Chords for Greg Lake remembers the first time that Keith Emerson used the moog
Tempo:
201.3 bpm
Chords used:
G
E
F#
D
Am
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
When I was 12 years old, I was around my friend's house and he had a broken down old guitar.
In fact, it only had one string on it.
Luckily, it was the bottom string.
With a matchstick, I picked out this tune, [F#] [G] [E]
[G] [E]
the Duane Eddy piece.
[N] It made me think, you know,
perhaps I could play guitar, you know.
So it came to Christmas and I said to my mom,
do you think there's any chance of me having a guitar for Christmas?
And she said no.
You know,
we were pretty poor, so that was it.
I just accepted it.
But anyway, Christmas came and
there it was, the guitar.
And of course, I was thrilled.
The first four chords I [D] learned were D,
[Am] A minor, [Em] E minor, and G.
[G]
With these chords, I wrote this little song, the kid's song really,
and it was a medieval fantasy [N] really.
And I never wrote it on a piece of paper, I just
remembered the words.
It was many, many years later, we were recording the first ELP album.
And we got to the end of the record and we were one track short.
Everybody looked around the
studio, you know, has anybody got any more material?
And there was deadly silence.
So I said,
well look, you know, I've got this little thing I wrote when I was a kid, and if there's nothing
else, maybe that would do, you know.
So Keith said, well, you play it then, let's have a listen.
So I played it, and nobody liked it.
And so I said, yeah, but you know, the thing is, we've got
nothing else.
Keith said, well, you record it on your own, and I'm going to go down the pub.
So
off he went down the pub.
So Kyle Palmer and I, we recorded the first pass together,
just drums and acoustic guitar.
And it sounded pretty dreadful.
But then I put a bass on it,
and it sounded a bit better.
And then I went and put some more guitars on it, and electric guitar
solo.
And then I put these harmonies on, these block harmonies.
And in the end, it sounded pretty
good, you know, it sounded like a record.
Eventually, Keith came back from the pub, and he heard it,
and was shocked.
You know, it had gone from this silly little folk song to this quite big production.
And so he said, wow, you know, I suppose I better play on that.
So I said, the thing is,
I've already put the guitar solo on.
He said, look, I could play something at the end.
He said, I've just had this gadget delivered next door.
It's called a Moog synthesizer.
He said, I haven't tried it before, but maybe there's a sound on there that would work on this.
So I said, okay, why don't we give it a try?
And so Keith went out into the next room, and he said,
run the track then for an experiment.
So I flipped it in record, and pressed play.
And because he was
experimenting, we didn't really listen.
In fact, we put the speakers on dim.
The track went through,
and Keith experimented.
And when it got to the end, I turned to the engineer Eddie Offord, and I said,
was that me, or did that sound good?
And Eddie said, I think it did sound good.
And we played
it back, and that is the solo that's on the record.
So I said to Keith, Keith, you've got to
come and hear this.
It's quite extraordinary.
And he said, no, no, no, no.
He said, I was only playing
around, just experimenting.
I could do a much better one.
And I said, look, the thing is, Keith,
we've only got this track left.
If you do another one, we wipe this one out.
I think you've got to
listen to it, because we think it's the keeper.
So in the end, after a lot of to-ing and fro-ing,
Keith came in and heard it.
And then it was game, set, match.
And that became the record.
So that was really the making of Lucky Man.
And
In fact, it only had one string on it.
Luckily, it was the bottom string.
With a matchstick, I picked out this tune, [F#] [G] [E]
[G] [E]
the Duane Eddy piece.
[N] It made me think, you know,
perhaps I could play guitar, you know.
So it came to Christmas and I said to my mom,
do you think there's any chance of me having a guitar for Christmas?
And she said no.
You know,
we were pretty poor, so that was it.
I just accepted it.
But anyway, Christmas came and
there it was, the guitar.
And of course, I was thrilled.
The first four chords I [D] learned were D,
[Am] A minor, [Em] E minor, and G.
[G]
With these chords, I wrote this little song, the kid's song really,
and it was a medieval fantasy [N] really.
And I never wrote it on a piece of paper, I just
remembered the words.
It was many, many years later, we were recording the first ELP album.
And we got to the end of the record and we were one track short.
Everybody looked around the
studio, you know, has anybody got any more material?
And there was deadly silence.
So I said,
well look, you know, I've got this little thing I wrote when I was a kid, and if there's nothing
else, maybe that would do, you know.
So Keith said, well, you play it then, let's have a listen.
So I played it, and nobody liked it.
And so I said, yeah, but you know, the thing is, we've got
nothing else.
Keith said, well, you record it on your own, and I'm going to go down the pub.
So
off he went down the pub.
So Kyle Palmer and I, we recorded the first pass together,
just drums and acoustic guitar.
And it sounded pretty dreadful.
But then I put a bass on it,
and it sounded a bit better.
And then I went and put some more guitars on it, and electric guitar
solo.
And then I put these harmonies on, these block harmonies.
And in the end, it sounded pretty
good, you know, it sounded like a record.
Eventually, Keith came back from the pub, and he heard it,
and was shocked.
You know, it had gone from this silly little folk song to this quite big production.
And so he said, wow, you know, I suppose I better play on that.
So I said, the thing is,
I've already put the guitar solo on.
He said, look, I could play something at the end.
He said, I've just had this gadget delivered next door.
It's called a Moog synthesizer.
He said, I haven't tried it before, but maybe there's a sound on there that would work on this.
So I said, okay, why don't we give it a try?
And so Keith went out into the next room, and he said,
run the track then for an experiment.
So I flipped it in record, and pressed play.
And because he was
experimenting, we didn't really listen.
In fact, we put the speakers on dim.
The track went through,
and Keith experimented.
And when it got to the end, I turned to the engineer Eddie Offord, and I said,
was that me, or did that sound good?
And Eddie said, I think it did sound good.
And we played
it back, and that is the solo that's on the record.
So I said to Keith, Keith, you've got to
come and hear this.
It's quite extraordinary.
And he said, no, no, no, no.
He said, I was only playing
around, just experimenting.
I could do a much better one.
And I said, look, the thing is, Keith,
we've only got this track left.
If you do another one, we wipe this one out.
I think you've got to
listen to it, because we think it's the keeper.
So in the end, after a lot of to-ing and fro-ing,
Keith came in and heard it.
And then it was game, set, match.
And that became the record.
So that was really the making of Lucky Man.
And
Key:
G
E
F#
D
Am
G
E
F#
When I was 12 years old, _ I was around my friend's house and he had a broken down old guitar.
_ _ In fact, it only had one string on it.
_ Luckily, it was the _ _ bottom string. _
_ With a matchstick, I picked out this tune, [F#] _ [G] _ _ [E] _
_ _ _ _ [G] _ _ [E] _ _
_ _ the Duane Eddy piece.
[N] It made me think, you know,
_ perhaps I could play guitar, you know.
So _ it came to Christmas and I said to my mom,
do you think there's any chance of me having a guitar for Christmas? _ _
And she said no. _ _ _ _
You know,
we were pretty poor, so _ _ that was it.
I just accepted it. _
But anyway, Christmas came and
there it was, the guitar. _ _ _
And of course, I was thrilled. _ _
The first four chords I [D] learned were D,
_ _ _ _ [Am] A minor, _ _ _ _ [Em] E minor, _ _ _ _ and G.
[G] _ _ _ _
_ _ _ _ _ _ _
With these chords, I wrote this little song, the kid's song really,
and it was a medieval fantasy [N] really.
_ And I never wrote it on a piece of paper, I just
remembered the words. _
It was many, many years later, we were recording the first _ ELP album. _ _
_ And we got to the end of the record and we were one track short. _ _ _
Everybody looked around the
studio, you know, has anybody got any more material? _ _
And there was deadly silence. _ _
So I said,
well look, you know, I've got this little thing I wrote when I was a kid, _ and if there's nothing
else, maybe that would do, you know. _ _
So Keith said, well, you play it then, let's have a listen.
So I played it, and nobody liked it. _ _ _
_ _ And so I said, yeah, but you know, the thing is, we've got
nothing else. _ _
_ _ Keith said, well, you record it on your own, _ and I'm going to go down the pub.
_ So _ _
_ off he went down the pub. _
So Kyle Palmer and I, we recorded the first pass together,
just drums and acoustic guitar.
_ And it sounded pretty dreadful.
But _ then I put a bass on it,
and it sounded a bit better.
And then I went and put some more guitars on it, and electric guitar
solo.
And then I put these harmonies on, these block harmonies.
And in the end, it sounded pretty
good, you know, it sounded like a record.
_ Eventually, Keith came back from the pub, and he heard it,
and was shocked.
You know, it had gone from this silly little folk song to this quite big production. _
_ _ And so he said, wow, you know, _ _ I suppose I better play on that. _ _ _ _ _
_ _ _ _ _ _ _ _
_ So I said, the thing is, _
_ I've already put the guitar solo on. _
_ _ He said, look, I could play something at the end.
_ _ He said, I've just had this gadget delivered next door.
It's called a Moog _ synthesizer.
_ He said, I haven't tried it before, but maybe there's a sound on there that would work on this.
_ So I said, okay, why don't we give it a try?
And so Keith went out into the next room, and he said,
run the track then for an experiment.
So I flipped it in record, and pressed play.
_ _ And because he was
experimenting, we didn't really listen.
In fact, we put the speakers on dim.
_ _ The track went through,
and Keith _ experimented.
And when it got to the end, I turned to the engineer Eddie Offord, and I said,
was that me, or did that sound good?
_ _ _ And Eddie said, I think it did sound good.
_ And we played
it back, and that is the solo that's on the record.
_ _ So I said to Keith, Keith, you've got to
come and hear this.
It's quite extraordinary.
_ And he said, no, no, no, no.
He said, I was only playing
around, just _ experimenting.
_ I could do a much better one. _
_ And I said, look, the thing is, Keith,
we've only got this track left.
If you do another one, we wipe this one out. _
I think you've got to
listen to it, because we think it's the keeper.
_ So in the end, after a lot of to-ing and fro-ing,
Keith came in and heard it.
And then it was game, set, match.
And that became the record. _ _
So that was really the making of Lucky Man.
And
_ _ In fact, it only had one string on it.
_ Luckily, it was the _ _ bottom string. _
_ With a matchstick, I picked out this tune, [F#] _ [G] _ _ [E] _
_ _ _ _ [G] _ _ [E] _ _
_ _ the Duane Eddy piece.
[N] It made me think, you know,
_ perhaps I could play guitar, you know.
So _ it came to Christmas and I said to my mom,
do you think there's any chance of me having a guitar for Christmas? _ _
And she said no. _ _ _ _
You know,
we were pretty poor, so _ _ that was it.
I just accepted it. _
But anyway, Christmas came and
there it was, the guitar. _ _ _
And of course, I was thrilled. _ _
The first four chords I [D] learned were D,
_ _ _ _ [Am] A minor, _ _ _ _ [Em] E minor, _ _ _ _ and G.
[G] _ _ _ _
_ _ _ _ _ _ _
With these chords, I wrote this little song, the kid's song really,
and it was a medieval fantasy [N] really.
_ And I never wrote it on a piece of paper, I just
remembered the words. _
It was many, many years later, we were recording the first _ ELP album. _ _
_ And we got to the end of the record and we were one track short. _ _ _
Everybody looked around the
studio, you know, has anybody got any more material? _ _
And there was deadly silence. _ _
So I said,
well look, you know, I've got this little thing I wrote when I was a kid, _ and if there's nothing
else, maybe that would do, you know. _ _
So Keith said, well, you play it then, let's have a listen.
So I played it, and nobody liked it. _ _ _
_ _ And so I said, yeah, but you know, the thing is, we've got
nothing else. _ _
_ _ Keith said, well, you record it on your own, _ and I'm going to go down the pub.
_ So _ _
_ off he went down the pub. _
So Kyle Palmer and I, we recorded the first pass together,
just drums and acoustic guitar.
_ And it sounded pretty dreadful.
But _ then I put a bass on it,
and it sounded a bit better.
And then I went and put some more guitars on it, and electric guitar
solo.
And then I put these harmonies on, these block harmonies.
And in the end, it sounded pretty
good, you know, it sounded like a record.
_ Eventually, Keith came back from the pub, and he heard it,
and was shocked.
You know, it had gone from this silly little folk song to this quite big production. _
_ _ And so he said, wow, you know, _ _ I suppose I better play on that. _ _ _ _ _
_ _ _ _ _ _ _ _
_ So I said, the thing is, _
_ I've already put the guitar solo on. _
_ _ He said, look, I could play something at the end.
_ _ He said, I've just had this gadget delivered next door.
It's called a Moog _ synthesizer.
_ He said, I haven't tried it before, but maybe there's a sound on there that would work on this.
_ So I said, okay, why don't we give it a try?
And so Keith went out into the next room, and he said,
run the track then for an experiment.
So I flipped it in record, and pressed play.
_ _ And because he was
experimenting, we didn't really listen.
In fact, we put the speakers on dim.
_ _ The track went through,
and Keith _ experimented.
And when it got to the end, I turned to the engineer Eddie Offord, and I said,
was that me, or did that sound good?
_ _ _ And Eddie said, I think it did sound good.
_ And we played
it back, and that is the solo that's on the record.
_ _ So I said to Keith, Keith, you've got to
come and hear this.
It's quite extraordinary.
_ And he said, no, no, no, no.
He said, I was only playing
around, just _ experimenting.
_ I could do a much better one. _
_ And I said, look, the thing is, Keith,
we've only got this track left.
If you do another one, we wipe this one out. _
I think you've got to
listen to it, because we think it's the keeper.
_ So in the end, after a lot of to-ing and fro-ing,
Keith came in and heard it.
And then it was game, set, match.
And that became the record. _ _
So that was really the making of Lucky Man.
And