Chords for You Need to Have Leather Skin | Songwriting Workshop
Tempo:
110.5 bpm
Chords used:
G#
F#
E
Gm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
When I ask an audience, how many are songwriters, maybe half the audience will put up their hands.
And when I ask how many want to be songwriters, everybody puts up their hands.
Because everybody wants to be a songwriter.
It's, I think it's the most fun thing that I do and it's also the scariest thing that I do.
Why?
Because it's, you're kind of confronted with all your inadequacies.
And you start comparing yourself to other people.
And if you're going to be a songwriter, you've got to let it all hang out.
And you've got to get leather skin.
Because if you write a song and play it for somebody, it's like showing somebody your baby.
And you say, isn't she pretty?
Isn't he beautiful?
They're going to say, [G#] that's not a very pretty baby.
And they're [Gm] going to do that about your song.
So before we even begin today to talk about songwriting, I want you to make sure that if you want to be a songwriter,
if you put up your hands and say, yes, I want to write songs, you have to have leather skin.
Because people are going to critique your song and it's going to hurt your feelings.
And then you're going to say, I'm never going to write a song again because everybody was so mean to me.
[F#] You probably shouldn't be a [E] songwriter if that's going to be your approach.
But we're going to talk about what it takes [G#] to make a good song into a great song.
There's a process that every songwriter goes through.
And in an ideal world, I would have my buddies here, Paul Balash, Lenny LeBlanc, Claire Cloninger, a great lyricist that I write with,
Mia Fields, another amazing lyricist.
These are folks that are very skilled at their craft and it's fun to just [F#] collaborate with them and get [E] everybody's ideas.
And when I ask how many want to be songwriters, everybody puts up their hands.
Because everybody wants to be a songwriter.
It's, I think it's the most fun thing that I do and it's also the scariest thing that I do.
Why?
Because it's, you're kind of confronted with all your inadequacies.
And you start comparing yourself to other people.
And if you're going to be a songwriter, you've got to let it all hang out.
And you've got to get leather skin.
Because if you write a song and play it for somebody, it's like showing somebody your baby.
And you say, isn't she pretty?
Isn't he beautiful?
They're going to say, [G#] that's not a very pretty baby.
And they're [Gm] going to do that about your song.
So before we even begin today to talk about songwriting, I want you to make sure that if you want to be a songwriter,
if you put up your hands and say, yes, I want to write songs, you have to have leather skin.
Because people are going to critique your song and it's going to hurt your feelings.
And then you're going to say, I'm never going to write a song again because everybody was so mean to me.
[F#] You probably shouldn't be a [E] songwriter if that's going to be your approach.
But we're going to talk about what it takes [G#] to make a good song into a great song.
There's a process that every songwriter goes through.
And in an ideal world, I would have my buddies here, Paul Balash, Lenny LeBlanc, Claire Cloninger, a great lyricist that I write with,
Mia Fields, another amazing lyricist.
These are folks that are very skilled at their craft and it's fun to just [F#] collaborate with them and get [E] everybody's ideas.
Key:
G#
F#
E
Gm
G#
F#
E
Gm
_ _ _ _ _ _ When I ask an audience, how many are songwriters, maybe half the audience will put up their hands.
And _ when I ask how many want to be songwriters, everybody puts up their hands.
Because everybody wants to be a songwriter.
_ _ It's, I think it's the most fun thing that I do and it's also the scariest thing that I do.
Why?
Because it's, _ you're kind of confronted with all your inadequacies.
And you start comparing yourself to other people.
And if you're going to be a songwriter, you've got to let it all hang out.
And you've got to get leather skin.
Because if you write a song and play it for somebody, it's like showing somebody your baby.
And you say, isn't she pretty?
Isn't he beautiful?
They're going to say, [G#] that's not a very pretty baby.
_ And they're [Gm] going to do that about your song.
So before we even begin today to talk about songwriting, I want you to make sure that if you want to be a songwriter,
if you put up your hands and say, yes, I want to write songs, you have to have leather skin.
Because people are going to critique your song and it's going to hurt your feelings.
And then you're going to say, I'm never going to write a song again because everybody was so mean to me.
[F#] You probably shouldn't be a [E] songwriter if that's going to be your approach.
But we're going to talk about what it takes [G#] to make a good song into a great song.
There's a process that every songwriter goes through.
And in an ideal world, I would have my buddies here, Paul Balash, Lenny LeBlanc, _ _ _ _ Claire Cloninger, a great lyricist that I write with,
_ Mia Fields, another amazing lyricist.
These are folks that are very skilled at their craft and it's fun to just [F#] collaborate with them and get [E] everybody's ideas. _
_ _ _ _ _ _ _ _
And _ when I ask how many want to be songwriters, everybody puts up their hands.
Because everybody wants to be a songwriter.
_ _ It's, I think it's the most fun thing that I do and it's also the scariest thing that I do.
Why?
Because it's, _ you're kind of confronted with all your inadequacies.
And you start comparing yourself to other people.
And if you're going to be a songwriter, you've got to let it all hang out.
And you've got to get leather skin.
Because if you write a song and play it for somebody, it's like showing somebody your baby.
And you say, isn't she pretty?
Isn't he beautiful?
They're going to say, [G#] that's not a very pretty baby.
_ And they're [Gm] going to do that about your song.
So before we even begin today to talk about songwriting, I want you to make sure that if you want to be a songwriter,
if you put up your hands and say, yes, I want to write songs, you have to have leather skin.
Because people are going to critique your song and it's going to hurt your feelings.
And then you're going to say, I'm never going to write a song again because everybody was so mean to me.
[F#] You probably shouldn't be a [E] songwriter if that's going to be your approach.
But we're going to talk about what it takes [G#] to make a good song into a great song.
There's a process that every songwriter goes through.
And in an ideal world, I would have my buddies here, Paul Balash, Lenny LeBlanc, _ _ _ _ Claire Cloninger, a great lyricist that I write with,
_ Mia Fields, another amazing lyricist.
These are folks that are very skilled at their craft and it's fun to just [F#] collaborate with them and get [E] everybody's ideas. _
_ _ _ _ _ _ _ _