Chords for Hot Water Music - The Making of Exister - Part 2
Tempo:
102.5 bpm
Chords used:
B
A
E
F#
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[B] [D]
[A] [B] [E]
[D] [A] [B]
[D] [A] [B] [E]
[D] [A] [A]
[E] You were the first [G#m] person who sent, [C#] Stephen sent a message, right?
Yeah, [C#m] I can't remember whose idea it was though.
[E] We've talked about the blasting room and we've been known about [G] the blasting room for years.
But we've talked [B] about it with [C#] everybody we could even think [B] of.
And the only [F#] one that everybody got [C#] excited about was [B] here.
Yeah, [C#] for sure.
We wanted to come to the blasting room for a long [C#m] time.
And [B] man, just to work with [Em] these incredible people who put out records that we [B] respect.
And from [E] bands and colleagues, tour mates that we respect.
And I think it was kind of no question [B] when the blasting room came.
We [Gm] need to negotiate with [E] somebody that we would take seriously too.
[Em] Not to sound like an asshole, [F#] but there's probably a lot of people on the list that would tell me.
And I'd be [B] like, fuck you, I think you're wrong.
[B] [G#m] It's sitting right the [G] fuck in there, man.
Fun, right?
Yeah.
Fun.
Totally fun.
The, the, the, the, you don't [G] have to try, it's all done.
[A] Yeah.
And who the fuck are we kidding?
I mean, you get a chance to record with Bill Stevenson for Black Eyed Peas, you can do it.
We're in a fucking punk [G#] rock band.
How cool is that?
Yeah, I know, [G#] right?
I'm pleasantly surprised that it's like, [F#] also Jason Livermore, you know, like there's other people that are working here.
Aw, they're weird.
[B] Yeah, it was like.
Why wouldn't you want to, if you're [G] in a punk band.
Okay, that's an [D] option?
That sounds great.
Okay, that's what I want to do.
That sounds great.
Okay, we're able [F] to do that?
Okay, [B] let's double.
You're right, you're right, because it's the [E] double verse.
And the [B] second half is the double verse.
You gotta get elsewhere.
[E] Okay.
Elsewhere.
And then, [E] so it's like, okay, you went to the half there, [A] so like, if you go to the crash ride for the black flag part, it might actually be bitching anyway that way.
If that part's just like.
It might be [N] cool.
Yeah, yeah, yeah.
It's been super chill.
That's been really easy.
Very positive.
He's actually one of the few people that just kind of wanted to make us sound how we sound.
You know, he's not trying to make us like any different than what we have.
He's in there listening to him.
While you guys are a wall of sound, it's like, you know, he's actually the first producer that has said, we need to like make this longer.
Yeah.
You [B] know what I mean?
Instead of trying to cut everything.
It's just, I mean, he's letting us be a band.
Yeah, there's not so much [A] like a big, like, I have this vision of how I think this [D] record should come out.
It's like, I don't [N] have a vision.
I don't think he, in the case of them, had a vision.
They just want to make it the best version [D#] of the songs we have.
I don't know if [E] it's awesome, but it definitely doesn't bother me.
I'm [A] going to go home.
Take it to my wedding.
[G#] That's the right way.
That [C#] way's better.
[D#] I [G#m] notice each time, like when you do your little rise on else, your rise is like late compared to his rise.
Like you're slow.
You're not getting up the hill soon enough compared to him.
All right.
Got it.
[D#m] He [N] kind of definitely sits back and just tells [F] us to cut loose and do what we love to do.
Do what we do.
And, you know, but, you know, at the same time, he damn sure, you know, will step up and, you know, speak his mind and let you know if, you know, something doesn't feel right.
And I think, and every single time it's been right on the [G#] money, you know.
Yeah, but he's definitely not been like play this.
It's been like, no, it's [B] been for an example, like he will [F#] do a chorus or something and then we'll have the music.
You're not fooling my ear.
Like you just [D#] played the chorus.
You're going to play this little part and then you're going to go back to the chorus.
You're not kidding me.
[B] So the like double the double chorus at the end.
To me, oddly enough, OK, it's really like justified lyrically to me and vocally.
But I feel like I want the [D] music to change color [B] for the last few of the four lines.
That's kind of how I'm hearing it.
Like we need to find one more little gear to shift into.
OK, I like to have the vocals last getting strength.
I like that to keep going like that.
It seems pretty good to me.
But the [F#] music becomes [F#] predictable to me.
And in the end we all agree.
Explore this and make sense.
All right, cool.
And then he lets us leave us alone for a little while.
We'll come up with something fucking cool and then one of the gels, like the gels.
[A] [G#] [F#]
[C#]
[F#] [G#]
[A] [B] [E]
[D] [A] [B]
[D] [A] [B] [E]
[D] [A] [A]
[E] You were the first [G#m] person who sent, [C#] Stephen sent a message, right?
Yeah, [C#m] I can't remember whose idea it was though.
[E] We've talked about the blasting room and we've been known about [G] the blasting room for years.
But we've talked [B] about it with [C#] everybody we could even think [B] of.
And the only [F#] one that everybody got [C#] excited about was [B] here.
Yeah, [C#] for sure.
We wanted to come to the blasting room for a long [C#m] time.
And [B] man, just to work with [Em] these incredible people who put out records that we [B] respect.
And from [E] bands and colleagues, tour mates that we respect.
And I think it was kind of no question [B] when the blasting room came.
We [Gm] need to negotiate with [E] somebody that we would take seriously too.
[Em] Not to sound like an asshole, [F#] but there's probably a lot of people on the list that would tell me.
And I'd be [B] like, fuck you, I think you're wrong.
[B] [G#m] It's sitting right the [G] fuck in there, man.
Fun, right?
Yeah.
Fun.
Totally fun.
The, the, the, the, you don't [G] have to try, it's all done.
[A] Yeah.
And who the fuck are we kidding?
I mean, you get a chance to record with Bill Stevenson for Black Eyed Peas, you can do it.
We're in a fucking punk [G#] rock band.
How cool is that?
Yeah, I know, [G#] right?
I'm pleasantly surprised that it's like, [F#] also Jason Livermore, you know, like there's other people that are working here.
Aw, they're weird.
[B] Yeah, it was like.
Why wouldn't you want to, if you're [G] in a punk band.
Okay, that's an [D] option?
That sounds great.
Okay, that's what I want to do.
That sounds great.
Okay, we're able [F] to do that?
Okay, [B] let's double.
You're right, you're right, because it's the [E] double verse.
And the [B] second half is the double verse.
You gotta get elsewhere.
[E] Okay.
Elsewhere.
And then, [E] so it's like, okay, you went to the half there, [A] so like, if you go to the crash ride for the black flag part, it might actually be bitching anyway that way.
If that part's just like.
It might be [N] cool.
Yeah, yeah, yeah.
It's been super chill.
That's been really easy.
Very positive.
He's actually one of the few people that just kind of wanted to make us sound how we sound.
You know, he's not trying to make us like any different than what we have.
He's in there listening to him.
While you guys are a wall of sound, it's like, you know, he's actually the first producer that has said, we need to like make this longer.
Yeah.
You [B] know what I mean?
Instead of trying to cut everything.
It's just, I mean, he's letting us be a band.
Yeah, there's not so much [A] like a big, like, I have this vision of how I think this [D] record should come out.
It's like, I don't [N] have a vision.
I don't think he, in the case of them, had a vision.
They just want to make it the best version [D#] of the songs we have.
I don't know if [E] it's awesome, but it definitely doesn't bother me.
I'm [A] going to go home.
Take it to my wedding.
[G#] That's the right way.
That [C#] way's better.
[D#] I [G#m] notice each time, like when you do your little rise on else, your rise is like late compared to his rise.
Like you're slow.
You're not getting up the hill soon enough compared to him.
All right.
Got it.
[D#m] He [N] kind of definitely sits back and just tells [F] us to cut loose and do what we love to do.
Do what we do.
And, you know, but, you know, at the same time, he damn sure, you know, will step up and, you know, speak his mind and let you know if, you know, something doesn't feel right.
And I think, and every single time it's been right on the [G#] money, you know.
Yeah, but he's definitely not been like play this.
It's been like, no, it's [B] been for an example, like he will [F#] do a chorus or something and then we'll have the music.
You're not fooling my ear.
Like you just [D#] played the chorus.
You're going to play this little part and then you're going to go back to the chorus.
You're not kidding me.
[B] So the like double the double chorus at the end.
To me, oddly enough, OK, it's really like justified lyrically to me and vocally.
But I feel like I want the [D] music to change color [B] for the last few of the four lines.
That's kind of how I'm hearing it.
Like we need to find one more little gear to shift into.
OK, I like to have the vocals last getting strength.
I like that to keep going like that.
It seems pretty good to me.
But the [F#] music becomes [F#] predictable to me.
And in the end we all agree.
Explore this and make sense.
All right, cool.
And then he lets us leave us alone for a little while.
We'll come up with something fucking cool and then one of the gels, like the gels.
[A] [G#] [F#]
[C#]
[F#] [G#]
Key:
B
A
E
F#
D
B
A
E
_ _ _ [B] _ _ _ _ [D] _
_ _ [A] _ [B] _ _ _ [E] _ _
[D] _ _ [A] _ _ [B] _ _ _ _
[D] _ _ [A] _ _ [B] _ _ [E] _ _
[D] _ _ [A] _ _ _ [A] _ _ _
_ _ _ _ _ _ _ _
_ [E] _ _ You were the first [G#m] person who sent, [C#] Stephen sent a message, right?
Yeah, [C#m] I can't remember whose idea it was though.
_ [E] We've talked about the blasting room and we've been known about [G] the blasting room for years.
But we've talked [B] about it with [C#] everybody we could even think [B] of.
And the only [F#] one that everybody got [C#] excited about was [B] here.
Yeah, _ [C#] for sure.
We wanted to come to the blasting room for a long [C#m] time.
And [B] man, just to work with [Em] these incredible people who put out records that we [B] respect.
And _ from [E] bands and colleagues, tour mates that we respect.
And I think it was kind of no question [B] when the blasting room came.
We [Gm] need to negotiate with [E] somebody that we would take seriously too.
[Em] Not to sound like an asshole, [F#] but there's probably a lot of people on the list that would tell me.
And I'd be [B] like, fuck you, I think you're wrong. _ _
[B] _ _ [G#m] It's sitting right the [G] fuck in there, man.
Fun, right?
Yeah.
Fun.
Totally fun.
The, the, the, the, you don't [G] have to try, it's all done.
[A] Yeah.
And who the fuck are we kidding?
I mean, you get a chance to record with Bill Stevenson for Black Eyed Peas, you can do it.
We're in a fucking punk [G#] rock band.
How cool is that?
Yeah, I know, [G#] right?
I'm pleasantly surprised that it's like, [F#] also Jason Livermore, you know, like there's other people that are working here.
Aw, they're weird.
[B] Yeah, it was like.
Why wouldn't you want to, if you're [G] in a punk band.
Okay, that's an [D] option?
That sounds great.
Okay, that's what I want to do.
That sounds great.
Okay, we're able [F] to do that?
Okay, [B] let's double.
You're right, you're right, because it's the [E] double verse.
And the [B] second half is the double verse.
You gotta get elsewhere.
[E] Okay.
_ Elsewhere.
And then, [E] so it's like, okay, you went to the half there, [A] so like, if you go to the crash ride for the black flag part, it might actually be bitching anyway that way.
If that part's just like.
It might be [N] cool.
Yeah, yeah, yeah.
It's been super chill.
That's been really easy.
Very positive.
He's actually _ one of the few people that just kind of wanted to make us sound how we sound.
You know, he's not trying to make us like any different than what we have.
He's in there listening to him.
While you guys are a wall of sound, it's like, you know, he's actually the first producer that has said, we need to like make this longer. _
Yeah.
You [B] know what I mean?
Instead of trying to cut everything.
It's just, I mean, he's letting us be a band.
Yeah, there's not so much [A] like a big, like, I have this vision of how I think this [D] record should come out.
It's like, I don't [N] have a vision.
I don't think he, in the case of them, had a vision.
They just want to make it the best version [D#] of the songs we have.
I don't know if [E] it's awesome, but it definitely doesn't bother me. _ _ _
_ _ _ _ I'm [A] going to go home.
_ Take it to my wedding.
_ [G#] _ That's the right way.
That [C#] way's better. _
_ _ [D#] _ I _ [G#m] notice each time, like when you do your little rise on else, your rise is like late compared to his rise.
Like you're slow.
You're not getting up the hill soon enough compared to him.
All right.
Got it.
[D#m] He [N] kind of definitely sits back and just tells [F] us to cut loose and do what we love to do.
Do what we do.
_ And, you know, but, you know, at the same time, he damn sure, you know, will step up and, you know, speak his mind and let you know if, you know, something doesn't feel right.
And I think, and every single time it's been right on the [G#] money, you know.
Yeah, but he's definitely not been like play this.
It's been like, no, it's [B] been for an example, like he will [F#] do a chorus or something and then we'll _ _ _ _ have the music.
You're not fooling my ear.
Like you just [D#] played the chorus.
You're going to play this little part and then you're going to go back to the chorus.
You're not kidding me.
[B] So the like double the double chorus at the end.
To me, oddly enough, OK, it's really like justified lyrically to me and vocally.
But I feel like I want the [D] music to change color [B] for the last few of the four lines.
That's kind of how I'm hearing it.
Like we need to find one more little gear to shift into.
OK, I like to have the vocals last getting strength.
I like that to keep going like that.
It seems pretty good to me.
But the [F#] music becomes [F#] predictable to me.
_ And in the end we all agree.
Explore this and make sense.
All right, cool.
And then he lets us leave us alone for a little while.
We'll come up with something fucking cool and then one of the gels, like the gels.
_ _ [A] _ _ _ _ _ [G#] _ _ _ [F#] _ _
_ _ [C#] _ _ _ _ _ _
[F#] _ _ _ _ _ _ [G#] _ _
_ _ [A] _ [B] _ _ _ [E] _ _
[D] _ _ [A] _ _ [B] _ _ _ _
[D] _ _ [A] _ _ [B] _ _ [E] _ _
[D] _ _ [A] _ _ _ [A] _ _ _
_ _ _ _ _ _ _ _
_ [E] _ _ You were the first [G#m] person who sent, [C#] Stephen sent a message, right?
Yeah, [C#m] I can't remember whose idea it was though.
_ [E] We've talked about the blasting room and we've been known about [G] the blasting room for years.
But we've talked [B] about it with [C#] everybody we could even think [B] of.
And the only [F#] one that everybody got [C#] excited about was [B] here.
Yeah, _ [C#] for sure.
We wanted to come to the blasting room for a long [C#m] time.
And [B] man, just to work with [Em] these incredible people who put out records that we [B] respect.
And _ from [E] bands and colleagues, tour mates that we respect.
And I think it was kind of no question [B] when the blasting room came.
We [Gm] need to negotiate with [E] somebody that we would take seriously too.
[Em] Not to sound like an asshole, [F#] but there's probably a lot of people on the list that would tell me.
And I'd be [B] like, fuck you, I think you're wrong. _ _
[B] _ _ [G#m] It's sitting right the [G] fuck in there, man.
Fun, right?
Yeah.
Fun.
Totally fun.
The, the, the, the, you don't [G] have to try, it's all done.
[A] Yeah.
And who the fuck are we kidding?
I mean, you get a chance to record with Bill Stevenson for Black Eyed Peas, you can do it.
We're in a fucking punk [G#] rock band.
How cool is that?
Yeah, I know, [G#] right?
I'm pleasantly surprised that it's like, [F#] also Jason Livermore, you know, like there's other people that are working here.
Aw, they're weird.
[B] Yeah, it was like.
Why wouldn't you want to, if you're [G] in a punk band.
Okay, that's an [D] option?
That sounds great.
Okay, that's what I want to do.
That sounds great.
Okay, we're able [F] to do that?
Okay, [B] let's double.
You're right, you're right, because it's the [E] double verse.
And the [B] second half is the double verse.
You gotta get elsewhere.
[E] Okay.
_ Elsewhere.
And then, [E] so it's like, okay, you went to the half there, [A] so like, if you go to the crash ride for the black flag part, it might actually be bitching anyway that way.
If that part's just like.
It might be [N] cool.
Yeah, yeah, yeah.
It's been super chill.
That's been really easy.
Very positive.
He's actually _ one of the few people that just kind of wanted to make us sound how we sound.
You know, he's not trying to make us like any different than what we have.
He's in there listening to him.
While you guys are a wall of sound, it's like, you know, he's actually the first producer that has said, we need to like make this longer. _
Yeah.
You [B] know what I mean?
Instead of trying to cut everything.
It's just, I mean, he's letting us be a band.
Yeah, there's not so much [A] like a big, like, I have this vision of how I think this [D] record should come out.
It's like, I don't [N] have a vision.
I don't think he, in the case of them, had a vision.
They just want to make it the best version [D#] of the songs we have.
I don't know if [E] it's awesome, but it definitely doesn't bother me. _ _ _
_ _ _ _ I'm [A] going to go home.
_ Take it to my wedding.
_ [G#] _ That's the right way.
That [C#] way's better. _
_ _ [D#] _ I _ [G#m] notice each time, like when you do your little rise on else, your rise is like late compared to his rise.
Like you're slow.
You're not getting up the hill soon enough compared to him.
All right.
Got it.
[D#m] He [N] kind of definitely sits back and just tells [F] us to cut loose and do what we love to do.
Do what we do.
_ And, you know, but, you know, at the same time, he damn sure, you know, will step up and, you know, speak his mind and let you know if, you know, something doesn't feel right.
And I think, and every single time it's been right on the [G#] money, you know.
Yeah, but he's definitely not been like play this.
It's been like, no, it's [B] been for an example, like he will [F#] do a chorus or something and then we'll _ _ _ _ have the music.
You're not fooling my ear.
Like you just [D#] played the chorus.
You're going to play this little part and then you're going to go back to the chorus.
You're not kidding me.
[B] So the like double the double chorus at the end.
To me, oddly enough, OK, it's really like justified lyrically to me and vocally.
But I feel like I want the [D] music to change color [B] for the last few of the four lines.
That's kind of how I'm hearing it.
Like we need to find one more little gear to shift into.
OK, I like to have the vocals last getting strength.
I like that to keep going like that.
It seems pretty good to me.
But the [F#] music becomes [F#] predictable to me.
_ And in the end we all agree.
Explore this and make sense.
All right, cool.
And then he lets us leave us alone for a little while.
We'll come up with something fucking cool and then one of the gels, like the gels.
_ _ [A] _ _ _ _ _ [G#] _ _ _ [F#] _ _
_ _ [C#] _ _ _ _ _ _
[F#] _ _ _ _ _ _ [G#] _ _