Chords for Down the Rhodes Webisode: Patrice Rushen
Tempo:
124.85 bpm
Chords used:
C
Eb
Db
Fm
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Well, I have to say that without fail, without doubt, [C] every major record that I had that
was a big hit, [D] and we're talking during the early 80s was the most of them, they all featured
the roads prominently.
I mean, it was really the basis of, it became the basis of the kind of sound that I wanted to have.
Because I have a jazz, I have a classical background, jazz background, funk background,
I do all of these different things, and I think the hybrid of these, and the mix of
these languages is what my brand of dance music or R&B or whatever you want to call
it was at the time that it came out.
In other words, by the time I had the hit song Forget Me Nots, I had already been playing
for most of my life, first of all.
So I had a lot of vocabulary to draw from.
And then certainly learning jazz, learning to play jazz and being a part of that movement,
and growing up listening to Prokofiev, Stevie Wonder, Miles Davis, John Coltrane, and the
Rolling Stones all at the same time.
You can imagine the kind of information and bits and pieces of information that have fed
the tapestry of what was ultimately to become what I do.
And it's always there.
So the roads was a big part of that because that was a part of the kind of sound I was
hearing in the music that I grew up on.
A lot of it featured the roads.
So that was part of my thing.
So this is one of the ads.
You know, obviously roads was it was a new instrument.
And of course they had a campaign to try to really get people to really see it as a viable
instrument.
And they Mr.
Rhodes picked, I guess, certain people to be Rhodes scholars.
And these were, I guess, some of his favorite customers.
And I guess I was one of them.
So this picture, probably judging from the fro, was taken probably around the 72, something
like that, 1972, 73.
And this would have represented the type of Rhodes that he picked off the line for me.
And it expresses some of my feelings about the Rhodes at the time, which really haven't changed.
You know, I think it was a great instrument and a great discovery.
And I think it kind of revolutionized a lot about the way we approached playing.
And I think now we don't approach it, at least I don't.
I've never really approached it like it was a replacement for the piano.
Obviously its portability and stuff like [C] that made it attractive for that purpose.
[Db] But I think after we got away from that, we started looking at it as a sound in and of itself.
And even though we have great soft sense and wonderful virtual sense that give you the
impression of a Rhodes, there's nothing like a Rhodes.
[A] [Fm] [Ebm]
[B] [Gbm] [Fm]
[Eb]
[Db] [Cm]
[Eb] [Abm] [Ab]
[C] [Gm] [Eb]
[N]
was a big hit, [D] and we're talking during the early 80s was the most of them, they all featured
the roads prominently.
I mean, it was really the basis of, it became the basis of the kind of sound that I wanted to have.
Because I have a jazz, I have a classical background, jazz background, funk background,
I do all of these different things, and I think the hybrid of these, and the mix of
these languages is what my brand of dance music or R&B or whatever you want to call
it was at the time that it came out.
In other words, by the time I had the hit song Forget Me Nots, I had already been playing
for most of my life, first of all.
So I had a lot of vocabulary to draw from.
And then certainly learning jazz, learning to play jazz and being a part of that movement,
and growing up listening to Prokofiev, Stevie Wonder, Miles Davis, John Coltrane, and the
Rolling Stones all at the same time.
You can imagine the kind of information and bits and pieces of information that have fed
the tapestry of what was ultimately to become what I do.
And it's always there.
So the roads was a big part of that because that was a part of the kind of sound I was
hearing in the music that I grew up on.
A lot of it featured the roads.
So that was part of my thing.
So this is one of the ads.
You know, obviously roads was it was a new instrument.
And of course they had a campaign to try to really get people to really see it as a viable
instrument.
And they Mr.
Rhodes picked, I guess, certain people to be Rhodes scholars.
And these were, I guess, some of his favorite customers.
And I guess I was one of them.
So this picture, probably judging from the fro, was taken probably around the 72, something
like that, 1972, 73.
And this would have represented the type of Rhodes that he picked off the line for me.
And it expresses some of my feelings about the Rhodes at the time, which really haven't changed.
You know, I think it was a great instrument and a great discovery.
And I think it kind of revolutionized a lot about the way we approached playing.
And I think now we don't approach it, at least I don't.
I've never really approached it like it was a replacement for the piano.
Obviously its portability and stuff like [C] that made it attractive for that purpose.
[Db] But I think after we got away from that, we started looking at it as a sound in and of itself.
And even though we have great soft sense and wonderful virtual sense that give you the
impression of a Rhodes, there's nothing like a Rhodes.
[A] [Fm] [Ebm]
[B] [Gbm] [Fm]
[Eb]
[Db] [Cm]
[Eb] [Abm] [Ab]
[C] [Gm] [Eb]
[N]
Key:
C
Eb
Db
Fm
D
C
Eb
Db
_ _ _ _ _ _ Well, I have to say that without fail, without doubt, [C] _ every major _ _ record that I had that
was a big hit, [D] and we're talking _ during the early 80s was the _ most of them, _ _ they all featured
the roads prominently.
I mean, _ it was really the basis of, it became the basis of the kind of sound that I wanted to have.
Because I have a jazz, I have a classical background, jazz background, funk background,
I do all of these different things, and I think the hybrid of these, and the mix of
these languages _ _ _ _ is what my brand _ of _ _ _ dance _ music or R&B or whatever you want to call
it was at the time that it came out.
In other words, by the time I _ had the hit song Forget Me Nots, I had already been playing
for most of my life, first of all.
So I had a lot of vocabulary to draw from.
And then certainly learning jazz, learning to play jazz and being a part of that movement,
and growing up listening _ to _ _ _ _ Prokofiev, Stevie Wonder, Miles Davis, _ _ _ John Coltrane, and the
Rolling Stones all at the same time.
You can imagine the kind of information and bits and pieces of information that have fed
the tapestry of what was ultimately to become what I do.
And it's always there.
_ So the roads was a big part of that because that was a part of the kind of sound I was
hearing in the music that I grew up on.
A lot of it featured _ the roads.
So that was part of my thing.
So this is one of the ads.
_ You know, obviously roads was it was a new instrument.
And of course they had a campaign to try to really get people to really see it as a viable
instrument.
_ And they Mr.
Rhodes picked, I guess, certain people to be Rhodes scholars.
And these were, I guess, some of his favorite _ customers.
And I guess I was one of them.
So this picture, probably judging from the fro, was taken _ probably around the 72, _ _ something
like that, 1972, 73.
_ And this would have represented the type of Rhodes that he _ picked off the line for me.
And it expresses some of my feelings about the Rhodes at the time, which really haven't changed. _
_ You know, I think it was a great instrument and a great discovery.
And I think it kind of revolutionized a lot about the way we approached _ _ playing.
And I think now we don't approach it, at least I don't.
I've never really approached it like it was a replacement for the piano.
Obviously its portability and stuff like [C] that made it attractive for that purpose.
[Db] But _ I think after we got away from that, we started looking at it as a sound in and of itself.
And even though we have great _ soft sense and wonderful _ virtual sense that give you the
impression of a Rhodes, _ there's nothing like a Rhodes.
_ [A] _ _ [Fm] _ _ [Ebm] _ _ _ _ _ _ _ _
[B] _ _ _ _ [Gbm] _ _ [Fm] _ _
[Eb] _ _ _ _ _ _ _ _
[Db] _ _ _ _ _ _ [Cm] _ _
[Eb] _ _ _ _ _ [Abm] _ _ [Ab] _
_ _ [C] _ _ [Gm] _ _ [Eb] _ _
_ _ _ _ _ _ [N] _ _
was a big hit, [D] and we're talking _ during the early 80s was the _ most of them, _ _ they all featured
the roads prominently.
I mean, _ it was really the basis of, it became the basis of the kind of sound that I wanted to have.
Because I have a jazz, I have a classical background, jazz background, funk background,
I do all of these different things, and I think the hybrid of these, and the mix of
these languages _ _ _ _ is what my brand _ of _ _ _ dance _ music or R&B or whatever you want to call
it was at the time that it came out.
In other words, by the time I _ had the hit song Forget Me Nots, I had already been playing
for most of my life, first of all.
So I had a lot of vocabulary to draw from.
And then certainly learning jazz, learning to play jazz and being a part of that movement,
and growing up listening _ to _ _ _ _ Prokofiev, Stevie Wonder, Miles Davis, _ _ _ John Coltrane, and the
Rolling Stones all at the same time.
You can imagine the kind of information and bits and pieces of information that have fed
the tapestry of what was ultimately to become what I do.
And it's always there.
_ So the roads was a big part of that because that was a part of the kind of sound I was
hearing in the music that I grew up on.
A lot of it featured _ the roads.
So that was part of my thing.
So this is one of the ads.
_ You know, obviously roads was it was a new instrument.
And of course they had a campaign to try to really get people to really see it as a viable
instrument.
_ And they Mr.
Rhodes picked, I guess, certain people to be Rhodes scholars.
And these were, I guess, some of his favorite _ customers.
And I guess I was one of them.
So this picture, probably judging from the fro, was taken _ probably around the 72, _ _ something
like that, 1972, 73.
_ And this would have represented the type of Rhodes that he _ picked off the line for me.
And it expresses some of my feelings about the Rhodes at the time, which really haven't changed. _
_ You know, I think it was a great instrument and a great discovery.
And I think it kind of revolutionized a lot about the way we approached _ _ playing.
And I think now we don't approach it, at least I don't.
I've never really approached it like it was a replacement for the piano.
Obviously its portability and stuff like [C] that made it attractive for that purpose.
[Db] But _ I think after we got away from that, we started looking at it as a sound in and of itself.
And even though we have great _ soft sense and wonderful _ virtual sense that give you the
impression of a Rhodes, _ there's nothing like a Rhodes.
_ [A] _ _ [Fm] _ _ [Ebm] _ _ _ _ _ _ _ _
[B] _ _ _ _ [Gbm] _ _ [Fm] _ _
[Eb] _ _ _ _ _ _ _ _
[Db] _ _ _ _ _ _ [Cm] _ _
[Eb] _ _ _ _ _ [Abm] _ _ [Ab] _
_ _ [C] _ _ [Gm] _ _ [Eb] _ _
_ _ _ _ _ _ [N] _ _