Chords for My JJ Cale x Eric Clapton (Official Content)
Tempo:
113.85 bpm
Chords used:
D
C
G
E
Bb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Stay around, [C] stay [G] around.
There was a lot of mythology surrounding the way he lived.
[G] The gossip was at one point he lived in a Volkswagen camper.
When I was working with the guys from [C] Tulsa in the 70s,
[Em] Carl Radel and [G] Jamie Oldacre and Dick [C] Simms,
they would talk about him with such reverence.
[G] We would wait for the next
And Carl would tell me stories about this myth grew in my mind.
[C] But I got an idea of [G] how important this guy [Bb] was.
Not that I was scared, but [C] I thought,
this guy is [G] probably unapproachable and I really don't want [F] to offend.
[C] So I just kept my distance until [G] that day when I met him at Albert's house
[D] and I realised, oh, [C] he's a fantastic man.
He's probably just [G] really shy.
But at the same time, coupled with an incredible [C] understanding
of how [G] to enjoy your [Dm] life and get what you want done
[C] without [D]
wasting too much time.
[E] He's done, [D] he's done, he's done.
[E] [D]
[E] She's no lie, [D] she's no lie, [C] she's no lie.
[G]
[E] Go pay your debts.
[D]
[E] [Bm] [D] I've been [Em] invited to go [D] to a recording session [E] with Fleetwood Mac.
My friend Mick Fleetwood had said, come drop by.
We got some
all the guys were in the studio for a change at the same time.
So we went [D] over there, [B] me and John.
And [Bm] we stood in the [E] control room [Em] and watched them cutting a track.
And they [D] were all in there.
At the end [Em] of the third take, they came [D] in to [Bb] say hello.
[G] And John's standing next to me.
We were against the back wall to control them
[F] and they walked right by him and say hello and [D] everything.
And I realised they [E] couldn't even see him.
[D] He knew how to become invisible.
And I have to say, and by the way, this is my friend [E] JJ Kaye.
With [A] pride, you know.
And I still, you know, with the greatest respect to those guys,
I don't think they knew who he was.
[B] That he makes this [G] profound music, [Bb] it's so subtle and [Gm] strong.
[Dm] And yet he manages [D] to remain detached [Dm] and [Gm]
uninvolved
with the whole, forgive the [D] expression, bullshit.
[Gm] There wasn't ever going to be a [C] way for him to become [Eb] famous
because I [Bb] think he [D] catered to [Gm]
making it that way.
[D] He did it so that it was manageable for [C] him.
And I think he [Bb] was famous as famous as he wanted to be.
[Am] I don't think there's anything [D] incidental or accidental [Gm] about this.
[Dm] These were all really [Gm] quite astute decisions that he [C] made.
[Eb] And I respect him.
[B] [B]
I just love playing with him.
And hearing his voice and seeing the way [G] he worked.
I mean, he was so inspiring.
Stay around, [C] stay [G] around.
[Bb] Let's [C] make love one [G] more time.
[N]
There was a lot of mythology surrounding the way he lived.
[G] The gossip was at one point he lived in a Volkswagen camper.
When I was working with the guys from [C] Tulsa in the 70s,
[Em] Carl Radel and [G] Jamie Oldacre and Dick [C] Simms,
they would talk about him with such reverence.
[G] We would wait for the next
And Carl would tell me stories about this myth grew in my mind.
[C] But I got an idea of [G] how important this guy [Bb] was.
Not that I was scared, but [C] I thought,
this guy is [G] probably unapproachable and I really don't want [F] to offend.
[C] So I just kept my distance until [G] that day when I met him at Albert's house
[D] and I realised, oh, [C] he's a fantastic man.
He's probably just [G] really shy.
But at the same time, coupled with an incredible [C] understanding
of how [G] to enjoy your [Dm] life and get what you want done
[C] without [D]
wasting too much time.
[E] He's done, [D] he's done, he's done.
[E] [D]
[E] She's no lie, [D] she's no lie, [C] she's no lie.
[G]
[E] Go pay your debts.
[D]
[E] [Bm] [D] I've been [Em] invited to go [D] to a recording session [E] with Fleetwood Mac.
My friend Mick Fleetwood had said, come drop by.
We got some
all the guys were in the studio for a change at the same time.
So we went [D] over there, [B] me and John.
And [Bm] we stood in the [E] control room [Em] and watched them cutting a track.
And they [D] were all in there.
At the end [Em] of the third take, they came [D] in to [Bb] say hello.
[G] And John's standing next to me.
We were against the back wall to control them
[F] and they walked right by him and say hello and [D] everything.
And I realised they [E] couldn't even see him.
[D] He knew how to become invisible.
And I have to say, and by the way, this is my friend [E] JJ Kaye.
With [A] pride, you know.
And I still, you know, with the greatest respect to those guys,
I don't think they knew who he was.
[B] That he makes this [G] profound music, [Bb] it's so subtle and [Gm] strong.
[Dm] And yet he manages [D] to remain detached [Dm] and [Gm]
uninvolved
with the whole, forgive the [D] expression, bullshit.
[Gm] There wasn't ever going to be a [C] way for him to become [Eb] famous
because I [Bb] think he [D] catered to [Gm]
making it that way.
[D] He did it so that it was manageable for [C] him.
And I think he [Bb] was famous as famous as he wanted to be.
[Am] I don't think there's anything [D] incidental or accidental [Gm] about this.
[Dm] These were all really [Gm] quite astute decisions that he [C] made.
[Eb] And I respect him.
[B] [B]
I just love playing with him.
And hearing his voice and seeing the way [G] he worked.
I mean, he was so inspiring.
Stay around, [C] stay [G] around.
[Bb] Let's [C] make love one [G] more time.
[N]
Key:
D
C
G
E
Bb
D
C
G
Stay around, _ _ _ [C] stay [G] around.
_ _ There was a lot of mythology surrounding the way he lived.
[G] The gossip was at one point he lived in a Volkswagen camper.
When I was working with the guys from [C] Tulsa in the 70s,
[Em] Carl Radel and [G] Jamie Oldacre and Dick [C] Simms,
they would talk about him with such reverence.
[G] We would wait for the next_
And Carl would tell me stories about this myth grew in my mind.
[C] But I got an idea of [G] how important this guy [Bb] was.
Not that I was scared, but [C] I thought,
this guy is [G] probably unapproachable and I really don't want [F] to offend.
[C] So I just kept my distance until _ [G] that day when I met him at Albert's house
[D] and I realised, oh, [C] he's a fantastic man.
He's probably just [G] really shy.
But at the same time, coupled with an incredible _ [C] understanding
of how [G] to enjoy your [Dm] life and get what you want done
[C] without _ [D]
wasting too much time.
[E] _ He's done, [D] he's done, he's done. _
_ _ [E] _ _ _ [D] _ _ _
[E] She's no lie, [D] she's no lie, [C] she's no lie.
[G] _
[E] Go pay your debts.
_ [D] _ _ _
_ [E] _ _ [Bm] _ _ [D] _ I've been [Em] invited to go _ [D] to a recording session [E] with Fleetwood Mac.
My friend Mick Fleetwood had said, come drop by.
We _ got some_
all the guys were in the studio for a change at the same time.
So we went [D] over there, [B] me and John.
And [Bm] we stood in the [E] control room [Em] and watched them cutting a track.
And they [D] were all in there.
At the end [Em] of the third take, they came [D] in to [Bb] say hello.
[G] And John's standing next to me.
We were against the back wall to control them
[F] and they walked right by him and say hello and [D] everything.
And I realised they [E] couldn't even see him.
[D] He knew how to become invisible.
And I have to say, and by the way, this is my friend [E] JJ Kaye.
With [A] pride, you know.
And I still, you know, with the greatest respect to those guys,
I don't think they knew who he was.
[B] _ That he makes this [G] profound music, [Bb] it's so subtle and [Gm] strong.
[Dm] And yet he manages [D] to remain detached [Dm] and _ [Gm]
uninvolved
with the whole, forgive the [D] expression, bullshit.
[Gm] There wasn't ever going to be a [C] way for him to become [Eb] famous
because I [Bb] _ think he [D] catered to _ [Gm]
making it that way.
_ [D] He did it so that it was manageable for [C] him.
And I think he [Bb] was famous as famous as he wanted to be.
[Am] I don't think there's anything [D] incidental or accidental [Gm] about this.
[Dm] These were all really [Gm] quite astute decisions that he [C] made.
[Eb] And I respect him.
_ [B] _ [B] _ _ _ _ _ _
_ _ _ _ _ I just love playing with him.
And hearing his voice and seeing the way [G] he worked.
I mean, he was so inspiring.
Stay around, _ _ _ [C] stay _ [G] around. _ _
[Bb] _ Let's [C] make love one [G] more time.
_ _ _ _ [N] _ _ _
_ _ There was a lot of mythology surrounding the way he lived.
[G] The gossip was at one point he lived in a Volkswagen camper.
When I was working with the guys from [C] Tulsa in the 70s,
[Em] Carl Radel and [G] Jamie Oldacre and Dick [C] Simms,
they would talk about him with such reverence.
[G] We would wait for the next_
And Carl would tell me stories about this myth grew in my mind.
[C] But I got an idea of [G] how important this guy [Bb] was.
Not that I was scared, but [C] I thought,
this guy is [G] probably unapproachable and I really don't want [F] to offend.
[C] So I just kept my distance until _ [G] that day when I met him at Albert's house
[D] and I realised, oh, [C] he's a fantastic man.
He's probably just [G] really shy.
But at the same time, coupled with an incredible _ [C] understanding
of how [G] to enjoy your [Dm] life and get what you want done
[C] without _ [D]
wasting too much time.
[E] _ He's done, [D] he's done, he's done. _
_ _ [E] _ _ _ [D] _ _ _
[E] She's no lie, [D] she's no lie, [C] she's no lie.
[G] _
[E] Go pay your debts.
_ [D] _ _ _
_ [E] _ _ [Bm] _ _ [D] _ I've been [Em] invited to go _ [D] to a recording session [E] with Fleetwood Mac.
My friend Mick Fleetwood had said, come drop by.
We _ got some_
all the guys were in the studio for a change at the same time.
So we went [D] over there, [B] me and John.
And [Bm] we stood in the [E] control room [Em] and watched them cutting a track.
And they [D] were all in there.
At the end [Em] of the third take, they came [D] in to [Bb] say hello.
[G] And John's standing next to me.
We were against the back wall to control them
[F] and they walked right by him and say hello and [D] everything.
And I realised they [E] couldn't even see him.
[D] He knew how to become invisible.
And I have to say, and by the way, this is my friend [E] JJ Kaye.
With [A] pride, you know.
And I still, you know, with the greatest respect to those guys,
I don't think they knew who he was.
[B] _ That he makes this [G] profound music, [Bb] it's so subtle and [Gm] strong.
[Dm] And yet he manages [D] to remain detached [Dm] and _ [Gm]
uninvolved
with the whole, forgive the [D] expression, bullshit.
[Gm] There wasn't ever going to be a [C] way for him to become [Eb] famous
because I [Bb] _ think he [D] catered to _ [Gm]
making it that way.
_ [D] He did it so that it was manageable for [C] him.
And I think he [Bb] was famous as famous as he wanted to be.
[Am] I don't think there's anything [D] incidental or accidental [Gm] about this.
[Dm] These were all really [Gm] quite astute decisions that he [C] made.
[Eb] And I respect him.
_ [B] _ [B] _ _ _ _ _ _
_ _ _ _ _ I just love playing with him.
And hearing his voice and seeing the way [G] he worked.
I mean, he was so inspiring.
Stay around, _ _ _ [C] stay _ [G] around. _ _
[Bb] _ Let's [C] make love one [G] more time.
_ _ _ _ [N] _ _ _