Chords for Hank Shocklee - "Rebel Without A Pause" Is Public Enemy's Most Significant Record (247HH Exclusive)
Tempo:
77.975 bpm
Chords used:
F
Dm
Am
B
Bm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Bm] [F] Rebel Without a Pause to me is the most significant record for P.E. because it created its sonic
signature and it gave P.E. an identity.
And the reason why that record was important was because we did our first album and [Dm] it
didn't get the reception that we wanted to get on a street level.
You know, yeah, we got the critics was like they were all into it.
And but we was getting dissed from Mr.
Magic on the radio station because he was saying
that we wasn't, Chuck couldn't rap or whatever the case may be.
Rebel Without a Pause was like that moment that that made us understand [F] that and it glued
us together as a crew.
And that record was inspired by I was listening to Mr.
Magic and he was and he was he said, I got this.
We got this new track.
He was by Eric B.
and Rakim and he was playing it and he played I Know You Got Soul.
And I was supposed to go into the movie theater with my family to watch this movie.
And I stayed in the car listening to it because he played it like two times, maybe three times
in a row.
And the record was so hot to me that I was burning.
I was I was pissed.
I was like, yo, how can they do this?
All right.
And so I the minute I got I got to a phone, I called Chuck and I said, Chuck,
did you hear this?
And he was like, yo, Hank, I was listening to the same thing.
That shit got me on fire.
I'm pissed.
He said, so we went in and made what was what we considered to be the inverse of I Know
You Got Soul, which was Rebel, because as I Know You Got Soul was rhythmically smooth.
It was melodic.
It was hot.
The beat was dope.
We wanted to make something that was aggressive, that was noisy, that was loud and abrasive.
Lo and behold, after we [Dm] you know, I had just came out the I just got the back the [Am] acetate
from Master [F] Disc.
I played it in the studio.
And at the time, Dinko D, Charlie Brown and Buster was was the only ones in the studio
hanging out.
They haven't made a record or anything yet.
And so they just happened to hear Rebel without a pause.
And they went berserk.
And when I saw that, because they were like my like they were like my little test market,
because at the time they were like 17 and 16.
And so I want to get a feel and a vibration of what they thought their audience was
listening to.
And so [B] when when when they went [F] berserk, that's when I said, OK, we may
have something here, because you have to understand that back in the days, the record
company didn't like what we were doing.
I Russell didn't I wouldn't say they didn't like it.
Rick understood it, but Russell did not.
All right.
And then nobody at Sony Records or Columbia Records understood that what we
was doing.
So they was they [Dm] was thinking that we was out of our minds because here we
are making [F] records from other records.
And that was something because, you know, back in the days we made records from, [Am] you
know, [F] drum machines and, you know, whether it be synths or guitars or basses, you had
some sort of musical piece that was in there.
With us, we didn't have any musical pieces in there.
It was just records.
So so that that right there is what was the hardest thing to get across the people to
signature and it gave P.E. an identity.
And the reason why that record was important was because we did our first album and [Dm] it
didn't get the reception that we wanted to get on a street level.
You know, yeah, we got the critics was like they were all into it.
And but we was getting dissed from Mr.
Magic on the radio station because he was saying
that we wasn't, Chuck couldn't rap or whatever the case may be.
Rebel Without a Pause was like that moment that that made us understand [F] that and it glued
us together as a crew.
And that record was inspired by I was listening to Mr.
Magic and he was and he was he said, I got this.
We got this new track.
He was by Eric B.
and Rakim and he was playing it and he played I Know You Got Soul.
And I was supposed to go into the movie theater with my family to watch this movie.
And I stayed in the car listening to it because he played it like two times, maybe three times
in a row.
And the record was so hot to me that I was burning.
I was I was pissed.
I was like, yo, how can they do this?
All right.
And so I the minute I got I got to a phone, I called Chuck and I said, Chuck,
did you hear this?
And he was like, yo, Hank, I was listening to the same thing.
That shit got me on fire.
I'm pissed.
He said, so we went in and made what was what we considered to be the inverse of I Know
You Got Soul, which was Rebel, because as I Know You Got Soul was rhythmically smooth.
It was melodic.
It was hot.
The beat was dope.
We wanted to make something that was aggressive, that was noisy, that was loud and abrasive.
Lo and behold, after we [Dm] you know, I had just came out the I just got the back the [Am] acetate
from Master [F] Disc.
I played it in the studio.
And at the time, Dinko D, Charlie Brown and Buster was was the only ones in the studio
hanging out.
They haven't made a record or anything yet.
And so they just happened to hear Rebel without a pause.
And they went berserk.
And when I saw that, because they were like my like they were like my little test market,
because at the time they were like 17 and 16.
And so I want to get a feel and a vibration of what they thought their audience was
listening to.
And so [B] when when when they went [F] berserk, that's when I said, OK, we may
have something here, because you have to understand that back in the days, the record
company didn't like what we were doing.
I Russell didn't I wouldn't say they didn't like it.
Rick understood it, but Russell did not.
All right.
And then nobody at Sony Records or Columbia Records understood that what we
was doing.
So they was they [Dm] was thinking that we was out of our minds because here we
are making [F] records from other records.
And that was something because, you know, back in the days we made records from, [Am] you
know, [F] drum machines and, you know, whether it be synths or guitars or basses, you had
some sort of musical piece that was in there.
With us, we didn't have any musical pieces in there.
It was just records.
So so that that right there is what was the hardest thing to get across the people to
Key:
F
Dm
Am
B
Bm
F
Dm
Am
[Bm] _ _ _ _ _ [F] _ Rebel Without a Pause to me is the most significant record for P.E. because it created its sonic
signature and it gave P.E. an identity.
And the reason why that record was important was because we did our first album and [Dm] it
didn't get the reception that we wanted to get on a street level.
You know, yeah, we got the critics was like they were all into it.
And but we was getting dissed from Mr.
Magic on the radio station because he was saying
that we wasn't, Chuck couldn't rap or whatever the case may be.
Rebel Without a Pause was like that moment that that made us understand [F] that and it glued
us together as a crew.
And that record was inspired by I was listening to Mr.
Magic and he was and he was he said, I got this.
We got this new track.
He was by Eric B.
and Rakim and he was playing it and he played I Know You Got Soul.
And I was supposed to go into the movie theater with my family to watch this movie.
And I stayed in the car listening to it because he played it like two times, maybe three times
in a row.
And the record was so hot to me that I was burning.
I was I was pissed.
I was like, yo, how can they do this?
All right.
And so I the minute I got I got to a phone, I called Chuck and I said, Chuck,
did you hear this?
And he was like, yo, Hank, I was listening to the same thing.
That shit got me on fire.
I'm pissed.
He said, so we went in and made what was what we considered to be the inverse of I Know
You Got Soul, which was Rebel, because as I Know You Got Soul was rhythmically smooth.
It was melodic.
It was hot.
The beat was dope.
We wanted to make something that was aggressive, that was noisy, that was loud and abrasive.
Lo and behold, after we [Dm] you know, I had just came out the I just got the back the [Am] acetate
from Master [F] Disc.
I played it in the studio.
And at the time, Dinko D, Charlie Brown and Buster was was the only ones in the studio
hanging out.
They haven't made a record or anything yet.
And so they just happened to hear Rebel without a pause.
And they went berserk.
And when I saw that, because they were like my like they were like my little test market,
because at the time they were like 17 and 16.
And so I want to get a feel and a vibration of what they thought their audience was
listening to.
And so [B] when when when they went [F] berserk, that's when I said, OK, we may
have something here, because you have to understand that back in the days, the record
company didn't like what we were doing.
I Russell didn't I wouldn't say they didn't like it.
Rick understood it, but Russell did not.
All right.
And then nobody at Sony Records or Columbia Records understood that what we
was doing.
So they was they [Dm] was thinking that we was out of our minds because here we
are making [F] records from other records.
And that was something because, you know, back in the days we made records from, [Am] you
know, [F] drum machines and, you know, whether it be synths or guitars or basses, you had
some sort of musical piece that was in there.
With us, we didn't have any musical pieces in there.
It was just records.
So so that that right there is what was the hardest thing to get across the people to
signature and it gave P.E. an identity.
And the reason why that record was important was because we did our first album and [Dm] it
didn't get the reception that we wanted to get on a street level.
You know, yeah, we got the critics was like they were all into it.
And but we was getting dissed from Mr.
Magic on the radio station because he was saying
that we wasn't, Chuck couldn't rap or whatever the case may be.
Rebel Without a Pause was like that moment that that made us understand [F] that and it glued
us together as a crew.
And that record was inspired by I was listening to Mr.
Magic and he was and he was he said, I got this.
We got this new track.
He was by Eric B.
and Rakim and he was playing it and he played I Know You Got Soul.
And I was supposed to go into the movie theater with my family to watch this movie.
And I stayed in the car listening to it because he played it like two times, maybe three times
in a row.
And the record was so hot to me that I was burning.
I was I was pissed.
I was like, yo, how can they do this?
All right.
And so I the minute I got I got to a phone, I called Chuck and I said, Chuck,
did you hear this?
And he was like, yo, Hank, I was listening to the same thing.
That shit got me on fire.
I'm pissed.
He said, so we went in and made what was what we considered to be the inverse of I Know
You Got Soul, which was Rebel, because as I Know You Got Soul was rhythmically smooth.
It was melodic.
It was hot.
The beat was dope.
We wanted to make something that was aggressive, that was noisy, that was loud and abrasive.
Lo and behold, after we [Dm] you know, I had just came out the I just got the back the [Am] acetate
from Master [F] Disc.
I played it in the studio.
And at the time, Dinko D, Charlie Brown and Buster was was the only ones in the studio
hanging out.
They haven't made a record or anything yet.
And so they just happened to hear Rebel without a pause.
And they went berserk.
And when I saw that, because they were like my like they were like my little test market,
because at the time they were like 17 and 16.
And so I want to get a feel and a vibration of what they thought their audience was
listening to.
And so [B] when when when they went [F] berserk, that's when I said, OK, we may
have something here, because you have to understand that back in the days, the record
company didn't like what we were doing.
I Russell didn't I wouldn't say they didn't like it.
Rick understood it, but Russell did not.
All right.
And then nobody at Sony Records or Columbia Records understood that what we
was doing.
So they was they [Dm] was thinking that we was out of our minds because here we
are making [F] records from other records.
And that was something because, you know, back in the days we made records from, [Am] you
know, [F] drum machines and, you know, whether it be synths or guitars or basses, you had
some sort of musical piece that was in there.
With us, we didn't have any musical pieces in there.
It was just records.
So so that that right there is what was the hardest thing to get across the people to