Chords for Recording Session: "New Year's Eve at the Gates of Hell"
Tempo:
74.6 bpm
Chords used:
D
A
G
C
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
You're gonna come in with me on the kick?
Yeah.
I count it, we'll just hit that one, okay.
Count it Rick, let's see what happens.
[E] Where am I?
Oh, we're at Round Top, Texas, here recording an album here at the Festival Hill Institute.
This is the Edith Bates Old Chapel, built in 1888 I believe, and it's August.
And she said, well Ray, why are you recording this album in August?
I said, well if you're not sweating, you're not rocking.
We came out here with George Reeve, we did Enlightenment, we produced that together,
and Steve Christensen from Sugar Hill [B] recorded [E] it down in Houston is engineering it,
and Audley Freed, great guitar player, just check out his history, and Rick Richards, that's kind of the core band.
It's just a different atmosphere [Em] to get away from safe surroundings, where we're used to working,
and there's some new approaches coming on on some of this stuff, on some of the songs, and I'm really [Bm] pleased.
So I was expecting [E] a little clapboard church and a few outbuildings,
and just sitting in the middle of a field somewhere, and Ray kept saying, it looks like something in Florence, Italy.
It's an old building that was built in 1888 in LaGrange, and then they moved it here to Round Top and redid it.
It's incredible, the sound and the idea and the vibe.
I think it originally was a Methodist church, but I think it's been desanctified.
Obviously it has.
[D] [E] [D] [A]
[D] [A] [D] [A] [D]
[G] [D]
Oh look, is that the singer for the doors?
No monastery, cause no matter [A] what they did,
fools deserve to [D] be in heaven.
And by the way, [C] kid, why am [G] I here when I wasn't that [A] bad?
I just didn't like [D] churches, but I never wore plaid.
[A] [D] I actually got a song called New Year's Eve at the Gates of Hell, which I thought, you know, even there, New Year's Eve, you would party.
But it's a chance to get some digs in, and [C] just about where [Dm] I am, some [C] things [D] going on.
I mean, [A] I've always, the Divine Comedy by Dante, the [Dm] idea [D] of going down to hell and being able to come back and tell people,
well this is who's down there.
And so this [A] is an opportunity for me [D] to do the same thing in a song.
I learned to make a B flat chord, so I [A] got a double-headed snake [D] tattoo.
I love Daddy Ching by Lao Tzu, the action and the [G] motion of a roulette wheel,
[Dm] and a woman walking away in a pair of [D] high heels.
I kind of thought that this would be an interesting place for Ray, cause I thought his music would suit this space.
And [G] this space has a real [D] sound to it.
And there's no escaping the sound [C] of this chapel.
[G] It's in every microphone, and it's part of the [D] record.
It's just as much a part of the record as the songs.
[G] And that was kind of a gamble, cause I didn't know for sure it was [D] going to work, but so far it's worked great.
And I mentioned Jilly Perkins is a lying son of a bitch.
That's good.
Yeah.
I count it, we'll just hit that one, okay.
Count it Rick, let's see what happens.
[E] Where am I?
Oh, we're at Round Top, Texas, here recording an album here at the Festival Hill Institute.
This is the Edith Bates Old Chapel, built in 1888 I believe, and it's August.
And she said, well Ray, why are you recording this album in August?
I said, well if you're not sweating, you're not rocking.
We came out here with George Reeve, we did Enlightenment, we produced that together,
and Steve Christensen from Sugar Hill [B] recorded [E] it down in Houston is engineering it,
and Audley Freed, great guitar player, just check out his history, and Rick Richards, that's kind of the core band.
It's just a different atmosphere [Em] to get away from safe surroundings, where we're used to working,
and there's some new approaches coming on on some of this stuff, on some of the songs, and I'm really [Bm] pleased.
So I was expecting [E] a little clapboard church and a few outbuildings,
and just sitting in the middle of a field somewhere, and Ray kept saying, it looks like something in Florence, Italy.
It's an old building that was built in 1888 in LaGrange, and then they moved it here to Round Top and redid it.
It's incredible, the sound and the idea and the vibe.
I think it originally was a Methodist church, but I think it's been desanctified.
Obviously it has.
[D] [E] [D] [A]
[D] [A] [D] [A] [D]
[G] [D]
Oh look, is that the singer for the doors?
No monastery, cause no matter [A] what they did,
fools deserve to [D] be in heaven.
And by the way, [C] kid, why am [G] I here when I wasn't that [A] bad?
I just didn't like [D] churches, but I never wore plaid.
[A] [D] I actually got a song called New Year's Eve at the Gates of Hell, which I thought, you know, even there, New Year's Eve, you would party.
But it's a chance to get some digs in, and [C] just about where [Dm] I am, some [C] things [D] going on.
I mean, [A] I've always, the Divine Comedy by Dante, the [Dm] idea [D] of going down to hell and being able to come back and tell people,
well this is who's down there.
And so this [A] is an opportunity for me [D] to do the same thing in a song.
I learned to make a B flat chord, so I [A] got a double-headed snake [D] tattoo.
I love Daddy Ching by Lao Tzu, the action and the [G] motion of a roulette wheel,
[Dm] and a woman walking away in a pair of [D] high heels.
I kind of thought that this would be an interesting place for Ray, cause I thought his music would suit this space.
And [G] this space has a real [D] sound to it.
And there's no escaping the sound [C] of this chapel.
[G] It's in every microphone, and it's part of the [D] record.
It's just as much a part of the record as the songs.
[G] And that was kind of a gamble, cause I didn't know for sure it was [D] going to work, but so far it's worked great.
And I mentioned Jilly Perkins is a lying son of a bitch.
That's good.
Key:
D
A
G
C
E
D
A
G
_ You're gonna come in with me on the kick?
Yeah.
I count it, we'll just hit that one, okay.
Count it Rick, let's see what happens.
_ [E] _ Where _ _ _ am _ _ _ I?
Oh, we're at Round Top, Texas, here recording an album here at the Festival Hill Institute.
This is the Edith Bates Old Chapel, built in 1888 I believe, and it's August.
And she said, well Ray, why are you recording this album in August?
I said, well if you're not sweating, you're not rocking.
_ _ _ _ _ _ _ _
_ _ We _ _ came out here with George Reeve, we did Enlightenment, we produced that together,
and Steve Christensen from Sugar Hill [B] recorded [E] it down in Houston is engineering it,
and Audley Freed, great guitar player, just check out his history, and Rick Richards, that's kind of the core band.
It's just a different atmosphere [Em] to get away from safe surroundings, where we're used to working,
and _ there's some new approaches coming on on some of this stuff, on some of the songs, and I'm really [Bm] pleased.
So I was expecting [E] a little clapboard church and a few outbuildings,
and _ just sitting in the middle of a field somewhere, and Ray kept saying, it looks like something in Florence, Italy.
It's an old building that was built in 1888 in LaGrange, and then they moved it here to Round Top and redid it.
It's incredible, the sound and the idea and the vibe.
I think it originally was a Methodist church, but I think it's been desanctified.
Obviously it has.
[D] _ _ _ _ [E] _ [D] _ _ [A] _
[D] _ _ _ [A] _ [D] _ [A] _ [D] _ _
_ _ _ _ _ _ _ _
[G] _ _ _ _ [D] _ _ _ _
_ _ _ Oh look, is that the singer for the doors?
No monastery, cause no matter [A] what they did,
fools deserve to [D] be in heaven.
And by the way, [C] kid, why am [G] I here when I wasn't that [A] bad?
I just didn't like [D] churches, but I never wore plaid. _
[A] [D] I actually got a song called New Year's Eve at the Gates of Hell, which I thought, you know, even there, New Year's Eve, you would party.
But it's a chance to get some digs in, and [C] just about where [Dm] I am, some [C] things [D] going on.
I mean, [A] I've always, the Divine Comedy by Dante, the [Dm] idea [D] of going down to hell and being able to come _ back and tell people,
well this is who's down there.
And so this [A] is an opportunity for me [D] to do the same thing in a song.
_ _ I learned to make a B flat chord, so I [A] got a double-headed snake [D] tattoo.
I love Daddy Ching by Lao Tzu, the action and the [G] motion of a roulette wheel,
[Dm] and a woman walking away in a pair of [D] high heels.
I kind of thought that this would be an interesting place for Ray, cause I thought his music would suit this space.
And [G] this space has a real [D] sound to it.
And there's no escaping the sound [C] of this chapel.
[G] It's in every microphone, and it's part of the [D] record.
It's just as much a part of the record as the songs.
[G] And that was kind of a gamble, cause I didn't know for sure it was [D] going to work, but so far it's worked great. _
And I mentioned Jilly Perkins is a lying son of a bitch. _ _
That's good. _ _ _ _ _ _
Yeah.
I count it, we'll just hit that one, okay.
Count it Rick, let's see what happens.
_ [E] _ Where _ _ _ am _ _ _ I?
Oh, we're at Round Top, Texas, here recording an album here at the Festival Hill Institute.
This is the Edith Bates Old Chapel, built in 1888 I believe, and it's August.
And she said, well Ray, why are you recording this album in August?
I said, well if you're not sweating, you're not rocking.
_ _ _ _ _ _ _ _
_ _ We _ _ came out here with George Reeve, we did Enlightenment, we produced that together,
and Steve Christensen from Sugar Hill [B] recorded [E] it down in Houston is engineering it,
and Audley Freed, great guitar player, just check out his history, and Rick Richards, that's kind of the core band.
It's just a different atmosphere [Em] to get away from safe surroundings, where we're used to working,
and _ there's some new approaches coming on on some of this stuff, on some of the songs, and I'm really [Bm] pleased.
So I was expecting [E] a little clapboard church and a few outbuildings,
and _ just sitting in the middle of a field somewhere, and Ray kept saying, it looks like something in Florence, Italy.
It's an old building that was built in 1888 in LaGrange, and then they moved it here to Round Top and redid it.
It's incredible, the sound and the idea and the vibe.
I think it originally was a Methodist church, but I think it's been desanctified.
Obviously it has.
[D] _ _ _ _ [E] _ [D] _ _ [A] _
[D] _ _ _ [A] _ [D] _ [A] _ [D] _ _
_ _ _ _ _ _ _ _
[G] _ _ _ _ [D] _ _ _ _
_ _ _ Oh look, is that the singer for the doors?
No monastery, cause no matter [A] what they did,
fools deserve to [D] be in heaven.
And by the way, [C] kid, why am [G] I here when I wasn't that [A] bad?
I just didn't like [D] churches, but I never wore plaid. _
[A] [D] I actually got a song called New Year's Eve at the Gates of Hell, which I thought, you know, even there, New Year's Eve, you would party.
But it's a chance to get some digs in, and [C] just about where [Dm] I am, some [C] things [D] going on.
I mean, [A] I've always, the Divine Comedy by Dante, the [Dm] idea [D] of going down to hell and being able to come _ back and tell people,
well this is who's down there.
And so this [A] is an opportunity for me [D] to do the same thing in a song.
_ _ I learned to make a B flat chord, so I [A] got a double-headed snake [D] tattoo.
I love Daddy Ching by Lao Tzu, the action and the [G] motion of a roulette wheel,
[Dm] and a woman walking away in a pair of [D] high heels.
I kind of thought that this would be an interesting place for Ray, cause I thought his music would suit this space.
And [G] this space has a real [D] sound to it.
And there's no escaping the sound [C] of this chapel.
[G] It's in every microphone, and it's part of the [D] record.
It's just as much a part of the record as the songs.
[G] And that was kind of a gamble, cause I didn't know for sure it was [D] going to work, but so far it's worked great. _
And I mentioned Jilly Perkins is a lying son of a bitch. _ _
That's good. _ _ _ _ _ _