Chords for Ron Wood & Charlie Watts (The Rolling Stones) - Miss You | Het verhaal achter het nummer
Tempo:
116 bpm
Chords used:
Dm
Am
A
D
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Dm]
We'd always just adapt with what music [Am] was in the air and we'd just adapt.
It was the dance thing at the time and we'd [Am] been such great dancers, all of us.
Yeah, and we thought it was just [Dm] another beat, you know, we could do disco.
[D] [Dm]
I'm only just getting into the Bee Gees, I used to hate them.
I heard the, Night Fever, Night Fever, [Gm]
heard [D] that the other day, and even that's quite good actually.
Even as night, even night fever, [Gm] we know how to show it.
[A] [Am] [Am] I've been sleeping all night, [Dm] I miss you.
[Am]
[Dm]
That was another [A] change the band was going through and evolving into the next round, round [Dm] 12, you know, round 13, round 14, here we go.
So it's [D] not like songs like Miss You [A] came out of frustration because of what [Am] people said and [A] because you were
Well it may have done from [D] Nick's point of view, but for me, [Am] no, it was the question of trying to help him write a song by [D] playing the drums [Dm] with him.
That's all it is really, [D] it's called [Am] being a band.
[Dm] [D]
We didn't see Paris to be [Ab] honest, apart [G] from sitting in a [A] restaurant, having some escargot [G] or whatever.
[A] All I know is we were trapped in Bill and Co's studios.
[Am] We did Tattoo You, [Dm] apparently, Emotional Rescue, apparently, that album, [A] but they were all, some girls, but we were just churning [Dm] out music, that's all it was.
More tracks, more, and these got used [Am] for this album, [A] and then this got used for this album.
[Dm] That's what we do, [A] just churn out [D] music.
Go into [A] the studio for two days, when Keith had let you out to go to sleep for half a day, and then you'll [D] be waked back in.
Come [D] on, nobody [Am] sleeps while I'm awake.
Break [D] into my house and drag me out of bed.
And then get me down to the studio, and you'd already be there, and [A] then poor old Bill Wyman, [E] he'd just settled into his first night's sleep in [Dm] Egypt,
and we'd get the marching orders to [A] get out of bed, get back [Am] down to the studio.
Bill, they start coming round the [Dm] back, I'd better get back in my gate.
[Am] [Dm]
[G] Drink and drugs is what [F] you're about to say.
That's about how you got over it.
[Am] Yeah.
That's the only way you got round it.
Lord, [A] I'll miss you.
I'll [Am] be listening on the phone.
I'll be sleeping all alone.
[D] I won't miss you.
[A] [Dm] [Dm]
[Am] How would both of you describe your role in the band by that time?
Guitar [Dm] and drummer, I would have thought.
Slaves.
[E] [Eb] [A]
You're not [D] a replaceable drummer in the band?
Yeah.
No, [E] no.
You?
No.
Come on, I've seen too much.
Well, not now, because it's all gone by that time.
It's all history.
At the time, it could have been, but I'd play with them, you know.
But if I was playing with Ronnie [E] and his famous [Eb] band,
I [Am] would consider what [Dm] I did a contribution [E] to that.
I mean, it's nothing.
You're nodding.
He's going to underestimate himself, isn't he?
But we couldn't go anywhere without [G] him.
[Am] [Dm]
And how about [E] you, your role in the band?
Well, Charlie said I brought laughter to the band,
and a bit of melody, I think.
[D] And if I can bring that, then that's great.
[E] He's great in the studio, actually.
[D] Which is [Am] me and Keith.
We were joined at the [Dm] hip at that time.
We always are when we play.
[E] That's why he liked me in the band,
is because a lot of it we didn't have to tear [Dm] apart and say,
look, you're doing this, you know.
It was [C] kind of, I know [F] Ronnie's going to know what to do,
[Em] because I'm going to do this, [Dm] you know.
So, you know, after a while, a man gets to look like his dog.
[F]
[Dm]
It rubs [Em] off.
[Am] [A]
[Am]
[E] [E]
We'd always just adapt with what music [Am] was in the air and we'd just adapt.
It was the dance thing at the time and we'd [Am] been such great dancers, all of us.
Yeah, and we thought it was just [Dm] another beat, you know, we could do disco.
[D] [Dm]
I'm only just getting into the Bee Gees, I used to hate them.
I heard the, Night Fever, Night Fever, [Gm]
heard [D] that the other day, and even that's quite good actually.
Even as night, even night fever, [Gm] we know how to show it.
[A] [Am] [Am] I've been sleeping all night, [Dm] I miss you.
[Am]
[Dm]
That was another [A] change the band was going through and evolving into the next round, round [Dm] 12, you know, round 13, round 14, here we go.
So it's [D] not like songs like Miss You [A] came out of frustration because of what [Am] people said and [A] because you were
Well it may have done from [D] Nick's point of view, but for me, [Am] no, it was the question of trying to help him write a song by [D] playing the drums [Dm] with him.
That's all it is really, [D] it's called [Am] being a band.
[Dm] [D]
We didn't see Paris to be [Ab] honest, apart [G] from sitting in a [A] restaurant, having some escargot [G] or whatever.
[A] All I know is we were trapped in Bill and Co's studios.
[Am] We did Tattoo You, [Dm] apparently, Emotional Rescue, apparently, that album, [A] but they were all, some girls, but we were just churning [Dm] out music, that's all it was.
More tracks, more, and these got used [Am] for this album, [A] and then this got used for this album.
[Dm] That's what we do, [A] just churn out [D] music.
Go into [A] the studio for two days, when Keith had let you out to go to sleep for half a day, and then you'll [D] be waked back in.
Come [D] on, nobody [Am] sleeps while I'm awake.
Break [D] into my house and drag me out of bed.
And then get me down to the studio, and you'd already be there, and [A] then poor old Bill Wyman, [E] he'd just settled into his first night's sleep in [Dm] Egypt,
and we'd get the marching orders to [A] get out of bed, get back [Am] down to the studio.
Bill, they start coming round the [Dm] back, I'd better get back in my gate.
[Am] [Dm]
[G] Drink and drugs is what [F] you're about to say.
That's about how you got over it.
[Am] Yeah.
That's the only way you got round it.
Lord, [A] I'll miss you.
I'll [Am] be listening on the phone.
I'll be sleeping all alone.
[D] I won't miss you.
[A] [Dm] [Dm]
[Am] How would both of you describe your role in the band by that time?
Guitar [Dm] and drummer, I would have thought.
Slaves.
[E] [Eb] [A]
You're not [D] a replaceable drummer in the band?
Yeah.
No, [E] no.
You?
No.
Come on, I've seen too much.
Well, not now, because it's all gone by that time.
It's all history.
At the time, it could have been, but I'd play with them, you know.
But if I was playing with Ronnie [E] and his famous [Eb] band,
I [Am] would consider what [Dm] I did a contribution [E] to that.
I mean, it's nothing.
You're nodding.
He's going to underestimate himself, isn't he?
But we couldn't go anywhere without [G] him.
[Am] [Dm]
And how about [E] you, your role in the band?
Well, Charlie said I brought laughter to the band,
and a bit of melody, I think.
[D] And if I can bring that, then that's great.
[E] He's great in the studio, actually.
[D] Which is [Am] me and Keith.
We were joined at the [Dm] hip at that time.
We always are when we play.
[E] That's why he liked me in the band,
is because a lot of it we didn't have to tear [Dm] apart and say,
look, you're doing this, you know.
It was [C] kind of, I know [F] Ronnie's going to know what to do,
[Em] because I'm going to do this, [Dm] you know.
So, you know, after a while, a man gets to look like his dog.
[F]
[Dm]
It rubs [Em] off.
[Am] [A]
[Am]
[E] [E]
Key:
Dm
Am
A
D
E
Dm
Am
A
_ _ _ [Dm] _ _ _ _ _
_ _ We'd always just adapt with what music [Am] was in the air and we'd just adapt.
It was the dance thing at the time and we'd [Am] been such great dancers, all of us.
Yeah, and we thought it was just [Dm] another beat, you know, we could do disco. _
[D] _ _ [Dm] _ _ _ _ _ _
_ _ I'm only just getting into the Bee Gees, I used to hate them.
I heard the, Night Fever, Night Fever, [Gm]
heard [D] that the other day, and even that's quite good actually. _
_ Even as night, even night fever, [Gm] _ we know how to show it. _ _ _
_ [A] _ _ [Am] _ _ _ [Am] I've been sleeping all night, [Dm] I miss you. _ _ _
_ _ _ [Am] _ _ _ _ _
_ _ _ [Dm] _ _ _ _ _
That was another [A] change the band was going through and evolving into the next round, round [Dm] 12, you know, round 13, round 14, here we go.
So it's [D] not like songs like Miss You [A] came out of frustration because of what [Am] people said and [A] because you were_
Well it may have done from [D] Nick's point of view, but for me, [Am] no, it was the question of trying to help him write a song by [D] playing the drums [Dm] with him.
That's all it is really, [D] it's called [Am] being a band. _ _
_ _ _ [Dm] _ _ _ _ [D]
We didn't see Paris to be [Ab] honest, apart [G] from sitting in a [A] restaurant, having some escargot [G] or whatever.
[A] All I know is we were trapped in Bill and Co's studios.
_ [Am] We did _ Tattoo You, [Dm] apparently, Emotional Rescue, apparently, that album, [A] but they were all, some girls, but we were just churning [Dm] out music, that's all it was.
More tracks, more, and these got used [Am] for this album, [A] and then this got used for this album.
_ [Dm] That's what we do, [A] just churn out [D] music.
Go into [A] the studio for two days, when Keith had let you out to go to sleep for half a day, and then you'll [D] be waked back in.
Come [D] on, nobody [Am] sleeps while I'm awake. _ _ _
_ Break [D] into my house and drag me out of bed. _
_ And then get me down to the studio, and you'd already be there, and [A] then poor old Bill Wyman, [E] he'd just settled into his first night's sleep in [Dm] Egypt,
and we'd get the marching orders to [A] get out of bed, get back [Am] down to the studio.
Bill, _ they start coming round the [Dm] _ _ _ back, I'd better get back in my gate.
_ _ _ [Am] _ _ _ [Dm] _
[G] Drink and drugs is what [F] you're about to say.
That's about how you got over it.
[Am] Yeah.
That's the only way you got round it.
Lord, [A] I'll miss you. _ _
_ _ I'll [Am] be listening on the phone.
I'll be sleeping all alone.
[D] I won't miss you. _ _
_ [A] _ _ [Dm] _ _ _ _ [Dm] _
_ _ _ [Am] How would both of you describe your role in the band by that time?
Guitar [Dm] and drummer, I would have thought.
Slaves.
[E] _ _ _ [Eb] _ _ _ [A] _ _
_ You're not [D] a replaceable drummer in the band?
Yeah.
No, [E] no.
You?
No.
Come on, I've seen too much.
Well, not now, because it's all gone by that time.
It's all history.
At the time, it could have been, but I'd play with them, you know.
But if I was playing with Ronnie [E] and his famous [Eb] band,
I [Am] would _ _ _ _ consider what [Dm] I did a contribution [E] to that.
I mean, it's nothing.
_ _ You're nodding.
He's going to underestimate himself, isn't he?
But we couldn't go anywhere without [G] him. _
[Am] _ _ _ _ _ _ _ [Dm] _
And how about [E] you, your role in the band?
Well, Charlie said I brought laughter to the band,
and a bit of melody, I think.
[D] And if I can bring that, then that's great.
[E] He's great in the studio, actually.
_ [D] Which is [Am] me and Keith.
We were joined at the [Dm] hip at that time.
We always are when we play.
[E] That's why he liked me in the band,
is because a lot of it we didn't have to tear [Dm] apart and say,
look, you're doing this, you know.
It was [C] kind of, I know [F] Ronnie's going to know what to do,
[Em] because I'm going to do this, [Dm] you know.
So, you know, after a while, a man gets to look like his dog.
[F] _ _
_ _ _ _ _ _ [Dm] _
It rubs [Em] off.
_ _ _ [Am] _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ [A] _ _ _
[Am] _ _ _ _ _ _ _ _
_ _ _ [E] _ _ _ _ [E] _
_ _ _ _ _ _ _ _
_ _ We'd always just adapt with what music [Am] was in the air and we'd just adapt.
It was the dance thing at the time and we'd [Am] been such great dancers, all of us.
Yeah, and we thought it was just [Dm] another beat, you know, we could do disco. _
[D] _ _ [Dm] _ _ _ _ _ _
_ _ I'm only just getting into the Bee Gees, I used to hate them.
I heard the, Night Fever, Night Fever, [Gm]
heard [D] that the other day, and even that's quite good actually. _
_ Even as night, even night fever, [Gm] _ we know how to show it. _ _ _
_ [A] _ _ [Am] _ _ _ [Am] I've been sleeping all night, [Dm] I miss you. _ _ _
_ _ _ [Am] _ _ _ _ _
_ _ _ [Dm] _ _ _ _ _
That was another [A] change the band was going through and evolving into the next round, round [Dm] 12, you know, round 13, round 14, here we go.
So it's [D] not like songs like Miss You [A] came out of frustration because of what [Am] people said and [A] because you were_
Well it may have done from [D] Nick's point of view, but for me, [Am] no, it was the question of trying to help him write a song by [D] playing the drums [Dm] with him.
That's all it is really, [D] it's called [Am] being a band. _ _
_ _ _ [Dm] _ _ _ _ [D]
We didn't see Paris to be [Ab] honest, apart [G] from sitting in a [A] restaurant, having some escargot [G] or whatever.
[A] All I know is we were trapped in Bill and Co's studios.
_ [Am] We did _ Tattoo You, [Dm] apparently, Emotional Rescue, apparently, that album, [A] but they were all, some girls, but we were just churning [Dm] out music, that's all it was.
More tracks, more, and these got used [Am] for this album, [A] and then this got used for this album.
_ [Dm] That's what we do, [A] just churn out [D] music.
Go into [A] the studio for two days, when Keith had let you out to go to sleep for half a day, and then you'll [D] be waked back in.
Come [D] on, nobody [Am] sleeps while I'm awake. _ _ _
_ Break [D] into my house and drag me out of bed. _
_ And then get me down to the studio, and you'd already be there, and [A] then poor old Bill Wyman, [E] he'd just settled into his first night's sleep in [Dm] Egypt,
and we'd get the marching orders to [A] get out of bed, get back [Am] down to the studio.
Bill, _ they start coming round the [Dm] _ _ _ back, I'd better get back in my gate.
_ _ _ [Am] _ _ _ [Dm] _
[G] Drink and drugs is what [F] you're about to say.
That's about how you got over it.
[Am] Yeah.
That's the only way you got round it.
Lord, [A] I'll miss you. _ _
_ _ I'll [Am] be listening on the phone.
I'll be sleeping all alone.
[D] I won't miss you. _ _
_ [A] _ _ [Dm] _ _ _ _ [Dm] _
_ _ _ [Am] How would both of you describe your role in the band by that time?
Guitar [Dm] and drummer, I would have thought.
Slaves.
[E] _ _ _ [Eb] _ _ _ [A] _ _
_ You're not [D] a replaceable drummer in the band?
Yeah.
No, [E] no.
You?
No.
Come on, I've seen too much.
Well, not now, because it's all gone by that time.
It's all history.
At the time, it could have been, but I'd play with them, you know.
But if I was playing with Ronnie [E] and his famous [Eb] band,
I [Am] would _ _ _ _ consider what [Dm] I did a contribution [E] to that.
I mean, it's nothing.
_ _ You're nodding.
He's going to underestimate himself, isn't he?
But we couldn't go anywhere without [G] him. _
[Am] _ _ _ _ _ _ _ [Dm] _
And how about [E] you, your role in the band?
Well, Charlie said I brought laughter to the band,
and a bit of melody, I think.
[D] And if I can bring that, then that's great.
[E] He's great in the studio, actually.
_ [D] Which is [Am] me and Keith.
We were joined at the [Dm] hip at that time.
We always are when we play.
[E] That's why he liked me in the band,
is because a lot of it we didn't have to tear [Dm] apart and say,
look, you're doing this, you know.
It was [C] kind of, I know [F] Ronnie's going to know what to do,
[Em] because I'm going to do this, [Dm] you know.
So, you know, after a while, a man gets to look like his dog.
[F] _ _
_ _ _ _ _ _ [Dm] _
It rubs [Em] off.
_ _ _ [Am] _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ [A] _ _ _
[Am] _ _ _ _ _ _ _ _
_ _ _ [E] _ _ _ _ [E] _
_ _ _ _ _ _ _ _