Chords for THE CARS TV SPOT..
Tempo:
96.925 bpm
Chords used:
B
E
G
F
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[E] Since [F] 1978, the Cars have cranked [Dm] out catchy tunes characterized by [G] meticulous arrangements and ambivalent lyrics.
[F] The huge success of these [Dm] musical rhinestones [G] hasn't altered the Cars' [Dm] self-image.
We sort of just [Bb] look at ourselves as a bunch of [Dm] musicians.
We always [A] feel the same way as we did in the beginning.
Five of us are together in a room, it's the same as it has been for six years.
Rick O'Cassick writes the material.
And the [D] way the songs develop, or the way the Cars develop his songs,
would basically be that he comes in with a demo that he would have made in his eight-track studio at home.
[E]
And we'll sit and listen to it and embellish.
[Em] While the way the [F] Cars make their music hasn't changed much, where they make it has.
Their fourth album, [G] Shake It Up, was recorded in the [F] privacy of their very own [G] SynchroSound Studios.
It's a full-fledged state-of-the-art studio in a city that didn't really have one before.
It's there when you're creatively inspired, rather than have to wait until the month that it's time to record.
Having their own studio allowed them to [D] develop really their own sound,
and to have the flexibility to come in and to leave when they wanted to.
I think the Cars are so successful because they're so unique.
They're always trying different [C] things.
They're not afraid to experiment.
[Em] [D] [Em]
O'Cassick, the [Fm] most experimental in the [G] group, delights in [Em] discovering and producing unknown and [Fm] offbeat musicians.
[Em] Yeah, I go to clubs a lot.
And I also, I just go to the [D]
record stores in some towns that sell local bands' music.
And just go searching through the bins to hear if I hear a single or if I hear a record that I like,
then I might try [Am] to contact them, or if I get a tape, or if I [Bm] just see them.
Although O'Cassick's tastes are eclectic, his solid grasp of pop music has given him access to rock's mainstream.
I [B] put the singles in there to get the records out, and there's other stuff on [Bm] there that I prefer.
I go for both because [B] I know if I have something that appeals [Bm] to masses,
they'll have to take the whole record and [G] hear the other stuff as well.
So I can [Bm] accept, you know, good pop songs, you know.
[B] I like those, you know, [F] I can't say I don't.
But I like the other stuff just [E] as well.
It's been said that imitation is the sincerest form of flattery.
But is it?
Those [B] when you've been sleeping, [Db] those when [Ab] you're awake,
[E] Those if [B] you've been bad or [Db] good, [Ab] for heaven's sake, [E] yeah.
Santa [B] Claus is coming soon, [Ab] he's coming [A] to your town.
[B] You know I got [E] what I wanted, [A] you know I [Db] got what I need.
[A] I said I [Abm] got what I wanted,
[A] [B] you know I got [Dbm] what I need.
[E]
[B] [Bb] Well, here's the real thing with Shake-
[F] The huge success of these [Dm] musical rhinestones [G] hasn't altered the Cars' [Dm] self-image.
We sort of just [Bb] look at ourselves as a bunch of [Dm] musicians.
We always [A] feel the same way as we did in the beginning.
Five of us are together in a room, it's the same as it has been for six years.
Rick O'Cassick writes the material.
And the [D] way the songs develop, or the way the Cars develop his songs,
would basically be that he comes in with a demo that he would have made in his eight-track studio at home.
[E]
And we'll sit and listen to it and embellish.
[Em] While the way the [F] Cars make their music hasn't changed much, where they make it has.
Their fourth album, [G] Shake It Up, was recorded in the [F] privacy of their very own [G] SynchroSound Studios.
It's a full-fledged state-of-the-art studio in a city that didn't really have one before.
It's there when you're creatively inspired, rather than have to wait until the month that it's time to record.
Having their own studio allowed them to [D] develop really their own sound,
and to have the flexibility to come in and to leave when they wanted to.
I think the Cars are so successful because they're so unique.
They're always trying different [C] things.
They're not afraid to experiment.
[Em] [D] [Em]
O'Cassick, the [Fm] most experimental in the [G] group, delights in [Em] discovering and producing unknown and [Fm] offbeat musicians.
[Em] Yeah, I go to clubs a lot.
And I also, I just go to the [D]
record stores in some towns that sell local bands' music.
And just go searching through the bins to hear if I hear a single or if I hear a record that I like,
then I might try [Am] to contact them, or if I get a tape, or if I [Bm] just see them.
Although O'Cassick's tastes are eclectic, his solid grasp of pop music has given him access to rock's mainstream.
I [B] put the singles in there to get the records out, and there's other stuff on [Bm] there that I prefer.
I go for both because [B] I know if I have something that appeals [Bm] to masses,
they'll have to take the whole record and [G] hear the other stuff as well.
So I can [Bm] accept, you know, good pop songs, you know.
[B] I like those, you know, [F] I can't say I don't.
But I like the other stuff just [E] as well.
It's been said that imitation is the sincerest form of flattery.
But is it?
Those [B] when you've been sleeping, [Db] those when [Ab] you're awake,
[E] Those if [B] you've been bad or [Db] good, [Ab] for heaven's sake, [E] yeah.
Santa [B] Claus is coming soon, [Ab] he's coming [A] to your town.
[B] You know I got [E] what I wanted, [A] you know I [Db] got what I need.
[A] I said I [Abm] got what I wanted,
[A] [B] you know I got [Dbm] what I need.
[E]
[B] [Bb] Well, here's the real thing with Shake-
Key:
B
E
G
F
A
B
E
G
_ _ _ _ _ _
_ _ _ _ _ _
_ _ _ _ _ _
[E] _ _ _ Since [F] 1978, the Cars have cranked [Dm] out catchy tunes characterized by [G] meticulous arrangements and ambivalent lyrics.
[F] The huge success of these [Dm] musical rhinestones [G] hasn't altered the Cars' [Dm] self-image.
We sort of just [Bb] look at ourselves as a bunch of [Dm] musicians.
We always [A] feel the same way as we did in the beginning.
Five of us are together in a room, it's the same as it has been for six years.
Rick O'Cassick writes the material.
And the [D] way the songs develop, or the way the Cars develop his songs,
would basically be that he comes in with a demo that he would have made in his eight-track studio at home.
[E] _ _
And we'll sit and listen to it and embellish.
[Em] While the way the [F] Cars make their music hasn't changed much, where they make it has.
Their fourth album, [G] Shake It Up, was recorded in the [F] privacy of their very own [G] SynchroSound Studios.
It's a full-fledged state-of-the-art studio in a city that didn't really have one before.
It's there when you're creatively inspired, rather than have to wait until the month that it's time to record.
Having their own studio allowed them to [D] develop really their own sound,
and to have the flexibility to come in and to leave when they wanted to.
I think the Cars are so successful because they're so unique.
They're always trying different [C] things.
They're not afraid to experiment.
_ [Em] _ _ [D] _ _ [Em] _
O'Cassick, the [Fm] most experimental in the [G] group, delights in [Em] discovering and producing unknown and [Fm] offbeat musicians.
[Em] Yeah, I go to clubs a lot.
And I also, _ I just go to the [D] _
_ record stores in some towns that sell local bands' music.
_ And just go searching through the bins to hear if I hear a single or if I hear a record that I like,
then I might try [Am] to contact them, or if I get a tape, or if I [Bm] just see them.
Although O'Cassick's tastes are eclectic, his solid grasp of pop music has given him access to rock's mainstream.
I [B] put the singles in there to get the records out, and there's other stuff on [Bm] there that I prefer.
I go for both because [B] I know if I have something that appeals [Bm] to masses,
they'll have to take the whole record and [G] hear the other stuff as well.
So I can [Bm] accept, you know, good pop songs, you know.
[B] I like those, you know, [F] I can't say I don't.
_ But I like the other stuff just [E] as well.
It's been said that imitation is the sincerest form of flattery.
But is it?
_ _ _ _ _ _
_ _ _ _ _ _
_ _ Those [B] when you've been sleeping, [Db] _ _ those when [Ab] you're awake,
[E] _ Those if [B] you've been bad or [Db] good, _ [Ab] for heaven's sake, [E] yeah.
Santa [B] Claus is coming soon, [Ab] _ he's coming [A] to your town.
_ [B] You know I got [E] what I wanted, [A] _ you know I [Db] got what I need.
[A] I said I [Abm] got what I wanted, _
[A] [B] you know I got [Dbm] what I need. _
_ _ _ [E] _ _ _
[B] _ [Bb] Well, here's the real thing with Shake- _ _ _ _ _
_ _ _ _ _ _
_ _ _ _ _ _
[E] _ _ _ Since [F] 1978, the Cars have cranked [Dm] out catchy tunes characterized by [G] meticulous arrangements and ambivalent lyrics.
[F] The huge success of these [Dm] musical rhinestones [G] hasn't altered the Cars' [Dm] self-image.
We sort of just [Bb] look at ourselves as a bunch of [Dm] musicians.
We always [A] feel the same way as we did in the beginning.
Five of us are together in a room, it's the same as it has been for six years.
Rick O'Cassick writes the material.
And the [D] way the songs develop, or the way the Cars develop his songs,
would basically be that he comes in with a demo that he would have made in his eight-track studio at home.
[E] _ _
And we'll sit and listen to it and embellish.
[Em] While the way the [F] Cars make their music hasn't changed much, where they make it has.
Their fourth album, [G] Shake It Up, was recorded in the [F] privacy of their very own [G] SynchroSound Studios.
It's a full-fledged state-of-the-art studio in a city that didn't really have one before.
It's there when you're creatively inspired, rather than have to wait until the month that it's time to record.
Having their own studio allowed them to [D] develop really their own sound,
and to have the flexibility to come in and to leave when they wanted to.
I think the Cars are so successful because they're so unique.
They're always trying different [C] things.
They're not afraid to experiment.
_ [Em] _ _ [D] _ _ [Em] _
O'Cassick, the [Fm] most experimental in the [G] group, delights in [Em] discovering and producing unknown and [Fm] offbeat musicians.
[Em] Yeah, I go to clubs a lot.
And I also, _ I just go to the [D] _
_ record stores in some towns that sell local bands' music.
_ And just go searching through the bins to hear if I hear a single or if I hear a record that I like,
then I might try [Am] to contact them, or if I get a tape, or if I [Bm] just see them.
Although O'Cassick's tastes are eclectic, his solid grasp of pop music has given him access to rock's mainstream.
I [B] put the singles in there to get the records out, and there's other stuff on [Bm] there that I prefer.
I go for both because [B] I know if I have something that appeals [Bm] to masses,
they'll have to take the whole record and [G] hear the other stuff as well.
So I can [Bm] accept, you know, good pop songs, you know.
[B] I like those, you know, [F] I can't say I don't.
_ But I like the other stuff just [E] as well.
It's been said that imitation is the sincerest form of flattery.
But is it?
_ _ _ _ _ _
_ _ _ _ _ _
_ _ Those [B] when you've been sleeping, [Db] _ _ those when [Ab] you're awake,
[E] _ Those if [B] you've been bad or [Db] good, _ [Ab] for heaven's sake, [E] yeah.
Santa [B] Claus is coming soon, [Ab] _ he's coming [A] to your town.
_ [B] You know I got [E] what I wanted, [A] _ you know I [Db] got what I need.
[A] I said I [Abm] got what I wanted, _
[A] [B] you know I got [Dbm] what I need. _
_ _ _ [E] _ _ _
[B] _ [Bb] Well, here's the real thing with Shake- _ _ _ _ _