Chords for Ripples
Tempo:
135.6 bpm
Chords used:
E
C#m
A
Bm
B
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[B] A lot of people have asked for this one.
[A] Ripples from [B] A Trick of the Tail.
[E] You've got to remember that this was Phil Collins' first attempt at singing [G#m] lead [F#m] vocals with Genesis.
Of course I knew he had a great voice.
[B] We [F#] auditioned lots of other singers, but [A] really, to have a singer of this quality within the ranks
[B] was an opportunity that was too good to pass up [E] on.
When I first saw the band live, Peter Gabriel and [F#m] Phil were singing together.
I thought it was an automatic double track.
[B] On Pete's vocals, they sounded [F#] so similar.
They both have [A] big rock voices.
I think [B] that's really important that Genesis had this [E] [A] ability to have quiet moments [Em] and [Am] then loud moments.
The dynamics of which I think [C#m] characterized the band very much in those early days.
To be able to write iconic choruses or things that sounded like [Bm] choruses,
that [C#m] didn't necessarily repeat the words, [D] but here comes the big [A] bit.
Of course, there's [G#m] [E] an instrumental [F#] section coming in [C#m] which features [Bm] some guitar [C#m] work from me.
It sounds like it's [Bm] backwards, but [A] actually it isn't.
[C#m]
It's synthy [F#m] high fly, [Bm] which [A] lopped off the beginning [E] of the [C#] note, making it [G#] sound backwards.
[C#m] You've got that [G#m] going.
Turn it [C#m] up a little bit.
[A] Then Tony's [E] keyboard's kicking in.
[B] You've got synth, [E] you've got it backed by piano.
[F#m] [E]
[B] [E] Maybe the [F#m] poignancy of [E] the song comes [G#] from this section.
[E] In a way, [D] the big [E] moment is in [F#m]
Phil [Bm] singing Sail Away.
[E] That whole thing, which I think probably [Bm] influenced Enya later [E] on with Sail Away, Sail [Bm] Away.
My first big hit single, all of that.
[E] I think [C#m] there's so [D] much that's typically Genesis.
[C#m]
[Bm] Long songs.
[A] When I first joined the [C#m] band, [E] we were doing [F#] six songs per [C#m] album.
Then you could argue [Bm] with Landmines Down.
[C#m] It was [Bm] four songs [A] per album.
[C#m] Four sides [F#m] linked.
But this [Bm] is the [A] beginnings of all of that.
[E] Thank you.
[N]
[A] Ripples from [B] A Trick of the Tail.
[E] You've got to remember that this was Phil Collins' first attempt at singing [G#m] lead [F#m] vocals with Genesis.
Of course I knew he had a great voice.
[B] We [F#] auditioned lots of other singers, but [A] really, to have a singer of this quality within the ranks
[B] was an opportunity that was too good to pass up [E] on.
When I first saw the band live, Peter Gabriel and [F#m] Phil were singing together.
I thought it was an automatic double track.
[B] On Pete's vocals, they sounded [F#] so similar.
They both have [A] big rock voices.
I think [B] that's really important that Genesis had this [E] [A] ability to have quiet moments [Em] and [Am] then loud moments.
The dynamics of which I think [C#m] characterized the band very much in those early days.
To be able to write iconic choruses or things that sounded like [Bm] choruses,
that [C#m] didn't necessarily repeat the words, [D] but here comes the big [A] bit.
Of course, there's [G#m] [E] an instrumental [F#] section coming in [C#m] which features [Bm] some guitar [C#m] work from me.
It sounds like it's [Bm] backwards, but [A] actually it isn't.
[C#m]
It's synthy [F#m] high fly, [Bm] which [A] lopped off the beginning [E] of the [C#] note, making it [G#] sound backwards.
[C#m] You've got that [G#m] going.
Turn it [C#m] up a little bit.
[A] Then Tony's [E] keyboard's kicking in.
[B] You've got synth, [E] you've got it backed by piano.
[F#m] [E]
[B] [E] Maybe the [F#m] poignancy of [E] the song comes [G#] from this section.
[E] In a way, [D] the big [E] moment is in [F#m]
Phil [Bm] singing Sail Away.
[E] That whole thing, which I think probably [Bm] influenced Enya later [E] on with Sail Away, Sail [Bm] Away.
My first big hit single, all of that.
[E] I think [C#m] there's so [D] much that's typically Genesis.
[C#m]
[Bm] Long songs.
[A] When I first joined the [C#m] band, [E] we were doing [F#] six songs per [C#m] album.
Then you could argue [Bm] with Landmines Down.
[C#m] It was [Bm] four songs [A] per album.
[C#m] Four sides [F#m] linked.
But this [Bm] is the [A] beginnings of all of that.
[E] Thank you.
[N]
Key:
E
C#m
A
Bm
B
E
C#m
A
[B] _ A lot of people have asked for this one. _
_ [A] _ _ _ Ripples _ from [B] A Trick of the Tail. _ _ _ _
[E] You've got to remember that this was _ Phil Collins' first _ attempt at singing [G#m] lead [F#m] vocals with Genesis.
_ Of course I knew he had a great voice.
_ [B] _ _ We [F#] auditioned lots of other singers, but [A] really, to have a singer of this quality within the ranks
_ [B] was an opportunity that was too good to pass up [E] on.
_ _ _ When I first saw the band live, _ Peter Gabriel and [F#m] Phil were singing together.
I thought it was an automatic double track. _
[B] On Pete's vocals, they sounded [F#] so similar.
They both have [A] big rock voices. _ _ _
I think [B] that's really important that Genesis had this [E] _ _ [A] ability to have _ quiet moments _ [Em] _ and [Am] then loud moments.
The dynamics of which I think [C#m] characterized the band very much in those early days.
To be able to write iconic choruses or things that sounded like [Bm] choruses,
that _ [C#m] didn't necessarily repeat the words, [D] but here comes the big [A] bit.
Of course, there's [G#m] _ [E] an instrumental [F#] section coming in [C#m] which _ features [Bm] _ some guitar [C#m] work from me.
It sounds like it's [Bm] backwards, _ but [A] actually it isn't.
[C#m] _ _
It's synthy [F#m] high fly, [Bm] which [A] lopped off the beginning _ [E] of the [C#] note, making it [G#] sound backwards.
[C#m] You've got that _ [G#m] going.
Turn it [C#m] up a little bit.
_ _ [A] Then Tony's [E] keyboard's kicking in.
[B] You've got synth, [E] you've got it backed by piano.
[F#m] _ _ _ _ [E] _ _ _
_ [B] _ _ _ [E] _ Maybe the [F#m] poignancy of [E] the song comes [G#] from this _ section.
_ [E] _ In a way, [D] the big [E] moment is in _ [F#m] _ _
Phil [Bm] singing Sail Away.
[E] That whole thing, which I think probably [Bm] influenced _ Enya later [E] on with Sail Away, Sail [Bm] Away.
My first big hit single, all of that. _ _
_ [E] I think _ _ [C#m] there's so [D] much that's typically Genesis.
_ [C#m] _ _ _
_ [Bm] Long songs.
_ [A] When I first joined the [C#m] band, [E] we were doing [F#] _ six songs per [C#m] album.
Then you could argue [Bm] with Landmines Down.
[C#m] It was _ [Bm] _ four songs [A] per album.
_ [C#m] _ Four sides [F#m] linked.
But this [Bm] is the [A] beginnings of all of that.
[E] Thank you.
_ [N] _ _
_ [A] _ _ _ Ripples _ from [B] A Trick of the Tail. _ _ _ _
[E] You've got to remember that this was _ Phil Collins' first _ attempt at singing [G#m] lead [F#m] vocals with Genesis.
_ Of course I knew he had a great voice.
_ [B] _ _ We [F#] auditioned lots of other singers, but [A] really, to have a singer of this quality within the ranks
_ [B] was an opportunity that was too good to pass up [E] on.
_ _ _ When I first saw the band live, _ Peter Gabriel and [F#m] Phil were singing together.
I thought it was an automatic double track. _
[B] On Pete's vocals, they sounded [F#] so similar.
They both have [A] big rock voices. _ _ _
I think [B] that's really important that Genesis had this [E] _ _ [A] ability to have _ quiet moments _ [Em] _ and [Am] then loud moments.
The dynamics of which I think [C#m] characterized the band very much in those early days.
To be able to write iconic choruses or things that sounded like [Bm] choruses,
that _ [C#m] didn't necessarily repeat the words, [D] but here comes the big [A] bit.
Of course, there's [G#m] _ [E] an instrumental [F#] section coming in [C#m] which _ features [Bm] _ some guitar [C#m] work from me.
It sounds like it's [Bm] backwards, _ but [A] actually it isn't.
[C#m] _ _
It's synthy [F#m] high fly, [Bm] which [A] lopped off the beginning _ [E] of the [C#] note, making it [G#] sound backwards.
[C#m] You've got that _ [G#m] going.
Turn it [C#m] up a little bit.
_ _ [A] Then Tony's [E] keyboard's kicking in.
[B] You've got synth, [E] you've got it backed by piano.
[F#m] _ _ _ _ [E] _ _ _
_ [B] _ _ _ [E] _ Maybe the [F#m] poignancy of [E] the song comes [G#] from this _ section.
_ [E] _ In a way, [D] the big [E] moment is in _ [F#m] _ _
Phil [Bm] singing Sail Away.
[E] That whole thing, which I think probably [Bm] influenced _ Enya later [E] on with Sail Away, Sail [Bm] Away.
My first big hit single, all of that. _ _
_ [E] I think _ _ [C#m] there's so [D] much that's typically Genesis.
_ [C#m] _ _ _
_ [Bm] Long songs.
_ [A] When I first joined the [C#m] band, [E] we were doing [F#] _ six songs per [C#m] album.
Then you could argue [Bm] with Landmines Down.
[C#m] It was _ [Bm] _ four songs [A] per album.
_ [C#m] _ Four sides [F#m] linked.
But this [Bm] is the [A] beginnings of all of that.
[E] Thank you.
_ [N] _ _