Chords for Peg - Steely Dan - The Making Of

_ _ [G] _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [D] _ _
_ I feel nothing but pride from that track.
That was one of the best tracks I ever played on.
[G] _ _ As far [D] as drums were [C] going at that time, it was like [G] if you had a club in your right hand
and a club in your left hand and clubs for feet, you could _ [D] play.
I _ _ [G] _ _
_ _ had _ [A] just opened my hi-hat a hair, every couple of _ [G] beats with what I was playing with my right hand
on the [D] hi-hat and I created this little [C] sound.
Now [G] I've done that but never ever heard it on the [C] record _ [G]
that I had done
because [B] engineers and [G] sounds at the time, you know, it was [F#] one of those things where it's a nuance
and [Am] those things didn't exist.
_ [F#] _ _ _ _ [E] _ _
_ _ [A] _ _ _ _ _ _
_ _ [D] _ _ _ _ [G] _ [A] _
_ _ [C] [D#] I remember this was kind of a written bass part but he fixed it up [A] and his own part _ [G] was written.
[D] This first part, _ [F] just a [C] great musician [D] slapping and also fretting with his thumb.
_ Chuck had a really unique, [C] here's the chorus, which [Bm] was this.
You have [Am] to ask Chuck about this.
[E] _
_ _ _ [Em] _ _ [A] _ _
They didn't want me to slap, I think mainly because at that time slapping was just becoming popular
and it was on a lot of records. _
However, my being a player, I think there are some songs that slapping sounds good
and no matter who you are, you want to keep in the fold of what's happening.
_ _ _ _ _ Peg, that bridge there just seemed to be a slapping thing for me.
They said, well, no, play with your fingers, something like that.
And then you play these songs so many times that after a while I remember just turning just a little bit
either this way or this way and putting up a partition.
And they were about that high.
Of course, sitting in a much [C] lower chair. _
And I remember _ _ slapping.
They never knew it went down.
They never knew it, except afterwards you can tell there was a difference in that bridge.
_ _ _ [G] _ [F#] _
_ _ [E] _ _ [G#] _ All [D] right, here's the, I'll [A] _ put [D] in the keyboards again [A] here.
So you got like, here's your little [C] _ [D] _ _ [A] trio here.
_ _ _ [C] _ _ _ [G] _ [F#] _
_ _ [D] [E] I'll tell you one thing that's interesting that I'm listening to now is that you [G] don't really hear,
in a [Am] lot of groups that you hear, there's a lot of doubling between [D] the bass and the kick drum.
And you can hear here [D] _ [C] that the [N] kick drum is all sort of syncopated.
It's not really, [E] _ _ you know what I mean?
It's not [D] doubling so much the [A] strong beats that the bass is [Bm] playing.
_ [A] _ _
_ _ [C] _ [A] _ [B] You gotta love them.
But [C#m] it's not like [C] you go in [F] there and you're just really [G] good friends and you'll play and you'll try to get into it
and they'll say, yeah, that's really good.
And then the next day somebody else is doing it, a whole other band.
[C] _
[G] It wasn't like they played musical chairs with the guys in the band.
They played musical [D] bands.
A whole band would go and a whole [C] incredible [G] other band would come in.
_ _ _ [D] _ [C] We never [Gm] came up with a band of our own that we felt was the right [Em] combination of guys,
that it was stable, it was just me and [F#] Walter.
You hear [E] somebody in [G] a record and you say, [C] wow, [G] listen to this guy's a great soloist.
Let's have him come in and [E] _ what would he be good on?
What would suit his [G] style?
That's the [F#] fun.
_ [D] _ _
[G] _ _ [C] _ _ [G] _ _ [C] _ _
[G] _ This tune I think is infamous among studio players in that we hired a couple [Em] of guitar players to play the solo
and [A] _
it wasn't quite what we were looking for _ [D] until we got through three or four, _ _ five _ [C] [G] players.
Six or seven.
Eight players. _ _ _
_ _ _ _ _ _ [C] _ [G] _
_ To me it was sort of like, _ [A] some of it started getting [Bm] foggy.
I [D] would come into the studio and go, [A] okay, we've got another day of this that we have to do.
[C] _ _ _ [G] [A#] Some of it would [D] just go by like [E] days of the week.
Here [D] we go again, another guitar solo.
Something [E] else soloed?
Oh, there it is. _
Let's check this out.
Go [G] back and let's hear it in the track.
[D] _ _ _ _ _ [G] _ _
_ _ _ [E] _ _ _ _ _
_ _ _ [E] _ _ _ [G] _ _
_ _ _ _ _ [C] _ _ _
_ _ _ _ _ _ [G] [E] There you go.
_ [G] Another one.
_ _ [D] _ It's [E] good.
Let's [G] see if we can find another one.
[D] This is probably the last guy to try it before Jay did [C] it.
[G] _
There's another [G] one.
_ _ [C] _ _
_ _ _ _ What is it, some kind of little [G] envelope thing he got going there on his guitar?
_ [F] _ [G] _
_ _ [C] _ _ _ [G] _ _ _
[A] Didn't I hear someone do this to you?
_ _ [D] And then finally [G] Jay Graydon came in and did it with no [C] difficulty [G] whatsoever.
_ _ _ _ _ _ [A#] _
_ _ [D#] _ _ _ _ [E] _ _
_ _ Sort of a [G#] Hawaiian section there.
Yeah, kind of a Polynesian.
Prefigured [Am] my own [G#] later [G] resonance.
_ _ _ [A] _ _ _ _ [G] _
_ _ _ _ [N] _ _ _ _
_ _ _ _ _ _ [G] _ _
_ _ _ _ _ I'd worked with them enough to kind of know [D#] what I was in for.
_ Certain words that they just wanted to hear a certain way.
_ Normally under normal circumstances, people wouldn't.
_ They'd kind of, this is the words, [N] here are the parts, _ you sing it,
and that's the phrasing.
But for those guys, _ phrasing could have such nuance
that _ _ _ [D#] singing a line like half as much as, _
[D] you'd think, how many [C#m] different ways can you say it in that [D] phrasing rhythmically.
But it would _ come down to such fine points
like _ [N] pronunciation and _ _ exact rhythmic _ _ _ vibrato, no vibrato, things like that.
So it was always real challenging. _
He did a couple parts on top of himself.
All in 3-D, 4 in movies
Let's check out his whole part just to embarrass him.
Back to you
[B] _ _
_ _ [D] Back to you
Sorry, Mike.
There it is.
_ That's all I hear is 2. _
_ _ [C] _ _ _ _ _ _
_ [F#] _ _ _ _ Peg doesn't sound like much of a part, but the [C#] harmonies were so close
that _ that was a real learning [D#] experience for me
to [E] sing a [A] chord part by part with myself.
_ _ [F#] When you're going back in to sing that next harmony,
it's so close to the note you're singing it.
It was just real hard for me to discern that interval and keep it in pitch.
[A] Back to you
_ _ [G] _ _ We [B] _ _
[Am] had a pretty specific idea [B] about _ how [G] these background parts would work
and [Am] the _ [G] swing band rhythmic approach and how we [E] wanted it phrased and so on.
_ [G] _ _ Babies will come [B] back to you
[C] Back _ to [F#] _