Chords for The Day I Joined The Rolling Stones
Tempo:
111.2 bpm
Chords used:
G
F#
Gm
D#
Dm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
I had a band in South London and my drummer Tony Chapman played with the
beginnings of the Stones.
He came to me [N] and said the bass players left, do you
want to come up and have a try?
Looking in my diary on Friday the 7th of
December 1962 I went up to the Weatherby Arms pub in World's End Chelsea, entered
through the side door, met Ian Stewart, who was very nice and friendly.
He
introduced me to Mick there, who was also quite friendly actually.
I was then
introduced to Brian and Keith who were up at the bar and they were very cool
and distant and showed me little interest.
We got my equipment out and
set it up and everybody was interested all of a sudden because I had a huge
bass amp which I'd made.
I had an AC30 Vox amp and another smaller amp, a Watkins
Westminster.
I said you can use them, this is mine.
They had all horrible amps so
they were very happy about that.
I bought a round of drinks for everyone and
offered them cigarettes and of course they were jumped upon immediately
because they all smoked but they couldn't afford them.
And then Mick
turned around and asked me if I knew any black blues artists.
The only names I
knew that were similar to blues artists were Chuck Berry and Fats Domino.
[G] So he
asked me who else I knew and I talked about the Coasters, Gerrity Lewis, Eddie
Cochran, Johnny Burnett, Lloyd Price, Sam Cooke, people [F#] like that and I got a very
[Gm] strong look at distaste from everyone.
They were a bit too [D#] rock and roll for them I think at [G] the
time but in later years of course they all got to love those guys.
We rehearsed
some slow Jimmy Reed songs and pretty authentic blues but [N] they still kind of
ignored me and made it clear to me that I wasn't [G] really the right kind of
person.
I [Dm] thought the general opinion [G] of the boys was really good amps, bass
planes, nothing special but we keep him so we can use the amps.
But they [N] were con
artists at the time and they took ages to be friendly with people.
They
asked me to come to the next rehearsal and I agreed and we returned to their
flat and I left all my equipment there which was a dodgy thing because that
flat was disgusting.
I mean it was filthy, the chairs had three legs for people
they didn't like.
Anyway Tony and I left and drove back to South London
later that evening and I probably got to bed about 2 in the morning like I
beginnings of the Stones.
He came to me [N] and said the bass players left, do you
want to come up and have a try?
Looking in my diary on Friday the 7th of
December 1962 I went up to the Weatherby Arms pub in World's End Chelsea, entered
through the side door, met Ian Stewart, who was very nice and friendly.
He
introduced me to Mick there, who was also quite friendly actually.
I was then
introduced to Brian and Keith who were up at the bar and they were very cool
and distant and showed me little interest.
We got my equipment out and
set it up and everybody was interested all of a sudden because I had a huge
bass amp which I'd made.
I had an AC30 Vox amp and another smaller amp, a Watkins
Westminster.
I said you can use them, this is mine.
They had all horrible amps so
they were very happy about that.
I bought a round of drinks for everyone and
offered them cigarettes and of course they were jumped upon immediately
because they all smoked but they couldn't afford them.
And then Mick
turned around and asked me if I knew any black blues artists.
The only names I
knew that were similar to blues artists were Chuck Berry and Fats Domino.
[G] So he
asked me who else I knew and I talked about the Coasters, Gerrity Lewis, Eddie
Cochran, Johnny Burnett, Lloyd Price, Sam Cooke, people [F#] like that and I got a very
[Gm] strong look at distaste from everyone.
They were a bit too [D#] rock and roll for them I think at [G] the
time but in later years of course they all got to love those guys.
We rehearsed
some slow Jimmy Reed songs and pretty authentic blues but [N] they still kind of
ignored me and made it clear to me that I wasn't [G] really the right kind of
person.
I [Dm] thought the general opinion [G] of the boys was really good amps, bass
planes, nothing special but we keep him so we can use the amps.
But they [N] were con
artists at the time and they took ages to be friendly with people.
They
asked me to come to the next rehearsal and I agreed and we returned to their
flat and I left all my equipment there which was a dodgy thing because that
flat was disgusting.
I mean it was filthy, the chairs had three legs for people
they didn't like.
Anyway Tony and I left and drove back to South London
later that evening and I probably got to bed about 2 in the morning like I
Key:
G
F#
Gm
D#
Dm
G
F#
Gm
_ _ _ _ I had a band in South London and my drummer Tony Chapman played with the
beginnings of the Stones.
He came to me [N] and said the bass players left, do you
want to come up and have a try?
Looking in my diary on Friday the 7th of
December 1962 I went up to the Weatherby Arms pub in World's End Chelsea, entered
through the side door, met Ian Stewart, who was very nice and friendly.
He
introduced me to Mick there, who was also quite friendly actually.
I was then
introduced to Brian and Keith who were up at the bar and they were very cool
and distant and showed me little interest.
We got my equipment out and
set it up and everybody was interested all of a sudden because I had a huge
bass amp which I'd made.
I had an AC30 Vox amp and another smaller amp, a Watkins
Westminster.
I said you can use them, this is mine.
They had all horrible amps so
they were very happy about that.
I bought a round of drinks for everyone and
offered them cigarettes and of course they were jumped upon immediately
because they all smoked but they couldn't afford them.
And then Mick
turned around and asked me if I knew any black blues artists.
The only names I
knew that were similar to blues artists were Chuck Berry and Fats Domino.
_ [G] So he
asked me who else I knew and I talked about the Coasters, Gerrity Lewis, Eddie
Cochran, Johnny Burnett, Lloyd Price, Sam Cooke, people [F#] like that and I got a very
[Gm] strong look at distaste from everyone.
They were a bit too [D#] rock and roll for them I think at [G] the
time but in later years of course they all got to love those guys.
We rehearsed
some slow Jimmy Reed songs and pretty authentic blues but [N] they still kind of
ignored me and made it clear to me that I wasn't [G] really the right kind of
person.
I [Dm] thought the general opinion [G] of the boys was really good amps, bass
planes, nothing special _ but we keep him so we can use the amps.
But they [N] were con
artists at the time and they took ages to be friendly with people.
They
asked me to come to the next rehearsal and I agreed and we returned to their
flat and I left all my equipment there which was a dodgy thing because that
flat was disgusting.
I mean it was filthy, the chairs had three legs for people
they didn't like.
Anyway Tony and I left and drove back to South London
later that evening and I probably got to bed about 2 in the morning like I
beginnings of the Stones.
He came to me [N] and said the bass players left, do you
want to come up and have a try?
Looking in my diary on Friday the 7th of
December 1962 I went up to the Weatherby Arms pub in World's End Chelsea, entered
through the side door, met Ian Stewart, who was very nice and friendly.
He
introduced me to Mick there, who was also quite friendly actually.
I was then
introduced to Brian and Keith who were up at the bar and they were very cool
and distant and showed me little interest.
We got my equipment out and
set it up and everybody was interested all of a sudden because I had a huge
bass amp which I'd made.
I had an AC30 Vox amp and another smaller amp, a Watkins
Westminster.
I said you can use them, this is mine.
They had all horrible amps so
they were very happy about that.
I bought a round of drinks for everyone and
offered them cigarettes and of course they were jumped upon immediately
because they all smoked but they couldn't afford them.
And then Mick
turned around and asked me if I knew any black blues artists.
The only names I
knew that were similar to blues artists were Chuck Berry and Fats Domino.
_ [G] So he
asked me who else I knew and I talked about the Coasters, Gerrity Lewis, Eddie
Cochran, Johnny Burnett, Lloyd Price, Sam Cooke, people [F#] like that and I got a very
[Gm] strong look at distaste from everyone.
They were a bit too [D#] rock and roll for them I think at [G] the
time but in later years of course they all got to love those guys.
We rehearsed
some slow Jimmy Reed songs and pretty authentic blues but [N] they still kind of
ignored me and made it clear to me that I wasn't [G] really the right kind of
person.
I [Dm] thought the general opinion [G] of the boys was really good amps, bass
planes, nothing special _ but we keep him so we can use the amps.
But they [N] were con
artists at the time and they took ages to be friendly with people.
They
asked me to come to the next rehearsal and I agreed and we returned to their
flat and I left all my equipment there which was a dodgy thing because that
flat was disgusting.
I mean it was filthy, the chairs had three legs for people
they didn't like.
Anyway Tony and I left and drove back to South London
later that evening and I probably got to bed about 2 in the morning like I