Chords for Ronnie Wood - I've Got My Own Album to Do - 40th Anniversary - The Guests
Tempo:
75.05 bpm
Chords used:
F
E
A
Eb
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
I won't [E] let him drown, [Gbm]
he's a far [E] eastern man.
[G]
[A] [Abm] Robert, working with George Harrison was [Ab] great.
It was a real eye-opener for me and a real insight into the man.
He was [Gb] very dedicated and [A] he taught me [Abm] vocally lots of things and [Eb] also, you know, instrumentally.
We [Db] would talk through our guitars, [Abm] a bit like I do with Keith nowadays [Dbm] and I used to do with [Gbm] Bobby Womack.
George was a wonderful [Eb] man to learn and exchange [C] with.
Well it's been a long [Dm]
time since [G] I've seen you.
[C] You're looking good.
[Dm] Well Serena, [G] Keith was stranded in [C] London one night during 1974 in a [F] club.
To get out of there he met my [G] ex-wife there [Am] and he [Bb] said, how's Ronnie?
[F] And she said, well he's making an album at home.
And he said, [C] good, can I come [Dm] with you because I want to get out of this [G] place.
So Keith came over for one [C] evening and he stayed four months where we were just exchanging and [Dm] writing and [G] bouncing off of each other.
We had a great [C] adventure and really got to know each other really tight [A] then.
Take a look at the guy [E] who's standing in front of you.
[A] Take a look at the guy who [Em]
falls empty.
Hi Kenny.
Yeah, Rod and I were [E] sparring partners in the faces at the time.
And Rod was a bit agog about me [D] making a solo album.
He was going, [A] why do you want to do that?
You're a [Gb] guitar player, you know, is it going to be [E] instrumental?
And I said, no, I'm going to sing and I want you to help me on some background vocals.
[Gb] Which [E] hilariously enough he did on If You've Got to Make a Fool of Somebody and Take a Look at the Guy.
And various songs that we took from the I've Got My Own Album to Do studio [A] version, played it live on stage at Kilburn.
[E] Yeah, so he was helpful to [A] me to get me singing.
[Eb] I can feel the fire.
[Bb] [Fm]
[Eb] I can feel the fire.
[F] Hi Michael.
Yeah, at the time of making I've Got My Own Album to Do, 1974 was a real mad year.
And you should have seen [Gb] my house, the Wick in Richmond at the time.
[F] The house that Pete Townshend now owns.
He was about the only guy who wasn't on the album at the time.
My staircase used to be full of people from Greg Allman, Paul McCartney, there'd be Rick [N] Gretsch.
They'd be all queuing down the stairs to get in.
I had my basic band of Willie Wicks and Andy Newmark and me and Keith in there.
And then all these other people we'd let in.
Jagger being one of them.
He would come and help me and David Bowie.
[F] I remember having Keith Moon and Ringo there one night and no drum kit.
It had gone away to be repaired.
I taught them all the chord of E.
And I had the two maddest, greatest drummers in the world sitting around strumming the chord of E all night [Eb] long.
In the same [F] sort of breath, I was writing a song called I Can Feel The Fire.
And I was saying, Mick, can you help me?
I've got the verses and blah, blah, blah.
And he was helping me with delivery.
And he said, well, I've got this song called It's Only Rock and Roll.
Can you help me with this?
And I'm going, yeah.
So we already had the track down to I Can Feel The Fire.
And he said, can we put the track down to It's Only Rock and Roll?
But we couldn't wake Andy Newmark up.
He'd been up for days and days playing [Ab] Wicks before.
And so he was crashed out.
We couldn't wake him up at his [F] London hotel.
And it was a long way from Figueroa to Richmond.
So Kenny Jones, we woke him up in the middle of the night.
He said, I'll come over and do it for you.
So that's how we cut the basic track with Kenny Jones and Willie Weeks on bass.
And me and David Bowie on background vocals mixing in the lead.
Anyway, afterwards, the Stones took it to Island Studios.
And Keith said to me, I took the precaution of wiping all your guitars off, [Eb] Ron, of the basic track.
And [N] I went, oh, you did?
Well, you forgot one of them.
And that was [F] my 12 string.
And that's still on.
You can hear this 12 string in the background.
But Keith was so hilarious, he thought he'd wiped all my guitars off and replaced them with his.
But he didn't.
[Bb] [Eb] [Bbm]
he's a far [E] eastern man.
[G]
[A] [Abm] Robert, working with George Harrison was [Ab] great.
It was a real eye-opener for me and a real insight into the man.
He was [Gb] very dedicated and [A] he taught me [Abm] vocally lots of things and [Eb] also, you know, instrumentally.
We [Db] would talk through our guitars, [Abm] a bit like I do with Keith nowadays [Dbm] and I used to do with [Gbm] Bobby Womack.
George was a wonderful [Eb] man to learn and exchange [C] with.
Well it's been a long [Dm]
time since [G] I've seen you.
[C] You're looking good.
[Dm] Well Serena, [G] Keith was stranded in [C] London one night during 1974 in a [F] club.
To get out of there he met my [G] ex-wife there [Am] and he [Bb] said, how's Ronnie?
[F] And she said, well he's making an album at home.
And he said, [C] good, can I come [Dm] with you because I want to get out of this [G] place.
So Keith came over for one [C] evening and he stayed four months where we were just exchanging and [Dm] writing and [G] bouncing off of each other.
We had a great [C] adventure and really got to know each other really tight [A] then.
Take a look at the guy [E] who's standing in front of you.
[A] Take a look at the guy who [Em]
falls empty.
Hi Kenny.
Yeah, Rod and I were [E] sparring partners in the faces at the time.
And Rod was a bit agog about me [D] making a solo album.
He was going, [A] why do you want to do that?
You're a [Gb] guitar player, you know, is it going to be [E] instrumental?
And I said, no, I'm going to sing and I want you to help me on some background vocals.
[Gb] Which [E] hilariously enough he did on If You've Got to Make a Fool of Somebody and Take a Look at the Guy.
And various songs that we took from the I've Got My Own Album to Do studio [A] version, played it live on stage at Kilburn.
[E] Yeah, so he was helpful to [A] me to get me singing.
[Eb] I can feel the fire.
[Bb] [Fm]
[Eb] I can feel the fire.
[F] Hi Michael.
Yeah, at the time of making I've Got My Own Album to Do, 1974 was a real mad year.
And you should have seen [Gb] my house, the Wick in Richmond at the time.
[F] The house that Pete Townshend now owns.
He was about the only guy who wasn't on the album at the time.
My staircase used to be full of people from Greg Allman, Paul McCartney, there'd be Rick [N] Gretsch.
They'd be all queuing down the stairs to get in.
I had my basic band of Willie Wicks and Andy Newmark and me and Keith in there.
And then all these other people we'd let in.
Jagger being one of them.
He would come and help me and David Bowie.
[F] I remember having Keith Moon and Ringo there one night and no drum kit.
It had gone away to be repaired.
I taught them all the chord of E.
And I had the two maddest, greatest drummers in the world sitting around strumming the chord of E all night [Eb] long.
In the same [F] sort of breath, I was writing a song called I Can Feel The Fire.
And I was saying, Mick, can you help me?
I've got the verses and blah, blah, blah.
And he was helping me with delivery.
And he said, well, I've got this song called It's Only Rock and Roll.
Can you help me with this?
And I'm going, yeah.
So we already had the track down to I Can Feel The Fire.
And he said, can we put the track down to It's Only Rock and Roll?
But we couldn't wake Andy Newmark up.
He'd been up for days and days playing [Ab] Wicks before.
And so he was crashed out.
We couldn't wake him up at his [F] London hotel.
And it was a long way from Figueroa to Richmond.
So Kenny Jones, we woke him up in the middle of the night.
He said, I'll come over and do it for you.
So that's how we cut the basic track with Kenny Jones and Willie Weeks on bass.
And me and David Bowie on background vocals mixing in the lead.
Anyway, afterwards, the Stones took it to Island Studios.
And Keith said to me, I took the precaution of wiping all your guitars off, [Eb] Ron, of the basic track.
And [N] I went, oh, you did?
Well, you forgot one of them.
And that was [F] my 12 string.
And that's still on.
You can hear this 12 string in the background.
But Keith was so hilarious, he thought he'd wiped all my guitars off and replaced them with his.
But he didn't.
[Bb] [Eb] [Bbm]
Key:
F
E
A
Eb
G
F
E
A
I won't [E] let him drown, _ _ _ [Gbm] _
he's a far [E] eastern man.
_ [G] _ _
[A] _ [Abm] Robert, working with George Harrison was [Ab] great.
It was a real eye-opener for me and a real insight into the man.
He was [Gb] very dedicated and [A] he taught me [Abm] vocally lots of things and [Eb] also, you know, instrumentally.
We [Db] would talk through our guitars, [Abm] a bit like I do with Keith nowadays [Dbm] and I used to do with [Gbm] Bobby Womack.
_ George was a wonderful [Eb] man to learn and exchange [C] with.
Well it's been a long [Dm]
time since [G] I've seen you.
[C] You're looking _ good.
_ [Dm] Well Serena, [G] Keith was stranded in [C] London one night during 1974 in a [F] club.
To get out of there he met my [G] ex-wife there [Am] and he [Bb] said, how's Ronnie?
[F] And she said, well he's making an album at home.
And he said, [C] good, can I come [Dm] with you because I want to get out of this [G] place.
So Keith came over for one [C] evening and he stayed four months where we were just exchanging and [Dm] writing and [G] bouncing off of each other.
We had a great [C] adventure and really got to know each other really tight [A] then.
Take a look at the guy [E] who's standing in front of you.
[A] Take a look at the guy who [Em]
falls empty.
Hi Kenny.
Yeah, Rod and I were _ [E] sparring partners in the faces at the time.
And Rod was a bit agog about me [D] making a solo album.
He was going, [A] why do you want to do that?
You're a [Gb] guitar player, you know, is it going to be [E] instrumental?
And I said, no, I'm going to sing and I want you to help me on some background vocals.
[Gb] Which [E] hilariously enough he did on If You've Got to Make a Fool of Somebody and Take a Look at the Guy.
And various songs that we took from the I've Got My Own Album to Do studio [A] version, played it live on stage at Kilburn.
[E] Yeah, so he was helpful to [A] me to get me singing.
[Eb] I can feel the fire.
[Bb] _ _ _ [Fm] _ _
[Eb] I can feel the fire.
_ [F] Hi Michael.
Yeah, at the time of making I've Got My Own Album to Do, 1974 was a real mad year.
And you should have seen [Gb] my house, the Wick in Richmond at the time.
[F] The house that Pete Townshend now owns.
He was about the only guy who wasn't on the album at the time.
My staircase used to be full of people from Greg Allman, Paul McCartney, there'd be Rick [N] Gretsch.
They'd be all queuing down the stairs to get in.
I had my basic band of Willie Wicks and Andy Newmark and me and Keith in there.
And then all these other people we'd let in.
Jagger being one of them.
He would come and help me and David Bowie.
[F] I remember having Keith Moon and Ringo _ there one night and no drum kit.
It had gone away to be repaired.
I taught them all the chord of E.
And I had the two maddest, greatest drummers in the world sitting around strumming the chord of E all night [Eb] long.
In the same [F] sort of breath, I was writing a song called I Can Feel The Fire.
And I was saying, Mick, can you help me?
I've got the verses and blah, blah, blah.
And he was helping me with delivery.
And he said, well, I've got this song called It's Only Rock and Roll.
Can you help me with this?
And I'm going, yeah.
So we already had the track down to I Can Feel The Fire.
And he said, can we put the track down to It's Only Rock and Roll?
But we couldn't wake Andy Newmark up.
He'd been up for days and days playing [Ab] Wicks before.
And so he was crashed out.
We couldn't wake him up at his [F] London hotel.
And it was a long way from Figueroa to Richmond.
So Kenny Jones, we woke him up in the middle of the night.
He said, I'll come over and do it for you.
So that's how we cut the basic track with Kenny Jones and Willie Weeks on bass.
And me and David Bowie on background vocals mixing in the lead.
Anyway, afterwards, the Stones took it to Island Studios.
And Keith said to me, I took the precaution of wiping all your guitars off, [Eb] Ron, of the basic track.
And [N] I went, oh, you did?
Well, you forgot one of them.
And that was [F] my 12 string.
And that's still on.
You can hear this 12 string in the background.
But Keith was so hilarious, he thought he'd wiped all my guitars off and replaced them with his.
But he didn't.
[Bb] _ _ _ _ _ [Eb] _ _ [Bbm] _ _
he's a far [E] eastern man.
_ [G] _ _
[A] _ [Abm] Robert, working with George Harrison was [Ab] great.
It was a real eye-opener for me and a real insight into the man.
He was [Gb] very dedicated and [A] he taught me [Abm] vocally lots of things and [Eb] also, you know, instrumentally.
We [Db] would talk through our guitars, [Abm] a bit like I do with Keith nowadays [Dbm] and I used to do with [Gbm] Bobby Womack.
_ George was a wonderful [Eb] man to learn and exchange [C] with.
Well it's been a long [Dm]
time since [G] I've seen you.
[C] You're looking _ good.
_ [Dm] Well Serena, [G] Keith was stranded in [C] London one night during 1974 in a [F] club.
To get out of there he met my [G] ex-wife there [Am] and he [Bb] said, how's Ronnie?
[F] And she said, well he's making an album at home.
And he said, [C] good, can I come [Dm] with you because I want to get out of this [G] place.
So Keith came over for one [C] evening and he stayed four months where we were just exchanging and [Dm] writing and [G] bouncing off of each other.
We had a great [C] adventure and really got to know each other really tight [A] then.
Take a look at the guy [E] who's standing in front of you.
[A] Take a look at the guy who [Em]
falls empty.
Hi Kenny.
Yeah, Rod and I were _ [E] sparring partners in the faces at the time.
And Rod was a bit agog about me [D] making a solo album.
He was going, [A] why do you want to do that?
You're a [Gb] guitar player, you know, is it going to be [E] instrumental?
And I said, no, I'm going to sing and I want you to help me on some background vocals.
[Gb] Which [E] hilariously enough he did on If You've Got to Make a Fool of Somebody and Take a Look at the Guy.
And various songs that we took from the I've Got My Own Album to Do studio [A] version, played it live on stage at Kilburn.
[E] Yeah, so he was helpful to [A] me to get me singing.
[Eb] I can feel the fire.
[Bb] _ _ _ [Fm] _ _
[Eb] I can feel the fire.
_ [F] Hi Michael.
Yeah, at the time of making I've Got My Own Album to Do, 1974 was a real mad year.
And you should have seen [Gb] my house, the Wick in Richmond at the time.
[F] The house that Pete Townshend now owns.
He was about the only guy who wasn't on the album at the time.
My staircase used to be full of people from Greg Allman, Paul McCartney, there'd be Rick [N] Gretsch.
They'd be all queuing down the stairs to get in.
I had my basic band of Willie Wicks and Andy Newmark and me and Keith in there.
And then all these other people we'd let in.
Jagger being one of them.
He would come and help me and David Bowie.
[F] I remember having Keith Moon and Ringo _ there one night and no drum kit.
It had gone away to be repaired.
I taught them all the chord of E.
And I had the two maddest, greatest drummers in the world sitting around strumming the chord of E all night [Eb] long.
In the same [F] sort of breath, I was writing a song called I Can Feel The Fire.
And I was saying, Mick, can you help me?
I've got the verses and blah, blah, blah.
And he was helping me with delivery.
And he said, well, I've got this song called It's Only Rock and Roll.
Can you help me with this?
And I'm going, yeah.
So we already had the track down to I Can Feel The Fire.
And he said, can we put the track down to It's Only Rock and Roll?
But we couldn't wake Andy Newmark up.
He'd been up for days and days playing [Ab] Wicks before.
And so he was crashed out.
We couldn't wake him up at his [F] London hotel.
And it was a long way from Figueroa to Richmond.
So Kenny Jones, we woke him up in the middle of the night.
He said, I'll come over and do it for you.
So that's how we cut the basic track with Kenny Jones and Willie Weeks on bass.
And me and David Bowie on background vocals mixing in the lead.
Anyway, afterwards, the Stones took it to Island Studios.
And Keith said to me, I took the precaution of wiping all your guitars off, [Eb] Ron, of the basic track.
And [N] I went, oh, you did?
Well, you forgot one of them.
And that was [F] my 12 string.
And that's still on.
You can hear this 12 string in the background.
But Keith was so hilarious, he thought he'd wiped all my guitars off and replaced them with his.
But he didn't.
[Bb] _ _ _ _ _ [Eb] _ _ [Bbm] _ _