Chords for Sweet & Lynch - Unified EPK Rhythm Section (Official)
Tempo:
88.45 bpm
Chords used:
Ab
Eb
Bb
A
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
All the cannon gear going?
Okay, I have the clap.
Ow!
You know what, I'm your hype man.
Get him a big clock, or at least get a
Download a big clock for your iPhone and put it around your neck.
I'm [Eb] your hype man.
[G] You say some good shit, I'll be like, hey man.
[Bb] Right on, baby.
Hey-o!
[Eb]
We are working on Sweet and Lynch 2.
The guys are killing it.
We're second day [B] in today, tracking [Eb] drums and bass.
I'm digging it.
How many tracks we got?
Hype man!
Seven tracks.
Seven tracks, two days, and [Ab] they're sounding really good.
I'm thrilled that we have the original lineup.
[Bb]
George and myself, but the rhythm [A] section, again, which [Bb] is Brian Tisci, [Abm] drums, and [N] Mr.
James Lomenzo on bass.
We have James set up out in the room with Brian, and they [Eb] just lock in, man.
They follow each other, and they know what the other guy's going to do.
I can tell by the way he [Ab] sets up a riff, kind of where he's going.
Not exactly, but once we're in it, I just follow.
Yeah, but that's some crazy
That's not just where he's going.
That's like, do-do-do-do-do-do-do-do-do-do-do-do.
[A] [E] [Db]
[Gb]
[E] [Bm] Brian and I go way back.
[Ab] Any opportunity I get to do anything [F] with him, I always really enjoy.
We can [Bm] lock up serendipitously, when we think about it.
So it makes my job easier, because he always sounds great.
[N] He's perfect for what I tend to look for.
He plays in such a way that it's got such power, and yet he's got finesse.
I can give him three examples of what may work, but I really want to hear what he likes the most.
[Db] [Bb] Oh, do you want tight?
[N]
Or
Michael knows what he wants, and our job is really just to make it groove.
I just want to make him happy.
If he says cool, then cool.
Okay.
Okay, stay in touch.
[Bb] [E] [Gb] He is a little younger, but you know what?
He [C] still has the same drive and love for music that we all have.
And he's an exceptional musician.
And man, I tell you, it's just [Cm] such an honor to play with these guys.
It's like a [Gb] glove on a hand.
It just fits perfectly.
There's no hesitation or questions about this lineup or this band.
Working with Brian and James is just like a dream come true.
I get [Ab] to sit and listen to those guys play for a whole week.
[N] It's amazing.
They can basically do any idea that Michael throws at them.
Brian throws in all that nice little ghost note stuff and wrist action on the hi-hats,
and really makes the stuff have [G] dynamics.
So I knew he was going to kill it.
And then James, we go way back because White Lion and Striper toured together back in 1989.
We have a history together, and I've [A] always loved James playing.
I have [D] a basic enthusiastic style.
[Ab] I really pay homage to [E] the artists that I grew up listening to.
[G] That's what excites me about doing [Db] any project.
[E]
[N] You're not James [Db] anymore.
[Eb] You're Bootsy.
[G] Bootsy, baby!
I need a star base! You're Bootsy.
[A] [B] [D]
[Ab] [Gb]
[E] [B] [A] He's one of the [Ab] best bass players I've ever worked with.
[F] Just [E] very [Eb] melodic.
He's adding all this stuff, and I love it.
[Ab] It adds so much life to the song and to the album.
[B] What happens a lot of times is you'll track something, and it doesn't take it to a new level.
It's good, but it doesn't go [Gb] to here.
When these guys track their parts, it keeps going up.
It's better and better and better.
It goes to new levels.
Obviously, everybody knows how good George is.
He's one of my top [B] ten rock-slash-metal guitar [Bb] players of all time.
[B] It's such a bucket list honor to be playing with him.
It's really cool.
[A] George's tracks are awesome.
Everything he sends is great.
You can really tell when you're working with musicians that have made a lot of [Ab] records
because everything they do sounds like a record.
[F] There's no crap.
[F] Is there anything you'd like to add that you don't think we [A] touched on?
At this point, no.
I think that'll do [Eb] it.
I've got a hype guy, though.
That's the only thing.
[Bb] I wanted to [Eb] see if you would maybe consider a solo record of yours being called
James Lomenzo, Back to Basics.
[Bb] [Ab] [Eb] That one's already in the can, man.
You know that.
[Cm] [Ab] [Eb] [F]
Okay, I have the clap.
Ow!
You know what, I'm your hype man.
Get him a big clock, or at least get a
Download a big clock for your iPhone and put it around your neck.
I'm [Eb] your hype man.
[G] You say some good shit, I'll be like, hey man.
[Bb] Right on, baby.
Hey-o!
[Eb]
We are working on Sweet and Lynch 2.
The guys are killing it.
We're second day [B] in today, tracking [Eb] drums and bass.
I'm digging it.
How many tracks we got?
Hype man!
Seven tracks.
Seven tracks, two days, and [Ab] they're sounding really good.
I'm thrilled that we have the original lineup.
[Bb]
George and myself, but the rhythm [A] section, again, which [Bb] is Brian Tisci, [Abm] drums, and [N] Mr.
James Lomenzo on bass.
We have James set up out in the room with Brian, and they [Eb] just lock in, man.
They follow each other, and they know what the other guy's going to do.
I can tell by the way he [Ab] sets up a riff, kind of where he's going.
Not exactly, but once we're in it, I just follow.
Yeah, but that's some crazy
That's not just where he's going.
That's like, do-do-do-do-do-do-do-do-do-do-do-do.
[A] [E] [Db]
[Gb]
[E] [Bm] Brian and I go way back.
[Ab] Any opportunity I get to do anything [F] with him, I always really enjoy.
We can [Bm] lock up serendipitously, when we think about it.
So it makes my job easier, because he always sounds great.
[N] He's perfect for what I tend to look for.
He plays in such a way that it's got such power, and yet he's got finesse.
I can give him three examples of what may work, but I really want to hear what he likes the most.
[Db] [Bb] Oh, do you want tight?
[N]
Or
Michael knows what he wants, and our job is really just to make it groove.
I just want to make him happy.
If he says cool, then cool.
Okay.
Okay, stay in touch.
[Bb] [E] [Gb] He is a little younger, but you know what?
He [C] still has the same drive and love for music that we all have.
And he's an exceptional musician.
And man, I tell you, it's just [Cm] such an honor to play with these guys.
It's like a [Gb] glove on a hand.
It just fits perfectly.
There's no hesitation or questions about this lineup or this band.
Working with Brian and James is just like a dream come true.
I get [Ab] to sit and listen to those guys play for a whole week.
[N] It's amazing.
They can basically do any idea that Michael throws at them.
Brian throws in all that nice little ghost note stuff and wrist action on the hi-hats,
and really makes the stuff have [G] dynamics.
So I knew he was going to kill it.
And then James, we go way back because White Lion and Striper toured together back in 1989.
We have a history together, and I've [A] always loved James playing.
I have [D] a basic enthusiastic style.
[Ab] I really pay homage to [E] the artists that I grew up listening to.
[G] That's what excites me about doing [Db] any project.
[E]
[N] You're not James [Db] anymore.
[Eb] You're Bootsy.
[G] Bootsy, baby!
I need a star base! You're Bootsy.
[A] [B] [D]
[Ab] [Gb]
[E] [B] [A] He's one of the [Ab] best bass players I've ever worked with.
[F] Just [E] very [Eb] melodic.
He's adding all this stuff, and I love it.
[Ab] It adds so much life to the song and to the album.
[B] What happens a lot of times is you'll track something, and it doesn't take it to a new level.
It's good, but it doesn't go [Gb] to here.
When these guys track their parts, it keeps going up.
It's better and better and better.
It goes to new levels.
Obviously, everybody knows how good George is.
He's one of my top [B] ten rock-slash-metal guitar [Bb] players of all time.
[B] It's such a bucket list honor to be playing with him.
It's really cool.
[A] George's tracks are awesome.
Everything he sends is great.
You can really tell when you're working with musicians that have made a lot of [Ab] records
because everything they do sounds like a record.
[F] There's no crap.
[F] Is there anything you'd like to add that you don't think we [A] touched on?
At this point, no.
I think that'll do [Eb] it.
I've got a hype guy, though.
That's the only thing.
[Bb] I wanted to [Eb] see if you would maybe consider a solo record of yours being called
James Lomenzo, Back to Basics.
[Bb] [Ab] [Eb] That one's already in the can, man.
You know that.
[Cm] [Ab] [Eb] [F]
Key:
Ab
Eb
Bb
A
E
Ab
Eb
Bb
All the cannon gear going?
Okay, I have the clap.
Ow!
You know what, I'm your hype man.
_ _ _ Get him a big clock, or at least get a_
Download a big clock for your iPhone and put it around your neck. _ _ _
I'm _ [Eb] _ your hype man.
[G] You say some good shit, I'll be like, hey man.
_ [Bb] _ Right on, baby.
Hey-o!
[Eb] _ _ _ _ _ _
We are working on Sweet and Lynch 2.
The guys are killing it.
We're second day [B] in today, tracking [Eb] drums and bass.
I'm digging it.
How many tracks we got?
Hype man!
_ Seven tracks.
Seven tracks, two days, and [Ab] they're sounding really good.
I'm thrilled that we have the original lineup.
[Bb]
George and myself, but the rhythm [A] section, again, which [Bb] is Brian Tisci, [Abm] drums, and [N] Mr.
James Lomenzo on bass.
We have James set up out in the room with Brian, and they [Eb] just lock in, man.
They follow each other, and they know what the other guy's going to do.
I can tell by the way he [Ab] sets up a riff, kind of where he's going.
Not exactly, but once we're in it, I just follow.
Yeah, but that's some crazy_
That's not just where he's going.
That's like, do-do-do-do-do-do-do-do-do-do-do-do.
[A] _ _ _ [E] _ [Db] _
_ [Gb] _ _ _ _ _ _ _
_ [E] _ [Bm] Brian and I go way back.
[Ab] Any opportunity I get to do anything [F] with him, I always really enjoy.
We can [Bm] lock up serendipitously, when we think about it.
So it makes my job easier, because he always sounds great.
_ [N] He's perfect for what I tend to look for.
He plays in such a way that it's got such power, and yet he's got finesse. _ _ _ _ _
I can give him three examples of what may work, but I really want to hear what he likes the most.
_ [Db] _ _ [Bb] Oh, do you want tight?
[N] _ _
_ _ Or_
Michael knows what he wants, and our job is really just to make it groove.
I just want to make him happy.
If he says cool, then cool.
Okay.
Okay, stay in touch.
[Bb] _ _ [E] _ [Gb] He is a little younger, but you know what?
He [C] still has the same drive and love for music that we all have.
And he's an exceptional musician.
And man, I tell you, it's just [Cm] such an honor to play with these guys.
It's like a [Gb] glove on a hand.
It just fits perfectly.
_ _ _ _ There's no hesitation or questions about this lineup or this band.
Working with Brian and James is just like a dream come true.
I get [Ab] to sit and listen to those guys play for a whole week.
[N] It's amazing.
They can basically do any idea that Michael throws at them.
Brian throws in all that nice little ghost note stuff and wrist action on the hi-hats,
and really makes the stuff have [G] dynamics.
So I knew he was going to kill it.
And then James, we go way back because White Lion and Striper toured together back in 1989.
We have a history together, and I've [A] always loved James playing.
I have [D] a basic enthusiastic style.
[Ab] I really pay homage to [E] the artists that I grew up listening to.
[G] That's what excites me about doing [Db] any project.
[E] _
_ [N] _ _ _ You're not James [Db] anymore.
[Eb] You're Bootsy.
[G] Bootsy, baby!
I need a star base! You're Bootsy.
_ [A] _ [B] _ _ _ [D] _ _
[Ab] _ _ _ _ [Gb] _ _ _ _
_ _ [E] _ [B] _ _ [A] _ He's one of the [Ab] best bass players I've ever worked with.
[F] Just [E] very [Eb] melodic.
He's adding all this stuff, and I love it.
[Ab] It adds so much life to the song and to the album.
[B] What happens a lot of times is you'll track something, and it doesn't take it to a new level.
It's good, but it doesn't go [Gb] to here.
When these guys track their parts, it keeps going up.
It's better and better and better.
It goes to new levels.
Obviously, everybody knows how good George is.
He's one of my top [B] ten rock-slash-metal guitar [Bb] players of all time.
[B] It's such a bucket list honor to be playing with him.
It's really cool.
[A] George's tracks are awesome.
Everything he sends is great.
You can really tell when you're working with musicians that have made a lot of [Ab] records
because everything they do sounds like a record.
_ [F] There's no crap.
[F] Is there anything you'd like to add that you don't think we [A] touched on?
_ At this point, no.
I think that'll do [Eb] it.
I've got a hype guy, though.
That's the only thing.
[Bb] I wanted to [Eb] see if you would maybe consider a solo record of yours being called
James Lomenzo, Back to Basics.
[Bb] _ _ [Ab] [Eb] That one's already in the can, man.
You know that.
_ _ _ [Cm] _ _ _ _ [Ab] _ _ [Eb] _ _ _ [F] _ _
Okay, I have the clap.
Ow!
You know what, I'm your hype man.
_ _ _ Get him a big clock, or at least get a_
Download a big clock for your iPhone and put it around your neck. _ _ _
I'm _ [Eb] _ your hype man.
[G] You say some good shit, I'll be like, hey man.
_ [Bb] _ Right on, baby.
Hey-o!
[Eb] _ _ _ _ _ _
We are working on Sweet and Lynch 2.
The guys are killing it.
We're second day [B] in today, tracking [Eb] drums and bass.
I'm digging it.
How many tracks we got?
Hype man!
_ Seven tracks.
Seven tracks, two days, and [Ab] they're sounding really good.
I'm thrilled that we have the original lineup.
[Bb]
George and myself, but the rhythm [A] section, again, which [Bb] is Brian Tisci, [Abm] drums, and [N] Mr.
James Lomenzo on bass.
We have James set up out in the room with Brian, and they [Eb] just lock in, man.
They follow each other, and they know what the other guy's going to do.
I can tell by the way he [Ab] sets up a riff, kind of where he's going.
Not exactly, but once we're in it, I just follow.
Yeah, but that's some crazy_
That's not just where he's going.
That's like, do-do-do-do-do-do-do-do-do-do-do-do.
[A] _ _ _ [E] _ [Db] _
_ [Gb] _ _ _ _ _ _ _
_ [E] _ [Bm] Brian and I go way back.
[Ab] Any opportunity I get to do anything [F] with him, I always really enjoy.
We can [Bm] lock up serendipitously, when we think about it.
So it makes my job easier, because he always sounds great.
_ [N] He's perfect for what I tend to look for.
He plays in such a way that it's got such power, and yet he's got finesse. _ _ _ _ _
I can give him three examples of what may work, but I really want to hear what he likes the most.
_ [Db] _ _ [Bb] Oh, do you want tight?
[N] _ _
_ _ Or_
Michael knows what he wants, and our job is really just to make it groove.
I just want to make him happy.
If he says cool, then cool.
Okay.
Okay, stay in touch.
[Bb] _ _ [E] _ [Gb] He is a little younger, but you know what?
He [C] still has the same drive and love for music that we all have.
And he's an exceptional musician.
And man, I tell you, it's just [Cm] such an honor to play with these guys.
It's like a [Gb] glove on a hand.
It just fits perfectly.
_ _ _ _ There's no hesitation or questions about this lineup or this band.
Working with Brian and James is just like a dream come true.
I get [Ab] to sit and listen to those guys play for a whole week.
[N] It's amazing.
They can basically do any idea that Michael throws at them.
Brian throws in all that nice little ghost note stuff and wrist action on the hi-hats,
and really makes the stuff have [G] dynamics.
So I knew he was going to kill it.
And then James, we go way back because White Lion and Striper toured together back in 1989.
We have a history together, and I've [A] always loved James playing.
I have [D] a basic enthusiastic style.
[Ab] I really pay homage to [E] the artists that I grew up listening to.
[G] That's what excites me about doing [Db] any project.
[E] _
_ [N] _ _ _ You're not James [Db] anymore.
[Eb] You're Bootsy.
[G] Bootsy, baby!
I need a star base! You're Bootsy.
_ [A] _ [B] _ _ _ [D] _ _
[Ab] _ _ _ _ [Gb] _ _ _ _
_ _ [E] _ [B] _ _ [A] _ He's one of the [Ab] best bass players I've ever worked with.
[F] Just [E] very [Eb] melodic.
He's adding all this stuff, and I love it.
[Ab] It adds so much life to the song and to the album.
[B] What happens a lot of times is you'll track something, and it doesn't take it to a new level.
It's good, but it doesn't go [Gb] to here.
When these guys track their parts, it keeps going up.
It's better and better and better.
It goes to new levels.
Obviously, everybody knows how good George is.
He's one of my top [B] ten rock-slash-metal guitar [Bb] players of all time.
[B] It's such a bucket list honor to be playing with him.
It's really cool.
[A] George's tracks are awesome.
Everything he sends is great.
You can really tell when you're working with musicians that have made a lot of [Ab] records
because everything they do sounds like a record.
_ [F] There's no crap.
[F] Is there anything you'd like to add that you don't think we [A] touched on?
_ At this point, no.
I think that'll do [Eb] it.
I've got a hype guy, though.
That's the only thing.
[Bb] I wanted to [Eb] see if you would maybe consider a solo record of yours being called
James Lomenzo, Back to Basics.
[Bb] _ _ [Ab] [Eb] That one's already in the can, man.
You know that.
_ _ _ [Cm] _ _ _ _ [Ab] _ _ [Eb] _ _ _ [F] _ _