think, [Gm] pretty special.
So
[Cm] for me, [F#] what he did and the suggestions [Gm] he made, I agreed with every one of them.
And I knew that I wanted this record to be a stripped down thing.
So it was important to [N] me to have somebody who I respected enough that I would listen to what they said.
And [G] just give over to that and somebody who could challenge [Gm] me.
It was very liberating.
Would you do it again?
Absolutely, yeah.
Thank [Gm] you.
The reason [Cm] we're here in Black Barn Studios is that you've produced Declan's latest record, haven't you Paul?
Co-produced it I would think really, although I didn't really do very [A] much.
Declan [F#] will have a better perspective on this than me.
But [A] whatever small part I've done, I [D] don't know.
But yeah, it was a collaborative thing I think.
It's his [C] record man, you know, I was just there to assist.
Who had the idea?
I [Cm] had the idea actually.
I've never really worked with a producer before.
Or again.
I thought I'd [D] try it once.
I was coming to a stage where I liked the idea of working with somebody.
[N] But some of my friends had said to me, you are unproducible.
You know, because you know what you want too much and who would you listen to or whatever.
And I did say that to you as well, didn't I?
On the outset.
That you don't really need anyone.
You don't produce too many [G] people, do you Paul?
Not anymore, no.
Not after this [G] one, no.
[D] [G] [Gm] Let's talk about the final track on the new album, [F#] Arrivals.
This thing that we share.
[A#] Because that sounds to me like a standard.
Yeah, see.
[C] What was I saying earlier man?
Thank you.
Pleasure.
[Em] I was saying in maybe 30, 40 years [Cm] time right, there'd be some jazz cats playing that song man.
Totally.
Totally.
[F] I said three or four would [D] do me for now.
Yeah, preferably less than that so we can get to hear it and possibly reap the rewards.
This thing [C] that we share.
Much [G] harder to bear.
[D] For seeming a toy.
I [C] came in with I think 10 or 15 songs.
[Gm] He very specifically [G] steered me towards a certain bunch of [Cm] them.
All the ones that were more personally driven, [A#] more intimate I thought.
It was a braver choice.
Really?
[D] A braver collection of songs.
I was blinded by his chops on the piano actually.
I didn't know he played piano.
I hadn't planned to hear piano on it or anything.
I think you just started thinking [Cm] around while I was
It just felt right [D] didn't it?
[Gm] I always call that tune, it's like the ghost of a jazz track.
It's [D] kind of almost there but it isn't there as well.
Which is pretty wonderful I think, [Gm] pretty special.
So
[Cm] for me, [F#] what he did and the suggestions [Gm] he made, I agreed with every one of them.
And I knew that I wanted this record to be a stripped down thing.
So it was important to [N] me to have somebody who I respected enough that I would listen to what they said.
And [G] just give over to that and somebody who could challenge [Gm] me.
It was very liberating.
Would you do it again?
Absolutely, yeah.
Key:
D
Gm
Cm
G
C
D
Gm
Cm
_ _ _ Declan O'Rourke, Paul Weller.
Thank [Gm] you.
The reason [Cm] we're here in Black Barn Studios is that you've produced Declan's latest record, haven't you Paul?
Co-produced it I would think really, although I didn't really do very [A] much.
Declan [F#] will have a better perspective on this than me.
But [A] whatever small part I've done, I [D] don't know.
But yeah, it was a collaborative thing I think.
It's his [C] record man, you know, I was just there to assist.
Who had the idea?
I [Cm] had the idea actually.
_ _ I've never really worked with a producer before.
Or again.
_ I thought I'd [D] try it once.
_ _ I was coming to a stage where I liked the idea of working with somebody.
_ [N] But some of my friends had said to me, you are unproducible.
You know, because you know what you want too much and who would you listen to or whatever.
And I did say that to you as well, didn't I?
On the outset.
That you don't really need anyone.
You don't produce too many [G] people, do you Paul?
Not anymore, no.
Not after this [G] one, no. _
[D] _ _ _ [G] _ _ [Gm] Let's talk about the final track on the new album, [F#] Arrivals.
This thing that we share.
[A#] Because that sounds to me like a standard.
Yeah, see.
[C] What was I saying earlier man?
Thank you.
Pleasure.
[Em] I was saying in maybe 30, 40 years [Cm] time right, there'd be some jazz cats playing that song man.
Totally.
Totally.
[F] I said three or four would [D] do me for now.
Yeah, preferably less than that so we can get to hear it and possibly reap the rewards.
_ _ This thing [C] that we share.
_ _ Much [G] harder to bear.
_ [D] For seeming a toy.
I _ [C] came in with I think 10 or 15 songs.
[Gm] He very specifically [G] steered me towards a certain bunch of [Cm] them.
All the ones that were more _ personally driven, [A#] more intimate I thought.
It was a braver choice.
Really?
[D] A braver collection of songs. _ _
I was blinded by his chops on the piano actually.
I didn't know he played piano.
I _ _ hadn't planned to hear piano on it or anything.
_ I think you just started thinking [Cm] around while I was_
It just felt right [D] didn't it?
_ [Gm] _ I always call that tune, it's like the ghost of a jazz track.
It's [D] kind of almost there but it isn't there as well.
Which is pretty wonderful I think, [Gm] pretty special.
So _ _ _
_ [Cm] _ for me, _ [F#] what he did and the suggestions [Gm] he made, _ I agreed with every one of them.
And I knew that I wanted this record to be a stripped down thing.
So it was important to [N] me to have somebody who I respected enough that I would listen to what they said.
And [G] just give over to that and somebody who could challenge [Gm] me.
It was very liberating.
Would you do it again?
Absolutely, yeah. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
Thank [Gm] you.
The reason [Cm] we're here in Black Barn Studios is that you've produced Declan's latest record, haven't you Paul?
Co-produced it I would think really, although I didn't really do very [A] much.
Declan [F#] will have a better perspective on this than me.
But [A] whatever small part I've done, I [D] don't know.
But yeah, it was a collaborative thing I think.
It's his [C] record man, you know, I was just there to assist.
Who had the idea?
I [Cm] had the idea actually.
_ _ I've never really worked with a producer before.
Or again.
_ I thought I'd [D] try it once.
_ _ I was coming to a stage where I liked the idea of working with somebody.
_ [N] But some of my friends had said to me, you are unproducible.
You know, because you know what you want too much and who would you listen to or whatever.
And I did say that to you as well, didn't I?
On the outset.
That you don't really need anyone.
You don't produce too many [G] people, do you Paul?
Not anymore, no.
Not after this [G] one, no. _
[D] _ _ _ [G] _ _ [Gm] Let's talk about the final track on the new album, [F#] Arrivals.
This thing that we share.
[A#] Because that sounds to me like a standard.
Yeah, see.
[C] What was I saying earlier man?
Thank you.
Pleasure.
[Em] I was saying in maybe 30, 40 years [Cm] time right, there'd be some jazz cats playing that song man.
Totally.
Totally.
[F] I said three or four would [D] do me for now.
Yeah, preferably less than that so we can get to hear it and possibly reap the rewards.
_ _ This thing [C] that we share.
_ _ Much [G] harder to bear.
_ [D] For seeming a toy.
I _ [C] came in with I think 10 or 15 songs.
[Gm] He very specifically [G] steered me towards a certain bunch of [Cm] them.
All the ones that were more _ personally driven, [A#] more intimate I thought.
It was a braver choice.
Really?
[D] A braver collection of songs. _ _
I was blinded by his chops on the piano actually.
I didn't know he played piano.
I _ _ hadn't planned to hear piano on it or anything.
_ I think you just started thinking [Cm] around while I was_
It just felt right [D] didn't it?
_ [Gm] _ I always call that tune, it's like the ghost of a jazz track.
It's [D] kind of almost there but it isn't there as well.
Which is pretty wonderful I think, [Gm] pretty special.
So _ _ _
_ [Cm] _ for me, _ [F#] what he did and the suggestions [Gm] he made, _ I agreed with every one of them.
And I knew that I wanted this record to be a stripped down thing.
So it was important to [N] me to have somebody who I respected enough that I would listen to what they said.
And [G] just give over to that and somebody who could challenge [Gm] me.
It was very liberating.
Would you do it again?
Absolutely, yeah. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _