Chords for The Beatles (White Album) Anniversary Releases - Giles Martin & Sam Okell
Tempo:
113.7 bpm
Chords used:
G
C
E
D
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[E]
We had the privilege of remixing [D] myself and Sam, Sgt.
Pepper, last year and [C] it was incredibly nerve-wracking [D] for both of us
But [A] we were delighted with the results and [Em] they came out [D] and the fans were happy [C] and that brings us into the White Album
[D] It was recorded and approached in a very different [A] way for The Beatles.
Sgt.
Pepper, [C] they were trying to paint [D] pictures with sound and
The White Album is a much [A] more visceral, much more blank [E] canvas for the band
[A]
[D] [Gb] It's a bizarrely [E] eclectic [D] album of [A] so many different textures and tastes in it, which is [D] typical Beatles
But the [Am] one thread that The White [G] Album has which we're trying to continue what we're [D] doing here is
Bringing the listener [E] close to the [A] music, bringing [E] them into the [Am] studio
I look at you [C] all, see the [Gb] love there that's [F] sleeping
With Pepper, [A] we had the mono standpoint of the band
[G] And we knew what they wanted to do.
With this [D] one of the biggest challenges is [C] you can't make [E] The White Album sound
Too good and [A] too hi-fi because it ruins the spirit of The White [Am] Album
And [Gb] I see
Comparing [F] remixing this album and comparing Sgt.
[Am] Pepper
This has definitely been harder because [G] there are fewer layers.
The production [C] is more stripped back and [D] more simple
[E] That's obviously what they were going for, [A] not layering up lots of sounds
The [Dbm] fascinating great thing for us on something like The White Album [Gbm] is there's three different tracks
They've been recorded different [Dbm] places
Each one of them very different [Bm] and each one was sounding different and that [C] in a way is [G] what we have to embrace when we're
Doing [Am] a project like this.
[Abm] There's no template, is [Em] there?
That's the thing.
There's no two tracks that are the same
[B] She's well [Dm] acquainted with the touch of the velvet hand like a [E] lizard on [Am] a windowpane
In remixing this [E] music
It's kind of about having a detail in [G] every part of what we're doing [Am] and always referencing
[G] The original mixes and original tapes so that kind [C] of journey [G] starts right back [Eb] with what are the original [Em] session tapes?
[G] so this is Blackbird and gives you the [Cm] information about the number of takes and
Lovely [G] detail of the four tracks [Ab] showing you got a mic [G] on Paul's foot tapping
So [Am] the first part of our [G] process is to get the best possible transfer of these tapes
[Am] Blackbird [G] singing in the dead of night
[C] Take [Db] these broken [G] [A] wings and [Em] learn to fly [G] [Db] all your [C]
life
[Cm] We're [G] obviously trying to retain [D] the [Ab] the character [A] of whatever makes these songs special [G] so we go back to the original
Bits of kit so these [Ab] Fairchild compressors down here
One of the [G] arsenal of tools that Jeff Emerick and Ken Scott the engineers used to create
Kind of extreme sounds that push them to their limits and also these Altec compressors were especially modified by the EMI
Engineers and had and [A] still have a fantastic sound so we've used those in our remixes to [C] get the same the same character
I'm also mixing desks.
This is the same type of
Mixing desk that was in studio 2 and in studio 3 during the 1960s with all valve
[Gm] Preamplifiers on the input and output stages so they have a very certain characteristic when you overdrive them
So we've used all these original period effects, which we still have here at Abbey Road
[Bb] [C] [Gm] The white album came an interesting time for [C] the Beatles because they had almost gone off
Creatively [Bb] in different directions [Em] after pepper a lot of people talk about the white album being a so [Gm] dysfunctional album
[F] However, what we found from going to the [E] tapes actually the sessions were in [F] really good spirit
I mean [C] throughout there was a bond with the band that was going [Gm] on.
There was a relationship [Cm] and there's laughter on the tapes
[Gm] And [Ab] [F]
[Eb] it was a different [C] process with the white album, [Bm] I [G] think they felt free
It was almost like [F] the lunatics taken over the asylum and they could felt [N] I could do whatever they wanted the studios and they [E] did
George Harrison tells a story about my dad George Martin walking when they're doing support truck because it sounds a bit bright
George because yeah, I know and I like it
So basically get out of my bedroom and that's the spirit of the white and that's what makes it so great
[Ab] [D]
Well, the biggest discoveries we found looking at the white out was the Isha demos and basically what happened is the Beatles went to George
Harrison's house and they had their own tape machines and they demoed pretty much everything for the [G] white album acoustically with each other recording
On top of [C] that the way the Beatles [D] recorded the white albums
[G] They did numerous takes one after the other so Sam and I have been [F] through
You know hundreds.
I mean, I think there's over a [G] hundred takes of sexy Sadie for instance
[Gb] And so [Bm] what we have for this box set as we almost have a complete progression [C] of a number of songs in their different
[D] [G] Iterations the Beatles had a thread they were always good
But [Gb] they just did different takes [C] and then they found the right one
[Am] The track [F] glass onion was demoed early on and [A] developed as a song
The demo version [N] that John did the style of it is similar to the others very acoustic
I mean you can [E] tell the natural [Abm] performances they have
[E] [Bb] And [Abm] again double-tracking himself
[E]
[Bb] [Ab] So [B] this is done before they go into the studio
This is before coming to Abbey Road [G] that then come to Abbey Road and record as a band [Gm] and this take here
[C]
[E] [F] [D] The reason why the voice is [F] quiet is because he's singing [A] along for the [D] band the intention is he's gonna [Am] replace his vocal [F] later
[G] [Ab] And so once they're happy with the [Am] take and once they've arranged the song in the right [F] way
They [Am] end up with the final version which is similar.
You [F] can see has more drive and the band are [Am] playing tighter
[Gm]
[C] [Gm] And
[C] so by [F] listening through [Ab] the iterations of the [D] song and I mean, they're all good
Beatles could [E] play and they could sing but also
Just gives anyone listening an insight into their creativity
Even though they did now write individually when they came together the band they all chipped in and they all came up with the final sound
[G]
They [Gb] wanted to go back to being a band again
[Eb] Apple was [E] very consciously creating something new [A] and the white arm was going back to this just before
[E] [A] [E]
[N]
We had the privilege of remixing [D] myself and Sam, Sgt.
Pepper, last year and [C] it was incredibly nerve-wracking [D] for both of us
But [A] we were delighted with the results and [Em] they came out [D] and the fans were happy [C] and that brings us into the White Album
[D] It was recorded and approached in a very different [A] way for The Beatles.
Sgt.
Pepper, [C] they were trying to paint [D] pictures with sound and
The White Album is a much [A] more visceral, much more blank [E] canvas for the band
[A]
[D] [Gb] It's a bizarrely [E] eclectic [D] album of [A] so many different textures and tastes in it, which is [D] typical Beatles
But the [Am] one thread that The White [G] Album has which we're trying to continue what we're [D] doing here is
Bringing the listener [E] close to the [A] music, bringing [E] them into the [Am] studio
I look at you [C] all, see the [Gb] love there that's [F] sleeping
With Pepper, [A] we had the mono standpoint of the band
[G] And we knew what they wanted to do.
With this [D] one of the biggest challenges is [C] you can't make [E] The White Album sound
Too good and [A] too hi-fi because it ruins the spirit of The White [Am] Album
And [Gb] I see
Comparing [F] remixing this album and comparing Sgt.
[Am] Pepper
This has definitely been harder because [G] there are fewer layers.
The production [C] is more stripped back and [D] more simple
[E] That's obviously what they were going for, [A] not layering up lots of sounds
The [Dbm] fascinating great thing for us on something like The White Album [Gbm] is there's three different tracks
They've been recorded different [Dbm] places
Each one of them very different [Bm] and each one was sounding different and that [C] in a way is [G] what we have to embrace when we're
Doing [Am] a project like this.
[Abm] There's no template, is [Em] there?
That's the thing.
There's no two tracks that are the same
[B] She's well [Dm] acquainted with the touch of the velvet hand like a [E] lizard on [Am] a windowpane
In remixing this [E] music
It's kind of about having a detail in [G] every part of what we're doing [Am] and always referencing
[G] The original mixes and original tapes so that kind [C] of journey [G] starts right back [Eb] with what are the original [Em] session tapes?
[G] so this is Blackbird and gives you the [Cm] information about the number of takes and
Lovely [G] detail of the four tracks [Ab] showing you got a mic [G] on Paul's foot tapping
So [Am] the first part of our [G] process is to get the best possible transfer of these tapes
[Am] Blackbird [G] singing in the dead of night
[C] Take [Db] these broken [G] [A] wings and [Em] learn to fly [G] [Db] all your [C]
life
[Cm] We're [G] obviously trying to retain [D] the [Ab] the character [A] of whatever makes these songs special [G] so we go back to the original
Bits of kit so these [Ab] Fairchild compressors down here
One of the [G] arsenal of tools that Jeff Emerick and Ken Scott the engineers used to create
Kind of extreme sounds that push them to their limits and also these Altec compressors were especially modified by the EMI
Engineers and had and [A] still have a fantastic sound so we've used those in our remixes to [C] get the same the same character
I'm also mixing desks.
This is the same type of
Mixing desk that was in studio 2 and in studio 3 during the 1960s with all valve
[Gm] Preamplifiers on the input and output stages so they have a very certain characteristic when you overdrive them
So we've used all these original period effects, which we still have here at Abbey Road
[Bb] [C] [Gm] The white album came an interesting time for [C] the Beatles because they had almost gone off
Creatively [Bb] in different directions [Em] after pepper a lot of people talk about the white album being a so [Gm] dysfunctional album
[F] However, what we found from going to the [E] tapes actually the sessions were in [F] really good spirit
I mean [C] throughout there was a bond with the band that was going [Gm] on.
There was a relationship [Cm] and there's laughter on the tapes
[Gm] And [Ab] [F]
[Eb] it was a different [C] process with the white album, [Bm] I [G] think they felt free
It was almost like [F] the lunatics taken over the asylum and they could felt [N] I could do whatever they wanted the studios and they [E] did
George Harrison tells a story about my dad George Martin walking when they're doing support truck because it sounds a bit bright
George because yeah, I know and I like it
So basically get out of my bedroom and that's the spirit of the white and that's what makes it so great
[Ab] [D]
Well, the biggest discoveries we found looking at the white out was the Isha demos and basically what happened is the Beatles went to George
Harrison's house and they had their own tape machines and they demoed pretty much everything for the [G] white album acoustically with each other recording
On top of [C] that the way the Beatles [D] recorded the white albums
[G] They did numerous takes one after the other so Sam and I have been [F] through
You know hundreds.
I mean, I think there's over a [G] hundred takes of sexy Sadie for instance
[Gb] And so [Bm] what we have for this box set as we almost have a complete progression [C] of a number of songs in their different
[D] [G] Iterations the Beatles had a thread they were always good
But [Gb] they just did different takes [C] and then they found the right one
[Am] The track [F] glass onion was demoed early on and [A] developed as a song
The demo version [N] that John did the style of it is similar to the others very acoustic
I mean you can [E] tell the natural [Abm] performances they have
[E] [Bb] And [Abm] again double-tracking himself
[E]
[Bb] [Ab] So [B] this is done before they go into the studio
This is before coming to Abbey Road [G] that then come to Abbey Road and record as a band [Gm] and this take here
[C]
[E] [F] [D] The reason why the voice is [F] quiet is because he's singing [A] along for the [D] band the intention is he's gonna [Am] replace his vocal [F] later
[G] [Ab] And so once they're happy with the [Am] take and once they've arranged the song in the right [F] way
They [Am] end up with the final version which is similar.
You [F] can see has more drive and the band are [Am] playing tighter
[Gm]
[C] [Gm] And
[C] so by [F] listening through [Ab] the iterations of the [D] song and I mean, they're all good
Beatles could [E] play and they could sing but also
Just gives anyone listening an insight into their creativity
Even though they did now write individually when they came together the band they all chipped in and they all came up with the final sound
[G]
They [Gb] wanted to go back to being a band again
[Eb] Apple was [E] very consciously creating something new [A] and the white arm was going back to this just before
[E] [A] [E]
[N]
Key:
G
C
E
D
A
G
C
E
_ _ _ _ _ _ [E] _ _
_ _ _ _ _ _ We had the privilege of remixing [D] myself and Sam, Sgt.
Pepper, last year and [C] it was incredibly nerve-wracking [D] for both of us
But [A] we were delighted with the results and [Em] they came out [D] and the fans were happy [C] and that brings us into the White Album
[D] It was recorded and approached in a very different [A] way for The Beatles.
Sgt.
Pepper, [C] they were trying to paint [D] pictures with sound and
The White Album is a much [A] more visceral, much more blank [E] canvas for the band
_ [A] _
_ _ [D] _ _ [Gb] It's a bizarrely [E] eclectic [D] album of [A] so many different textures and tastes in it, which is [D] typical Beatles
But the [Am] one thread that The White [G] Album has which we're trying to continue what we're [D] doing here is
Bringing the listener [E] close to the [A] music, bringing [E] them into the [Am] studio
I look at you [C] all, see the [Gb] love there that's [F] sleeping
With Pepper, [A] we had the mono standpoint of the band
[G] And we knew what they wanted to do.
With this [D] one of the biggest challenges is [C] you can't make [E] The White Album sound
Too good and [A] too hi-fi because it ruins the spirit of The White [Am] Album
And [Gb] I see
Comparing [F] remixing this album and comparing Sgt.
[Am] Pepper
This has definitely been harder because [G] there are fewer layers.
The production [C] is more stripped back and [D] more simple
[E] That's obviously what they were going for, [A] not layering up lots of sounds
The [Dbm] fascinating great thing for us on something like The White Album [Gbm] is there's three different tracks
They've been recorded different [Dbm] places
Each one of them very different [Bm] and each one was sounding different and that [C] in a way is [G] what we have to embrace when we're
Doing [Am] a project like this.
[Abm] There's no template, is [Em] there?
That's the thing.
There's no two tracks that are the same
[B] She's well [Dm] acquainted with the touch of the velvet hand like a [E] lizard on [Am] a _ windowpane
In remixing this [E] music
It's kind of about having a detail in [G] every part of what we're doing [Am] and always referencing
[G] The original mixes and original tapes so that kind [C] of journey [G] starts right back [Eb] with what are the original [Em] session tapes?
[G] so this is Blackbird and gives you the [Cm] information about the number of takes and
Lovely [G] detail of the four tracks [Ab] showing you got a mic [G] on Paul's foot tapping
So [Am] the first part of our [G] process is to get the best possible transfer of these tapes
[Am] Blackbird [G] singing in the dead of night
_ _ [C] Take [Db] these broken [G] [A] wings and [Em] learn to fly _ [G] _ _ [Db] all your [C]
life
[Cm] _ We're [G] obviously trying to retain [D] the [Ab] the character [A] of whatever makes these songs special [G] so we go back to the original
Bits of kit so these [Ab] Fairchild compressors down here
One of the [G] arsenal of tools that Jeff Emerick and Ken Scott the engineers used to create
Kind of extreme sounds that push them to their limits and also these Altec compressors were especially modified by the EMI
Engineers and had and [A] still have a fantastic sound so we've used those in our remixes to [C] get the same the same character
I'm also mixing desks.
This is the same type of
Mixing desk that was in studio 2 and in studio 3 during the 1960s with all valve
[Gm] Preamplifiers on the input and output stages so they have a very certain characteristic when you overdrive them
So we've used all these original period effects, which we still have here at Abbey Road
[Bb] _ _ _ [C] _ _ [Gm] _ The white album came an interesting time for [C] the Beatles because they had almost gone off
Creatively [Bb] in different directions [Em] after pepper a lot of people talk about the white album being a so [Gm] dysfunctional album
[F] However, what we found from going to the [E] tapes actually the sessions were in [F] really good spirit
I mean [C] throughout there was a bond with the band that was going [Gm] on.
There was a relationship [Cm] and there's laughter on the tapes _ _
[Gm] _ _ And [Ab] _ _ [F] _ _
_ [Eb] _ _ _ _ _ it was a different [C] process with the white album, [Bm] I [G] think they felt free
It was almost like [F] the lunatics taken over the asylum and they could felt [N] I could do whatever they wanted the studios and they [E] did
George Harrison tells a story about my dad George Martin walking when they're doing support truck because it sounds a bit bright
George because yeah, I know and I like it
So basically get out of my bedroom and that's the spirit of the white and that's what makes it so great
_ [Ab] _ _ _ [D] _ _
_ _ _ Well, the biggest discoveries we found looking at the white out was the Isha demos and basically what happened is the Beatles went to George
Harrison's house and they had their own tape machines and they demoed pretty much everything for the [G] white album acoustically with each other recording
On top of [C] that the way the Beatles [D] recorded the white albums
[G] They did numerous takes one after the other so Sam and I have been [F] through
You know hundreds.
I mean, I think there's over a [G] hundred takes of sexy Sadie for instance
_ [Gb] And so [Bm] what we have for this box set as we almost have a complete progression [C] of a number of songs in their different
[D] [G] Iterations the Beatles had a thread they were always good
But [Gb] they just did different takes [C] and then they found the right one
[Am] _ The track [F] glass onion was demoed early on and [A] developed as a song
The demo version [N] that John did the style of it is similar to the others very acoustic
I mean you can [E] tell the natural [Abm] performances they have
_ _ [E] _ [Bb] And [Abm] again double-tracking himself
_ [E] _ _ _ _
[Bb] [Ab] So _ [B] this is done before they go into the studio
This is before coming to Abbey Road [G] that then come to Abbey Road and record as a band [Gm] and this take here
_ [C] _ _ _ _
[E] _ [F] _ _ _ [D] _ _ The reason why the voice is [F] quiet is because he's singing [A] along for the [D] band the intention is he's gonna [Am] replace his vocal [F] later
_ [G] _ [Ab] And so once they're happy with the [Am] take and once they've arranged the song in the right [F] way
They [Am] end up with the final version which is similar.
You [F] can see has more drive and the band are [Am] playing tighter
_ [Gm] _ _ _ _
[C] _ _ _ _ [Gm] _ And _
[C] _ so by [F] listening through [Ab] the iterations of the [D] song and I mean, they're all good
Beatles could [E] play and they could sing but also
Just gives anyone listening an insight into their creativity
Even though they did now write individually when they came together the band they all chipped in and they all came up with the final sound
[G] _
They _ _ [Gb] wanted to go back to being a band again
[Eb] Apple was [E] very consciously creating something new [A] and the white arm was going back to this just before
_ [E] _ _ _ _ _ [A] _ _ _ _ _ _ [E] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _
_ _ _ _ _ _ We had the privilege of remixing [D] myself and Sam, Sgt.
Pepper, last year and [C] it was incredibly nerve-wracking [D] for both of us
But [A] we were delighted with the results and [Em] they came out [D] and the fans were happy [C] and that brings us into the White Album
[D] It was recorded and approached in a very different [A] way for The Beatles.
Sgt.
Pepper, [C] they were trying to paint [D] pictures with sound and
The White Album is a much [A] more visceral, much more blank [E] canvas for the band
_ [A] _
_ _ [D] _ _ [Gb] It's a bizarrely [E] eclectic [D] album of [A] so many different textures and tastes in it, which is [D] typical Beatles
But the [Am] one thread that The White [G] Album has which we're trying to continue what we're [D] doing here is
Bringing the listener [E] close to the [A] music, bringing [E] them into the [Am] studio
I look at you [C] all, see the [Gb] love there that's [F] sleeping
With Pepper, [A] we had the mono standpoint of the band
[G] And we knew what they wanted to do.
With this [D] one of the biggest challenges is [C] you can't make [E] The White Album sound
Too good and [A] too hi-fi because it ruins the spirit of The White [Am] Album
And [Gb] I see
Comparing [F] remixing this album and comparing Sgt.
[Am] Pepper
This has definitely been harder because [G] there are fewer layers.
The production [C] is more stripped back and [D] more simple
[E] That's obviously what they were going for, [A] not layering up lots of sounds
The [Dbm] fascinating great thing for us on something like The White Album [Gbm] is there's three different tracks
They've been recorded different [Dbm] places
Each one of them very different [Bm] and each one was sounding different and that [C] in a way is [G] what we have to embrace when we're
Doing [Am] a project like this.
[Abm] There's no template, is [Em] there?
That's the thing.
There's no two tracks that are the same
[B] She's well [Dm] acquainted with the touch of the velvet hand like a [E] lizard on [Am] a _ windowpane
In remixing this [E] music
It's kind of about having a detail in [G] every part of what we're doing [Am] and always referencing
[G] The original mixes and original tapes so that kind [C] of journey [G] starts right back [Eb] with what are the original [Em] session tapes?
[G] so this is Blackbird and gives you the [Cm] information about the number of takes and
Lovely [G] detail of the four tracks [Ab] showing you got a mic [G] on Paul's foot tapping
So [Am] the first part of our [G] process is to get the best possible transfer of these tapes
[Am] Blackbird [G] singing in the dead of night
_ _ [C] Take [Db] these broken [G] [A] wings and [Em] learn to fly _ [G] _ _ [Db] all your [C]
life
[Cm] _ We're [G] obviously trying to retain [D] the [Ab] the character [A] of whatever makes these songs special [G] so we go back to the original
Bits of kit so these [Ab] Fairchild compressors down here
One of the [G] arsenal of tools that Jeff Emerick and Ken Scott the engineers used to create
Kind of extreme sounds that push them to their limits and also these Altec compressors were especially modified by the EMI
Engineers and had and [A] still have a fantastic sound so we've used those in our remixes to [C] get the same the same character
I'm also mixing desks.
This is the same type of
Mixing desk that was in studio 2 and in studio 3 during the 1960s with all valve
[Gm] Preamplifiers on the input and output stages so they have a very certain characteristic when you overdrive them
So we've used all these original period effects, which we still have here at Abbey Road
[Bb] _ _ _ [C] _ _ [Gm] _ The white album came an interesting time for [C] the Beatles because they had almost gone off
Creatively [Bb] in different directions [Em] after pepper a lot of people talk about the white album being a so [Gm] dysfunctional album
[F] However, what we found from going to the [E] tapes actually the sessions were in [F] really good spirit
I mean [C] throughout there was a bond with the band that was going [Gm] on.
There was a relationship [Cm] and there's laughter on the tapes _ _
[Gm] _ _ And [Ab] _ _ [F] _ _
_ [Eb] _ _ _ _ _ it was a different [C] process with the white album, [Bm] I [G] think they felt free
It was almost like [F] the lunatics taken over the asylum and they could felt [N] I could do whatever they wanted the studios and they [E] did
George Harrison tells a story about my dad George Martin walking when they're doing support truck because it sounds a bit bright
George because yeah, I know and I like it
So basically get out of my bedroom and that's the spirit of the white and that's what makes it so great
_ [Ab] _ _ _ [D] _ _
_ _ _ Well, the biggest discoveries we found looking at the white out was the Isha demos and basically what happened is the Beatles went to George
Harrison's house and they had their own tape machines and they demoed pretty much everything for the [G] white album acoustically with each other recording
On top of [C] that the way the Beatles [D] recorded the white albums
[G] They did numerous takes one after the other so Sam and I have been [F] through
You know hundreds.
I mean, I think there's over a [G] hundred takes of sexy Sadie for instance
_ [Gb] And so [Bm] what we have for this box set as we almost have a complete progression [C] of a number of songs in their different
[D] [G] Iterations the Beatles had a thread they were always good
But [Gb] they just did different takes [C] and then they found the right one
[Am] _ The track [F] glass onion was demoed early on and [A] developed as a song
The demo version [N] that John did the style of it is similar to the others very acoustic
I mean you can [E] tell the natural [Abm] performances they have
_ _ [E] _ [Bb] And [Abm] again double-tracking himself
_ [E] _ _ _ _
[Bb] [Ab] So _ [B] this is done before they go into the studio
This is before coming to Abbey Road [G] that then come to Abbey Road and record as a band [Gm] and this take here
_ [C] _ _ _ _
[E] _ [F] _ _ _ [D] _ _ The reason why the voice is [F] quiet is because he's singing [A] along for the [D] band the intention is he's gonna [Am] replace his vocal [F] later
_ [G] _ [Ab] And so once they're happy with the [Am] take and once they've arranged the song in the right [F] way
They [Am] end up with the final version which is similar.
You [F] can see has more drive and the band are [Am] playing tighter
_ [Gm] _ _ _ _
[C] _ _ _ _ [Gm] _ And _
[C] _ so by [F] listening through [Ab] the iterations of the [D] song and I mean, they're all good
Beatles could [E] play and they could sing but also
Just gives anyone listening an insight into their creativity
Even though they did now write individually when they came together the band they all chipped in and they all came up with the final sound
[G] _
They _ _ [Gb] wanted to go back to being a band again
[Eb] Apple was [E] very consciously creating something new [A] and the white arm was going back to this just before
_ [E] _ _ _ _ _ [A] _ _ _ _ _ _ [E] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _