Chords for Piano Player for Dean Martin talks about Jimmy Stewart
Tempo:
130.05 bpm
Chords used:
C
G
F
Em
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Yep.
This has to do with the Dean Martin show and one of the most memorable as far as I'm concerned.
[N] And it has to do with Jimmy Stewart and Raquel Welch that happened to be guests on the show this particular week.
[C] Raquel Welch came in first, her call being like at 9 o'clock.
[N] And her first words out of her mouth were,
Where's my makeup man?
I've got to have a mirror with lightbulbs all the way around it to help with my makeup and all that.
And Bob Sidney, who was the choreographer, says, What are you
She said no.
He couldn't believe what he was hearing.
And she went on and read and he just let her go and finally he said, Where my dear
He said, Is there somebody else on this show besides you?
And she says, Oh yeah, who?
She says, He says, Jimmy Stewart, that's who.
There's a brief minute silence there.
And Raquel says, Who's he?
Bob Sidney lost it.
He says, Who's he?
He just happens to be the biggest movie star in the business.
Who's he?
Are you Sirius, my dear?
And he raves and rants and she just has a blank look on her face.
Who's he?
Oh!
So finally, after we set her, we came up.
Jimmy Stewart's call comes in, or answers, comes in at his prescribed time.
And the first words out of Bob Sidney's mouth were,
Jim, I don't know what we're going to do with you.
He said, You can't sing and you can't dance.
And Jimmy Stewart looks at him and he says, Well
He says, I can play piano and sing ragtime cowboy joe if that's any help to you.
And Bob Sidney goes, Oh, wonderful, wonderful.
And in that short period of time, just like a split second,
he had come up with this whole routine and he said,
[C] And so this is really what all that Jimmy Stewart had to do, which was [Dm] sing [C] [F] raggedy music to the cattle as [Em] he swings [G] back and forward in a saddle [C] on a horse to burn a ghetto.
That was it.
[G] Then the dancers would all pile in [F] on him and do the fancy routines.
And then he nod to him and he
He always sings [F] raggedy music to the cattle [G] as he swings [Em] [G] forward in a saddle [C] on a horse to burn a ghetto.
Then they do it again.
So the last routine was this number.
[G] [C] [D]
[G] [C]
[C] [Gm] [G]
[C] [N]
So we're putting it on its feet or what they call blocking day.
And Sidney comes over to me and he says, We are in trouble.
Just like that.
I said, What's wrong?
He said, Well, Greg Garrison doesn't want to pay the royalties for the can-can on that number.
And [C#] if we can't use the can-can, he says, the whole routine is ruined.
He says, That's the biggest part of the number right there.
Oh, and he cries and carries on.
I said, Bob, relax.
We'll do this with it.
[D] [G] [Em]
[G] [A#] [C]
[C]
[F] [C] So that week I made the royalties.
He said, Oh, you're so smart.
We only had to [N] change two parts of the orchestration, which didn't take very long because we just, you know, I sketched it out the way they went with it.
And that week I made the royalties.
Okay.
This has to do with the Dean Martin show and one of the most memorable as far as I'm concerned.
[N] And it has to do with Jimmy Stewart and Raquel Welch that happened to be guests on the show this particular week.
[C] Raquel Welch came in first, her call being like at 9 o'clock.
[N] And her first words out of her mouth were,
Where's my makeup man?
I've got to have a mirror with lightbulbs all the way around it to help with my makeup and all that.
And Bob Sidney, who was the choreographer, says, What are you
She said no.
He couldn't believe what he was hearing.
And she went on and read and he just let her go and finally he said, Where my dear
He said, Is there somebody else on this show besides you?
And she says, Oh yeah, who?
She says, He says, Jimmy Stewart, that's who.
There's a brief minute silence there.
And Raquel says, Who's he?
Bob Sidney lost it.
He says, Who's he?
He just happens to be the biggest movie star in the business.
Who's he?
Are you Sirius, my dear?
And he raves and rants and she just has a blank look on her face.
Who's he?
Oh!
So finally, after we set her, we came up.
Jimmy Stewart's call comes in, or answers, comes in at his prescribed time.
And the first words out of Bob Sidney's mouth were,
Jim, I don't know what we're going to do with you.
He said, You can't sing and you can't dance.
And Jimmy Stewart looks at him and he says, Well
He says, I can play piano and sing ragtime cowboy joe if that's any help to you.
And Bob Sidney goes, Oh, wonderful, wonderful.
And in that short period of time, just like a split second,
he had come up with this whole routine and he said,
[C] And so this is really what all that Jimmy Stewart had to do, which was [Dm] sing [C] [F] raggedy music to the cattle as [Em] he swings [G] back and forward in a saddle [C] on a horse to burn a ghetto.
That was it.
[G] Then the dancers would all pile in [F] on him and do the fancy routines.
And then he nod to him and he
He always sings [F] raggedy music to the cattle [G] as he swings [Em] [G] forward in a saddle [C] on a horse to burn a ghetto.
Then they do it again.
So the last routine was this number.
[G] [C] [D]
[G] [C]
[C] [Gm] [G]
[C] [N]
So we're putting it on its feet or what they call blocking day.
And Sidney comes over to me and he says, We are in trouble.
Just like that.
I said, What's wrong?
He said, Well, Greg Garrison doesn't want to pay the royalties for the can-can on that number.
And [C#] if we can't use the can-can, he says, the whole routine is ruined.
He says, That's the biggest part of the number right there.
Oh, and he cries and carries on.
I said, Bob, relax.
We'll do this with it.
[D] [G] [Em]
[G] [A#] [C]
[C]
[F] [C] So that week I made the royalties.
He said, Oh, you're so smart.
We only had to [N] change two parts of the orchestration, which didn't take very long because we just, you know, I sketched it out the way they went with it.
And that week I made the royalties.
Okay.
Key:
C
G
F
Em
D
C
G
F
Yep.
_ This has to do with the Dean Martin show _ and one of the _ most memorable as far as I'm concerned.
_ _ _ [N] And it has to do _ with _ _ _ _ _ _ Jimmy Stewart _ and Raquel Welch that happened to be guests on the show this particular week.
_ _ [C] _ Raquel Welch came in first, her call _ being like at 9 o'clock.
_ [N] And her first words out of her mouth were,
_ _ Where's my makeup man?
_ I've got to have a mirror with lightbulbs all the way around it to help with my makeup and all that.
And Bob Sidney, who was the choreographer, _ _ says, _ _ _ What are _ _ you_
She said no.
He couldn't believe what he was hearing.
And she went on and read and he just let her go and finally he said, Where my dear_
He said, Is there somebody else on this show besides you?
_ And she says, Oh yeah, who? _ _
She says, He says, _ _ Jimmy Stewart, that's who.
_ _ There's a brief minute silence there.
_ And _ Raquel says, Who's he?
_ _ Bob Sidney lost it.
_ He says, Who's he?
He just happens to be the biggest movie star in the business.
_ Who's he?
Are you Sirius, my dear?
And he raves and rants and she just has a _ blank look on her face.
Who's he?
Oh! _
So finally, after we set her, we came up.
Jimmy _ Stewart's call comes in, or answers, comes in at his prescribed time.
_ And the first words out of Bob Sidney's mouth were,
_ Jim, I don't know what we're going to do with you.
He said, You can't sing and you can't dance.
And Jimmy Stewart looks at him and he says, _ Well_
_ He says, I can _ play _ piano and sing ragtime cowboy joe if that's any help to you.
_ And Bob Sidney goes, Oh, _ wonderful, _ wonderful.
_ _ And in that short period of _ time, just like a split second, _
he had come up with this whole routine and he said,
_ _ [C] And so this is really what all that Jimmy Stewart had to do, which _ was [Dm] _ sing [C] _ _ [F] raggedy music to the cattle as [Em] he swings _ [G] back and forward in a saddle [C] on a horse to burn a ghetto.
That was it.
[G] Then the dancers would all pile in [F] on him and do the fancy routines.
And then he nod to him and _ he_
He always sings _ [F] raggedy music to the cattle [G] as he swings _ [Em] _ [G] forward in a saddle [C] on a horse to burn a ghetto.
Then they do it again.
_ So the last routine was this number. _
_ _ [G] _ _ _ [C] _ _ [D] _
_ _ _ [G] _ _ _ [C] _ _
_ [C] _ _ [Gm] _ _ _ _ [G] _
_ _ _ _ _ _ _ _
_ _ _ [C] _ _ [N] _ _
So we're putting it on its feet or what they call blocking day.
_ _ _ _ And Sidney comes over to me and he says, We are in trouble.
_ _ Just like that.
I said, What's wrong?
He said, Well, Greg Garrison doesn't want to pay the royalties _ for the can-can on that number.
And [C#] if we can't use the can-can, he says, the whole routine is ruined.
He says, That's the biggest part of the number right there.
Oh, and he cries and carries on.
I said, Bob, relax.
We'll do this with it. _ _ _ _ _ _
_ _ [D] _ _ _ [G] _ _ [Em] _
_ _ _ [G] _ _ [A#] _ _ [C] _
_ _ _ [C] _ _ _ _ _
_ _ _ [F] _ _ [C] So that week I made the royalties.
He said, Oh, you're so smart. _ _
We only had to [N] change _ two parts of the orchestration, which didn't take very long because we just, you know, I sketched it out the way they went with it.
_ And that week I made the royalties.
_ _ _ Okay. _ _
_ This has to do with the Dean Martin show _ and one of the _ most memorable as far as I'm concerned.
_ _ _ [N] And it has to do _ with _ _ _ _ _ _ Jimmy Stewart _ and Raquel Welch that happened to be guests on the show this particular week.
_ _ [C] _ Raquel Welch came in first, her call _ being like at 9 o'clock.
_ [N] And her first words out of her mouth were,
_ _ Where's my makeup man?
_ I've got to have a mirror with lightbulbs all the way around it to help with my makeup and all that.
And Bob Sidney, who was the choreographer, _ _ says, _ _ _ What are _ _ you_
She said no.
He couldn't believe what he was hearing.
And she went on and read and he just let her go and finally he said, Where my dear_
He said, Is there somebody else on this show besides you?
_ And she says, Oh yeah, who? _ _
She says, He says, _ _ Jimmy Stewart, that's who.
_ _ There's a brief minute silence there.
_ And _ Raquel says, Who's he?
_ _ Bob Sidney lost it.
_ He says, Who's he?
He just happens to be the biggest movie star in the business.
_ Who's he?
Are you Sirius, my dear?
And he raves and rants and she just has a _ blank look on her face.
Who's he?
Oh! _
So finally, after we set her, we came up.
Jimmy _ Stewart's call comes in, or answers, comes in at his prescribed time.
_ And the first words out of Bob Sidney's mouth were,
_ Jim, I don't know what we're going to do with you.
He said, You can't sing and you can't dance.
And Jimmy Stewart looks at him and he says, _ Well_
_ He says, I can _ play _ piano and sing ragtime cowboy joe if that's any help to you.
_ And Bob Sidney goes, Oh, _ wonderful, _ wonderful.
_ _ And in that short period of _ time, just like a split second, _
he had come up with this whole routine and he said,
_ _ [C] And so this is really what all that Jimmy Stewart had to do, which _ was [Dm] _ sing [C] _ _ [F] raggedy music to the cattle as [Em] he swings _ [G] back and forward in a saddle [C] on a horse to burn a ghetto.
That was it.
[G] Then the dancers would all pile in [F] on him and do the fancy routines.
And then he nod to him and _ he_
He always sings _ [F] raggedy music to the cattle [G] as he swings _ [Em] _ [G] forward in a saddle [C] on a horse to burn a ghetto.
Then they do it again.
_ So the last routine was this number. _
_ _ [G] _ _ _ [C] _ _ [D] _
_ _ _ [G] _ _ _ [C] _ _
_ [C] _ _ [Gm] _ _ _ _ [G] _
_ _ _ _ _ _ _ _
_ _ _ [C] _ _ [N] _ _
So we're putting it on its feet or what they call blocking day.
_ _ _ _ And Sidney comes over to me and he says, We are in trouble.
_ _ Just like that.
I said, What's wrong?
He said, Well, Greg Garrison doesn't want to pay the royalties _ for the can-can on that number.
And [C#] if we can't use the can-can, he says, the whole routine is ruined.
He says, That's the biggest part of the number right there.
Oh, and he cries and carries on.
I said, Bob, relax.
We'll do this with it. _ _ _ _ _ _
_ _ [D] _ _ _ [G] _ _ [Em] _
_ _ _ [G] _ _ [A#] _ _ [C] _
_ _ _ [C] _ _ _ _ _
_ _ _ [F] _ _ [C] So that week I made the royalties.
He said, Oh, you're so smart. _ _
We only had to [N] change _ two parts of the orchestration, which didn't take very long because we just, you know, I sketched it out the way they went with it.
_ And that week I made the royalties.
_ _ _ Okay. _ _