Chords for Stephen Stills Talks About His Strat and Career | Fender
Tempo:
108.825 bpm
Chords used:
E
A
B
Em
Gm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[B] [E] [Gb] When we first went to Louisiana, I was five, [Gm] we stayed in a hotel right in the French Quarter
and I was allowed to go downstairs and observe the Zulu parade.
They are, they are hardly, they have these bad drummers.
And so, all those syncopations and everything hit a five year old flush in the face for
like five [E] hours.
And it never leaves.
I got moved around a lot.
[Ebm] So there were lots of different things to absorb.
When you've been to five different high [G] schools from the ninth grade on, five different schools.
But one of them was a boarding school that had a little 13 piece orchestra and I was the drummer.
Oh, so good.
Well first of all, when you're young and you've just been supplanted to Central America and
there aren't no rock and roll anymore, there's nothing to do but play acoustic guitar.
[A] So my finger picking developed over that year, that two and a half years that we spent there.
And my first recording was made at a Voice of America station in San Jose, Costa Rica.
I didn't hear it for 35 or 40 years.
And I finally, we were making the box set and I finally heard it and it's like my finger
picking evolved, fully formed.
I was [Em] astonished.
Who is that?
And then I hear this reedy little undeveloped voice and I'm like, oh, it's me.
[B]
[Em] And I got to the Stratocaster by process of, I got things that felt more like my acoustic
guitars at first.
Because the whole goal at the beginning was to take folk music style and apply it to the
electric guitar, which is how I met Neil and what our first attraction was because that's
what he was doing.
There's just so much there.
You can do everything with it.
And particularly if you learn, if you actually learn how to manipulate the tone controls,
I mean, it's pretty quick.
It's been my friend for 30 years now.
But I also have absorbed, just stolen [E] everybody that I saw blind.
I've got some new Jeff Beck techniques involved in it.
There's no other Jeff Beck, but just the way he uses a volume knob in the wangy bar.
What he does is instead of hitting a note full on, he doesn't do that much.
He'll go, he'll [B] go.
That's a great [E] technique.
And you also, you can start a note and you bend it in.
[Gm] [N] And that's what's so fabulous about this.
And you can also get to get to get a little wang in it, you know, and take it back down.
You know, it's applied sciences and the band has to be going around you, but when you pull
it off, it sounds really good.
And also when you get the feedback just enough to where it can stand right in the right spot
and just [B] start the note and [Ab] then [A] play [G] it one handed.
[A] [G] [D]
[C] [E]
[A] Right hand never having touched the strings.
But it's got to be really [E] live.
And it's much better than having a volume pedal because everything's involved.
And the volume pedal tends to take away a lot of signal.
[Gbm]
You don't get back all the way to the top.
[E]
[Gm] [Eb] [Em] But the whole modernistic shape and everything was, you know, was stylistic of the times.
Remember, it was during the space race.
Personally, I always, I agreed with Jimi Hendrix that when they're strung upside down backwards
because of the way the [A] pickups are changed, it's really good, except the knobs are really
impossible to operate and the wang bars on the wrong side.
So it gets in the way.
As I actually got one, a lefty, I strung it upside down and it sounded fab.
[Dm] [Em] [A]
and I was allowed to go downstairs and observe the Zulu parade.
They are, they are hardly, they have these bad drummers.
And so, all those syncopations and everything hit a five year old flush in the face for
like five [E] hours.
And it never leaves.
I got moved around a lot.
[Ebm] So there were lots of different things to absorb.
When you've been to five different high [G] schools from the ninth grade on, five different schools.
But one of them was a boarding school that had a little 13 piece orchestra and I was the drummer.
Oh, so good.
Well first of all, when you're young and you've just been supplanted to Central America and
there aren't no rock and roll anymore, there's nothing to do but play acoustic guitar.
[A] So my finger picking developed over that year, that two and a half years that we spent there.
And my first recording was made at a Voice of America station in San Jose, Costa Rica.
I didn't hear it for 35 or 40 years.
And I finally, we were making the box set and I finally heard it and it's like my finger
picking evolved, fully formed.
I was [Em] astonished.
Who is that?
And then I hear this reedy little undeveloped voice and I'm like, oh, it's me.
[B]
[Em] And I got to the Stratocaster by process of, I got things that felt more like my acoustic
guitars at first.
Because the whole goal at the beginning was to take folk music style and apply it to the
electric guitar, which is how I met Neil and what our first attraction was because that's
what he was doing.
There's just so much there.
You can do everything with it.
And particularly if you learn, if you actually learn how to manipulate the tone controls,
I mean, it's pretty quick.
It's been my friend for 30 years now.
But I also have absorbed, just stolen [E] everybody that I saw blind.
I've got some new Jeff Beck techniques involved in it.
There's no other Jeff Beck, but just the way he uses a volume knob in the wangy bar.
What he does is instead of hitting a note full on, he doesn't do that much.
He'll go, he'll [B] go.
That's a great [E] technique.
And you also, you can start a note and you bend it in.
[Gm] [N] And that's what's so fabulous about this.
And you can also get to get to get a little wang in it, you know, and take it back down.
You know, it's applied sciences and the band has to be going around you, but when you pull
it off, it sounds really good.
And also when you get the feedback just enough to where it can stand right in the right spot
and just [B] start the note and [Ab] then [A] play [G] it one handed.
[A] [G] [D]
[C] [E]
[A] Right hand never having touched the strings.
But it's got to be really [E] live.
And it's much better than having a volume pedal because everything's involved.
And the volume pedal tends to take away a lot of signal.
[Gbm]
You don't get back all the way to the top.
[E]
[Gm] [Eb] [Em] But the whole modernistic shape and everything was, you know, was stylistic of the times.
Remember, it was during the space race.
Personally, I always, I agreed with Jimi Hendrix that when they're strung upside down backwards
because of the way the [A] pickups are changed, it's really good, except the knobs are really
impossible to operate and the wang bars on the wrong side.
So it gets in the way.
As I actually got one, a lefty, I strung it upside down and it sounded fab.
[Dm] [Em] [A]
Key:
E
A
B
Em
Gm
E
A
B
_ [B] _ [E] _ _ _ _ [Gb] When we first went to Louisiana, I was five, [Gm] we stayed in a hotel right in the French Quarter
and I was allowed to go downstairs and observe the Zulu parade.
They are, they are hardly, they have these bad drummers.
And so, all those syncopations and everything hit a five year old flush in the face for
like five [E] hours.
And it never leaves.
I got moved around a lot.
[Ebm] So there were lots of different things to absorb.
When you've been to five different high [G] schools from the ninth grade on, five different schools.
But one of them was a _ boarding school that had a little 13 piece orchestra and I was the drummer.
Oh, _ so good.
Well first of all, when you're young and you've just been supplanted to Central America and
there aren't no rock and roll anymore, there's nothing to do but play acoustic guitar.
[A] So my finger picking developed over that year, that two and a half years that we spent there.
_ And my first recording was made at a Voice of America station in San Jose, Costa Rica.
I didn't hear it for 35 or 40 years. _
And I finally, we were making the box set and I finally heard it and it's like my finger
picking _ evolved, fully formed.
I was [Em] astonished.
Who is that?
And then I hear this reedy little undeveloped voice and I'm like, oh, it's me.
_ _ [B] _ _ _
_ [Em] _ And I got to the Stratocaster by process of, I got things that felt more like my acoustic
guitars at first.
Because the whole goal at the beginning was to take folk music style and apply it to the
electric guitar, _ which is how I met Neil and what our first attraction was because that's
what he was doing.
There's just so much there.
You can do everything with it.
And particularly if you learn, if you actually learn how to manipulate the _ tone controls,
I mean, it's pretty quick.
It's been my friend for 30 years now.
_ _ _ _ _ But I also have absorbed, just stolen [E] everybody that I saw blind.
I've got some new Jeff Beck techniques involved in it.
There's no other Jeff Beck, but just the way he uses a volume knob in the wangy bar.
What he does is instead of hitting a note full on, he doesn't do that much.
He'll go, he'll [B] go. _ _
That's a great [E] technique.
And you also, you can start a note _ _ and you bend it in.
[Gm] _ _ [N] And that's what's so fabulous about this.
And you can also get to get to get a little wang in it, you know, _ and take it back down.
You know, it's applied sciences and the band has to be going around you, but when you pull
it off, it sounds really good.
And also when you get the feedback just enough to where it can stand right in the right spot
and just [B] start the note and [Ab] then _ [A] play [G] it one handed.
[A] _ [G] _ [D] _ _ _
_ [C] _ _ _ [E] _ _ _ _
_ [A] _ _ _ Right hand never having touched the strings.
But it's got to be really [E] live. _
_ _ _ _ And it's much better than having a volume pedal because _ everything's involved.
And the volume pedal tends to take away a lot of signal.
[Gbm] _
_ You don't get back all the way to the top.
[E] _ _
_ _ [Gm] _ _ [Eb] _ [Em] _ But the whole modernistic shape and everything was, you know, was stylistic of the times.
Remember, it was during the space race.
_ Personally, I always, I agreed with Jimi Hendrix that when they're strung upside down backwards
because of the way the [A] pickups are changed, it's really good, except the knobs are really
impossible to operate and the wang bars on the wrong side.
So it gets in the way.
As I actually got one, a lefty, I strung it upside down and it sounded fab.
_ _ _ [Dm] _ _ _ [Em] _ _ _ _ [A] _ _ _
and I was allowed to go downstairs and observe the Zulu parade.
They are, they are hardly, they have these bad drummers.
And so, all those syncopations and everything hit a five year old flush in the face for
like five [E] hours.
And it never leaves.
I got moved around a lot.
[Ebm] So there were lots of different things to absorb.
When you've been to five different high [G] schools from the ninth grade on, five different schools.
But one of them was a _ boarding school that had a little 13 piece orchestra and I was the drummer.
Oh, _ so good.
Well first of all, when you're young and you've just been supplanted to Central America and
there aren't no rock and roll anymore, there's nothing to do but play acoustic guitar.
[A] So my finger picking developed over that year, that two and a half years that we spent there.
_ And my first recording was made at a Voice of America station in San Jose, Costa Rica.
I didn't hear it for 35 or 40 years. _
And I finally, we were making the box set and I finally heard it and it's like my finger
picking _ evolved, fully formed.
I was [Em] astonished.
Who is that?
And then I hear this reedy little undeveloped voice and I'm like, oh, it's me.
_ _ [B] _ _ _
_ [Em] _ And I got to the Stratocaster by process of, I got things that felt more like my acoustic
guitars at first.
Because the whole goal at the beginning was to take folk music style and apply it to the
electric guitar, _ which is how I met Neil and what our first attraction was because that's
what he was doing.
There's just so much there.
You can do everything with it.
And particularly if you learn, if you actually learn how to manipulate the _ tone controls,
I mean, it's pretty quick.
It's been my friend for 30 years now.
_ _ _ _ _ But I also have absorbed, just stolen [E] everybody that I saw blind.
I've got some new Jeff Beck techniques involved in it.
There's no other Jeff Beck, but just the way he uses a volume knob in the wangy bar.
What he does is instead of hitting a note full on, he doesn't do that much.
He'll go, he'll [B] go. _ _
That's a great [E] technique.
And you also, you can start a note _ _ and you bend it in.
[Gm] _ _ [N] And that's what's so fabulous about this.
And you can also get to get to get a little wang in it, you know, _ and take it back down.
You know, it's applied sciences and the band has to be going around you, but when you pull
it off, it sounds really good.
And also when you get the feedback just enough to where it can stand right in the right spot
and just [B] start the note and [Ab] then _ [A] play [G] it one handed.
[A] _ [G] _ [D] _ _ _
_ [C] _ _ _ [E] _ _ _ _
_ [A] _ _ _ Right hand never having touched the strings.
But it's got to be really [E] live. _
_ _ _ _ And it's much better than having a volume pedal because _ everything's involved.
And the volume pedal tends to take away a lot of signal.
[Gbm] _
_ You don't get back all the way to the top.
[E] _ _
_ _ [Gm] _ _ [Eb] _ [Em] _ But the whole modernistic shape and everything was, you know, was stylistic of the times.
Remember, it was during the space race.
_ Personally, I always, I agreed with Jimi Hendrix that when they're strung upside down backwards
because of the way the [A] pickups are changed, it's really good, except the knobs are really
impossible to operate and the wang bars on the wrong side.
So it gets in the way.
As I actually got one, a lefty, I strung it upside down and it sounded fab.
_ _ _ [Dm] _ _ _ [Em] _ _ _ _ [A] _ _ _