Chords for Mark Ronson + The Black Lips In The Studio
Tempo:
81.4 bpm
Chords used:
A
E
D
F
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[F] I [D] got an idea, I got an idea, [F] I got an idea, I got an [D] idea, here I come!
The [F] Black Lips have [D] never worked with a producer and usually just record on their own with an engineer to [F] help out.
[G] For their sixth studio album, they wanted to try something new, so we had them put [E] together a list of producers they wanted [G] to work with.
We thought it would be Jack White, Rick Rubin, rock producers, [D] but it turns out Mark Ronson was at the top of the list.
[F] After Mark played the Creators Project this year, we asked him if he'd want to take a break from [G] producing Boy George, Duran Duran, [D] and remixing Michael Jackson [E] to come out to Brooklyn and work with [F] the Black Lips.
He said yes.
Mark, [E] Mark, Mark, where's your loop?
[G#] We used to throw out big name producers, thinking they'll never be able to get that, and then we can keep producing ourselves like we'd like to, but then they actually [C] got Mark to do it.
It [Fm] was Quincy Jones, Dr.
Dre, The RZA, [B] Danger Mouse, Jack White.
I was the only one available.
[E] This is a totally new process for us because we've never had a producer before.
It's cool because we've been doing this for so long, this will be our seventh [C] album, so it's nice to try new things, [G] get a different year [A] to come in.
It's good to have someone who has a lot of [Em] suggestions, like why don't you try this, that [F#m] none of us would have thought of.
[A] He's playing the chords.
Yeah, [B] but one of you just plays it [A] as a single note line, just to really accentuate that riff.
Oh, okay.
[Em] Basically A-D-E.
[F#] I'm [Em] always nervous going in [B] the first day before a new project, especially with a band when you're [A#] going into a situation where it's a really close-knit unit of people that have been playing together for years and they're almost like [E] a gang.
You're always worried it can go completely pear-shaped, [D] but in this case they seem to be [E] quite down to experiment with somebody else.
I didn't know how it was going to work, but I was open to it because we've been doing it so long just by ourselves.
We never really wanted to use a producer, we just always just had to engineer.
They just pressed record and let us go.
What I think about it is it's like my ears, our ears, outside listening in.
You have to find someone you can trust, and that's hard.
When we were thinking about people we wanted to work with, that Amy Winehouse record sounded really dope.
That was Mark Ronson, so we put some feelers out and Mark Ronson was totally down.
Amy Winehouse sold us a little bit because he worked with the Dab Kings and they just seemed to understand the old school way of recording.
We're not a purest retro band, but we definitely identify more with the old school production values.
They certainly know all the garage and the 60s rock stuff much better than I do, but I love all that stuff.
There is a shared aesthetic, so I can kind of tell, we want this to seem spooky and warbly and eerie and [E] ghostly.
This is the eye sucker, man.
It's always hard to describe [G#] sound, I think that's why a lot of music [G] journalists have a hard time.
I used to try to be like, can you make [Am] this sound spooky?
[Em] [A] I don't want it to sound like ghostly.
[Em] The guy's like engineering, what are you talking about?
[Bm] How do you make it sound ghostly?
So I kind of try to stop [E] using weird analogies that I felt in my head.
There's not many bands that I could bring in, like a four piece rock band and bring in a saw player or someone to play [C] theremin or do some [E] interesting things with [A] instrumentation that I wouldn't usually get to do.
You hear the echo?
[E] It's supposed to recreate the [C#] exact geometry of how you hear reverberations in your own [Am] skull.
Not to mention [A] the past soul that lived with inside the skull.
[D] Mark has been very open to a lot of the ideas we have and he's presented some decent changes to structures and certain things that made songs work better.
Basically it's just like I had enough members to the group and we got everyone that comes along with him too.
There's engineers, there's instrument guys, brought us tons of great gear to play with.
He's put his touch on everything.
To the sound, to the mic placement, to the instrumentation [B] choices, a different [A] pop understanding to production.
[D] [G] So you two, three, [G#] four, Spidey's powers, whatever, you [D#m] know, just Spidey's powers.
Or whatever.
Ok.
A lot of times we write the lyrics at the last minute, which can be a problem.
Anything to take one syllable out of this.
Yeah, Spidey's got, Spidey's got, like that.
Spidey's got powers.
Spidey's got powers.
That's the one stressful [B] thing right now.
I'm still trying to come up with lyrics for two songs I have nothing to write about.
I tried to watch the Garbage Pail Kids movie to get like inspiration.
Apparently Cole's gonna talk to Charles Manson.
I don't know how that
He's pretty excited.
Yeah, I don't know how that happened, but I guess maybe he'll help us with some lyrics.
That'd be pretty cool if we could get some Charlie Penn lyrics.
[A] [C#]
[D] [E] Hey, [G#] were you talking to this
I gotta go clear my throat with some vinegar.
I will have to admit it's a bit of a shock to the ego to like have taken like weeks of figuring out how a song should go and have it be changed by someone who hasn't heard it quite as much.
[F#] But I have to understand that's the environment that we've put them in and you know the ego, good and bad thing, usually mostly a bad thing, so I have to ignore the personal emotions that are caused by an attack on the ego.
I'm just gonna take it indirectly.
It's like good pressure when you're in the studio.
Sometimes you get like mental blocks that are annoying, but yeah definitely way less than on the road because you're tired all the time and hungry and not sleeping much.
[A] Touring feels like being more [E] in the office.
[A] This is the strictly [D] like creative side.
You're free to let [A] your mind wander.
This is supposed to be like fun.
You can tell when you're working with people who love music as much [Em] as you do because there's an excitement [A] in it and I don't know as opposed to like making songs to be hits or [Dm] whatever it is, you know.
Like everyone's in here because they're like psyched to make [E] music.
[A] [C#] Don't let them mock you.
[D] It's almost dark, so [E] don't let us touch you.
[A] You don't have to stay.
Don't fill a spider up with [D] dread.
Don't fill a spider up with dread.
[A] [N]
The [F] Black Lips have [D] never worked with a producer and usually just record on their own with an engineer to [F] help out.
[G] For their sixth studio album, they wanted to try something new, so we had them put [E] together a list of producers they wanted [G] to work with.
We thought it would be Jack White, Rick Rubin, rock producers, [D] but it turns out Mark Ronson was at the top of the list.
[F] After Mark played the Creators Project this year, we asked him if he'd want to take a break from [G] producing Boy George, Duran Duran, [D] and remixing Michael Jackson [E] to come out to Brooklyn and work with [F] the Black Lips.
He said yes.
Mark, [E] Mark, Mark, where's your loop?
[G#] We used to throw out big name producers, thinking they'll never be able to get that, and then we can keep producing ourselves like we'd like to, but then they actually [C] got Mark to do it.
It [Fm] was Quincy Jones, Dr.
Dre, The RZA, [B] Danger Mouse, Jack White.
I was the only one available.
[E] This is a totally new process for us because we've never had a producer before.
It's cool because we've been doing this for so long, this will be our seventh [C] album, so it's nice to try new things, [G] get a different year [A] to come in.
It's good to have someone who has a lot of [Em] suggestions, like why don't you try this, that [F#m] none of us would have thought of.
[A] He's playing the chords.
Yeah, [B] but one of you just plays it [A] as a single note line, just to really accentuate that riff.
Oh, okay.
[Em] Basically A-D-E.
[F#] I'm [Em] always nervous going in [B] the first day before a new project, especially with a band when you're [A#] going into a situation where it's a really close-knit unit of people that have been playing together for years and they're almost like [E] a gang.
You're always worried it can go completely pear-shaped, [D] but in this case they seem to be [E] quite down to experiment with somebody else.
I didn't know how it was going to work, but I was open to it because we've been doing it so long just by ourselves.
We never really wanted to use a producer, we just always just had to engineer.
They just pressed record and let us go.
What I think about it is it's like my ears, our ears, outside listening in.
You have to find someone you can trust, and that's hard.
When we were thinking about people we wanted to work with, that Amy Winehouse record sounded really dope.
That was Mark Ronson, so we put some feelers out and Mark Ronson was totally down.
Amy Winehouse sold us a little bit because he worked with the Dab Kings and they just seemed to understand the old school way of recording.
We're not a purest retro band, but we definitely identify more with the old school production values.
They certainly know all the garage and the 60s rock stuff much better than I do, but I love all that stuff.
There is a shared aesthetic, so I can kind of tell, we want this to seem spooky and warbly and eerie and [E] ghostly.
This is the eye sucker, man.
It's always hard to describe [G#] sound, I think that's why a lot of music [G] journalists have a hard time.
I used to try to be like, can you make [Am] this sound spooky?
[Em] [A] I don't want it to sound like ghostly.
[Em] The guy's like engineering, what are you talking about?
[Bm] How do you make it sound ghostly?
So I kind of try to stop [E] using weird analogies that I felt in my head.
There's not many bands that I could bring in, like a four piece rock band and bring in a saw player or someone to play [C] theremin or do some [E] interesting things with [A] instrumentation that I wouldn't usually get to do.
You hear the echo?
[E] It's supposed to recreate the [C#] exact geometry of how you hear reverberations in your own [Am] skull.
Not to mention [A] the past soul that lived with inside the skull.
[D] Mark has been very open to a lot of the ideas we have and he's presented some decent changes to structures and certain things that made songs work better.
Basically it's just like I had enough members to the group and we got everyone that comes along with him too.
There's engineers, there's instrument guys, brought us tons of great gear to play with.
He's put his touch on everything.
To the sound, to the mic placement, to the instrumentation [B] choices, a different [A] pop understanding to production.
[D] [G] So you two, three, [G#] four, Spidey's powers, whatever, you [D#m] know, just Spidey's powers.
Or whatever.
Ok.
A lot of times we write the lyrics at the last minute, which can be a problem.
Anything to take one syllable out of this.
Yeah, Spidey's got, Spidey's got, like that.
Spidey's got powers.
Spidey's got powers.
That's the one stressful [B] thing right now.
I'm still trying to come up with lyrics for two songs I have nothing to write about.
I tried to watch the Garbage Pail Kids movie to get like inspiration.
Apparently Cole's gonna talk to Charles Manson.
I don't know how that
He's pretty excited.
Yeah, I don't know how that happened, but I guess maybe he'll help us with some lyrics.
That'd be pretty cool if we could get some Charlie Penn lyrics.
[A] [C#]
[D] [E] Hey, [G#] were you talking to this
I gotta go clear my throat with some vinegar.
I will have to admit it's a bit of a shock to the ego to like have taken like weeks of figuring out how a song should go and have it be changed by someone who hasn't heard it quite as much.
[F#] But I have to understand that's the environment that we've put them in and you know the ego, good and bad thing, usually mostly a bad thing, so I have to ignore the personal emotions that are caused by an attack on the ego.
I'm just gonna take it indirectly.
It's like good pressure when you're in the studio.
Sometimes you get like mental blocks that are annoying, but yeah definitely way less than on the road because you're tired all the time and hungry and not sleeping much.
[A] Touring feels like being more [E] in the office.
[A] This is the strictly [D] like creative side.
You're free to let [A] your mind wander.
This is supposed to be like fun.
You can tell when you're working with people who love music as much [Em] as you do because there's an excitement [A] in it and I don't know as opposed to like making songs to be hits or [Dm] whatever it is, you know.
Like everyone's in here because they're like psyched to make [E] music.
[A] [C#] Don't let them mock you.
[D] It's almost dark, so [E] don't let us touch you.
[A] You don't have to stay.
Don't fill a spider up with [D] dread.
Don't fill a spider up with dread.
[A] [N]
Key:
A
E
D
F
G
A
E
D
_ _ _ _ _ _ _ _
_ _ [F] I [D] got an idea, I got an idea, [F] I got an idea, I got an [D] idea, here I come!
The [F] Black Lips have [D] never worked with a producer and usually just record on their own with an engineer to [F] help out.
_ [G] For their sixth studio album, they wanted to try something new, so we had them put [E] together a list of producers they wanted [G] to work with.
We thought it would be Jack White, Rick Rubin, rock producers, [D] but it turns out Mark Ronson was at the top of the list.
[F] After Mark played the Creators Project this year, we asked him if he'd want to take a break from [G] producing Boy George, Duran Duran, [D] and remixing Michael Jackson [E] to come out to Brooklyn and work with [F] the Black Lips.
He said yes.
Mark, [E] Mark, Mark, where's your loop?
_ _ _ _ [G#] We used to throw out big name producers, thinking they'll never be able to get that, and then we can keep producing ourselves like we'd like to, but then they actually [C] got Mark to do it.
It [Fm] was Quincy Jones, Dr.
Dre, The RZA, [B] Danger Mouse, Jack White.
I was the only one available. _ _ _ _
_ [E] _ _ This is a totally new process for us because we've never had a producer before.
It's cool because we've been doing this for so long, this will be our seventh [C] album, so it's nice to try new things, [G] get a different year [A] to come in.
It's good to have someone who has a lot of [Em] suggestions, like why don't you try this, that [F#m] none of us would have thought of. _ _
[A] He's playing the chords.
Yeah, [B] but one of you just plays it [A] as a single note line, just to really accentuate that riff.
Oh, okay.
_ _ _ [Em] _ Basically A-D-E.
[F#] _ I'm [Em] always nervous going in [B] the first day before a new project, especially with a band when you're [A#] going into a situation where it's a really close-knit unit of people that have been playing together for years and they're almost like [E] a gang.
You're always worried it can go completely pear-shaped, [D] but in this case they seem to be [E] quite down to experiment with somebody else.
I didn't know how it was going to work, but I was open to it because we've been doing it so long just by ourselves.
We never really wanted to use a producer, we just always just had to engineer.
They just pressed record and let us go.
What I think about it is it's like my ears, our ears, outside listening in.
You have to find someone you can trust, and that's hard. _
When we were thinking about people we wanted to work with, that Amy Winehouse record sounded really dope.
That was Mark Ronson, so we put some feelers out and Mark Ronson was totally down.
Amy Winehouse sold us a little bit because he worked with the Dab Kings and they just seemed to understand the old school way of recording.
We're not a purest retro band, but we definitely identify more with the old school production values.
They certainly know all the garage and the 60s rock stuff much better than I do, but I love all that stuff.
There is a shared aesthetic, so I can kind of tell, we want this to seem _ spooky and warbly and eerie and [E] ghostly.
This is the eye sucker, man.
_ _ _ It's always hard to describe [G#] sound, I think that's why a lot of music [G] journalists have a hard time.
I used to try to be like, can you make [Am] this sound spooky? _
[Em] _ _ [A] I don't want it to sound like ghostly.
[Em] The guy's like engineering, what are you talking about?
[Bm] How do you make it sound ghostly?
So I kind of try to stop [E] using weird analogies that I felt in my head. _
_ _ _ _ There's not many bands that I could bring in, like a four piece rock band and bring in a saw player or someone to play [C] theremin or do some [E] interesting things with [A] instrumentation that I wouldn't usually get to do.
_ You hear the echo?
_ _ _ _ [E] It's supposed to recreate the [C#] exact geometry of how you hear reverberations in your own [Am] skull. _
Not to mention [A] the past soul that lived with inside the skull. _ _ _
_ [D] Mark has been very open to a lot of the ideas we have and he's presented some decent changes to structures and certain things that made songs work better.
Basically it's just like I had enough members to the group and we got everyone that comes along with him too.
There's engineers, there's instrument guys, brought us tons of great gear to play with.
He's put his touch on everything.
To the sound, to the mic placement, to the instrumentation [B] choices, a different [A] pop understanding to production.
[D] _ _ [G] So you two, three, [G#] four, Spidey's powers, whatever, you [D#m] know, just_ Spidey's powers.
Or whatever.
Ok. _ _ _ _ _ _
A lot of times we write the lyrics at the last minute, which can be a problem.
Anything to take one syllable out of this.
Yeah, Spidey's got, Spidey's got, like that.
Spidey's got powers.
Spidey's got powers.
That's the one stressful [B] thing right now.
I'm still trying to come up with lyrics for two songs I have nothing to write about.
I tried to watch the Garbage Pail Kids movie to get like inspiration. _ _ _
_ _ _ _ _ _ _
Apparently Cole's gonna talk to Charles Manson.
I don't know how that_
He's pretty excited.
Yeah, I don't know how that happened, but I guess maybe he'll help us with some lyrics.
That'd be pretty cool if we could get some Charlie Penn lyrics. _ _ _ _ _ _
_ _ _ _ _ [A] _ _ [C#] _
_ [D] _ _ [E] Hey, _ _ _ [G#] were you talking to this_
I gotta go clear my throat with some vinegar. _ _
I will have to admit it's a bit of a shock to the ego to like have taken like weeks of figuring out how a song should go and have it be changed by someone who hasn't heard it quite as much.
_ _ _ [F#] _ _ _ But I have to understand that's the environment that we've put them in and you know the ego, good and bad thing, usually mostly a bad thing, so I have to ignore the personal emotions that are caused by an attack on the ego.
I'm just gonna take it indirectly. _ _ _ _
_ _ It's like good pressure when you're in the studio.
Sometimes you get like mental blocks that are annoying, but yeah definitely way less than on the road because you're tired all the time and hungry and not sleeping much. _ _
[A] _ _ _ _ _ _ Touring feels like being more [E] in the office.
[A] This is the strictly [D] like creative side.
You're free to let [A] your mind wander.
This is supposed to be like fun.
You can tell when you're working with people who love music as much [Em] as you do because there's an excitement [A] in it and I don't know as opposed to like making songs to be hits or [Dm] whatever it is, you know.
Like everyone's in here because they're like psyched to make [E] music.
_ [A] _ [C#] Don't let them mock you.
[D] It's almost dark, so [E] don't let us touch you.
[A] You don't have to stay.
Don't fill a spider up with [D] dread.
Don't fill a spider up with dread.
_ _ _ [A] _ _ [N] _
_ _ [F] I [D] got an idea, I got an idea, [F] I got an idea, I got an [D] idea, here I come!
The [F] Black Lips have [D] never worked with a producer and usually just record on their own with an engineer to [F] help out.
_ [G] For their sixth studio album, they wanted to try something new, so we had them put [E] together a list of producers they wanted [G] to work with.
We thought it would be Jack White, Rick Rubin, rock producers, [D] but it turns out Mark Ronson was at the top of the list.
[F] After Mark played the Creators Project this year, we asked him if he'd want to take a break from [G] producing Boy George, Duran Duran, [D] and remixing Michael Jackson [E] to come out to Brooklyn and work with [F] the Black Lips.
He said yes.
Mark, [E] Mark, Mark, where's your loop?
_ _ _ _ [G#] We used to throw out big name producers, thinking they'll never be able to get that, and then we can keep producing ourselves like we'd like to, but then they actually [C] got Mark to do it.
It [Fm] was Quincy Jones, Dr.
Dre, The RZA, [B] Danger Mouse, Jack White.
I was the only one available. _ _ _ _
_ [E] _ _ This is a totally new process for us because we've never had a producer before.
It's cool because we've been doing this for so long, this will be our seventh [C] album, so it's nice to try new things, [G] get a different year [A] to come in.
It's good to have someone who has a lot of [Em] suggestions, like why don't you try this, that [F#m] none of us would have thought of. _ _
[A] He's playing the chords.
Yeah, [B] but one of you just plays it [A] as a single note line, just to really accentuate that riff.
Oh, okay.
_ _ _ [Em] _ Basically A-D-E.
[F#] _ I'm [Em] always nervous going in [B] the first day before a new project, especially with a band when you're [A#] going into a situation where it's a really close-knit unit of people that have been playing together for years and they're almost like [E] a gang.
You're always worried it can go completely pear-shaped, [D] but in this case they seem to be [E] quite down to experiment with somebody else.
I didn't know how it was going to work, but I was open to it because we've been doing it so long just by ourselves.
We never really wanted to use a producer, we just always just had to engineer.
They just pressed record and let us go.
What I think about it is it's like my ears, our ears, outside listening in.
You have to find someone you can trust, and that's hard. _
When we were thinking about people we wanted to work with, that Amy Winehouse record sounded really dope.
That was Mark Ronson, so we put some feelers out and Mark Ronson was totally down.
Amy Winehouse sold us a little bit because he worked with the Dab Kings and they just seemed to understand the old school way of recording.
We're not a purest retro band, but we definitely identify more with the old school production values.
They certainly know all the garage and the 60s rock stuff much better than I do, but I love all that stuff.
There is a shared aesthetic, so I can kind of tell, we want this to seem _ spooky and warbly and eerie and [E] ghostly.
This is the eye sucker, man.
_ _ _ It's always hard to describe [G#] sound, I think that's why a lot of music [G] journalists have a hard time.
I used to try to be like, can you make [Am] this sound spooky? _
[Em] _ _ [A] I don't want it to sound like ghostly.
[Em] The guy's like engineering, what are you talking about?
[Bm] How do you make it sound ghostly?
So I kind of try to stop [E] using weird analogies that I felt in my head. _
_ _ _ _ There's not many bands that I could bring in, like a four piece rock band and bring in a saw player or someone to play [C] theremin or do some [E] interesting things with [A] instrumentation that I wouldn't usually get to do.
_ You hear the echo?
_ _ _ _ [E] It's supposed to recreate the [C#] exact geometry of how you hear reverberations in your own [Am] skull. _
Not to mention [A] the past soul that lived with inside the skull. _ _ _
_ [D] Mark has been very open to a lot of the ideas we have and he's presented some decent changes to structures and certain things that made songs work better.
Basically it's just like I had enough members to the group and we got everyone that comes along with him too.
There's engineers, there's instrument guys, brought us tons of great gear to play with.
He's put his touch on everything.
To the sound, to the mic placement, to the instrumentation [B] choices, a different [A] pop understanding to production.
[D] _ _ [G] So you two, three, [G#] four, Spidey's powers, whatever, you [D#m] know, just_ Spidey's powers.
Or whatever.
Ok. _ _ _ _ _ _
A lot of times we write the lyrics at the last minute, which can be a problem.
Anything to take one syllable out of this.
Yeah, Spidey's got, Spidey's got, like that.
Spidey's got powers.
Spidey's got powers.
That's the one stressful [B] thing right now.
I'm still trying to come up with lyrics for two songs I have nothing to write about.
I tried to watch the Garbage Pail Kids movie to get like inspiration. _ _ _
_ _ _ _ _ _ _
Apparently Cole's gonna talk to Charles Manson.
I don't know how that_
He's pretty excited.
Yeah, I don't know how that happened, but I guess maybe he'll help us with some lyrics.
That'd be pretty cool if we could get some Charlie Penn lyrics. _ _ _ _ _ _
_ _ _ _ _ [A] _ _ [C#] _
_ [D] _ _ [E] Hey, _ _ _ [G#] were you talking to this_
I gotta go clear my throat with some vinegar. _ _
I will have to admit it's a bit of a shock to the ego to like have taken like weeks of figuring out how a song should go and have it be changed by someone who hasn't heard it quite as much.
_ _ _ [F#] _ _ _ But I have to understand that's the environment that we've put them in and you know the ego, good and bad thing, usually mostly a bad thing, so I have to ignore the personal emotions that are caused by an attack on the ego.
I'm just gonna take it indirectly. _ _ _ _
_ _ It's like good pressure when you're in the studio.
Sometimes you get like mental blocks that are annoying, but yeah definitely way less than on the road because you're tired all the time and hungry and not sleeping much. _ _
[A] _ _ _ _ _ _ Touring feels like being more [E] in the office.
[A] This is the strictly [D] like creative side.
You're free to let [A] your mind wander.
This is supposed to be like fun.
You can tell when you're working with people who love music as much [Em] as you do because there's an excitement [A] in it and I don't know as opposed to like making songs to be hits or [Dm] whatever it is, you know.
Like everyone's in here because they're like psyched to make [E] music.
_ [A] _ [C#] Don't let them mock you.
[D] It's almost dark, so [E] don't let us touch you.
[A] You don't have to stay.
Don't fill a spider up with [D] dread.
Don't fill a spider up with dread.
_ _ _ [A] _ _ [N] _