Chords for Al Di Meola - History of Mediterranean Sundance

[N] _ _ _ _ _ _ _ _
[E] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ Oh [F] God, it was around 1975.
[F#] _ _ _
[E] _ _ _ It could have been even the end of 1974 [C#] and we, _ _ as part of [D#] _ Return to [D] Forever, you know,
I had just joined the _ _ [D#] _ _ _ [C#] _ _
_ _ _ _ _ [C#m] _ _ _
[A] _ _ _ country of Spain [D] and it was this kind of, you know, [G#] _ _
[D#] mild sensation,
_ I would [E] say, even more than a [C#] mild sensation, about this new guitarist [D] who _ _ _ was going _
_ _ _ _ [C#] _ to
be in the Capitol to see it quite often.
_ _ _ _ [D#] _
I remember _ [D] _ _ [F] _
_ _ [A] a big [C#] chain department store called El Cuarto Inglés [D] and I went to their record
and _ _ _ _ _ _ _ _
_ _ _ _ _ I needed to check him out.
_ _ _ You know, what I noticed about Paco's _ [C#] _ _ [E] style, even [D] though a lot of it might have [F#] a certain
signature [D] sound and [C] phenomenal _ _ _ _ technique, but Paco [F] kind of rose [D] above the [C] fray and [D] he
had something that [F] I thought was _ super special.
His special [E] _
technique was [C#] just beyond belief and rhythmic sensation _ was [A#] _ _ _
[C#] really, really
special because he had [D] great syncopation [A#m] abilities and _ _ immediately I thought that this could
make a [F] real interesting [E] duet situation.
So, when I had gone back to New York, _ [D] I _ _ _ _ _
[C#] _ _ _ _ [E] brought this up [F]
with my record company [A#] CBS _ [E] at the
time before it became Sony _ and the _
_ [F] _ formation [C#m] stages of Revelle and Gypsy _ _ [D] and that was one
of the tracks. _ _ _ _
_ _ _ _ _ So, you know, I had written _ _ _ Mediterranean [C#]
Sundance, still living with my parents at the
time, and I had envisioned him and [A] I doing this.
So, CBS [D#] contacted _ their affiliate in [C#] Spain, CBS, who then contacted Paco and said, look,
this would be a [D] really cool thing to do.
_ _ _ _ [D#] _ _ _ [D] _
_ _ _ _ _ [C#] _ _ _
_ _ _ _ _ _ _ _
_ _ [Dm] _ _ _ [F] _ [E] So, he comes over, _ not speaking _ _ not even three or four words of English, _ very [D#] nervous beyond
_ _ [D] belief.
Here we are at [F] _ Jimi Hendrix's [C#m] studio, Electric Ladyland.
[Em] _ _ _ _ He [D] really needed to relax.
So, a friend of mine, _ _ _ _ _ [F] this is the same friend who introduced Chick [C#] _ to [D] my playing, or the
tape to Chick Corea, the _ gig in RTF.
He was with me _ and he went out and scored Paco some smoke and _ _ _ _ _
_ _ [D#] _ _ _ _ _ [D] _
relaxed him to the point
which we were able to record _ within.
It was either a take or the second [E] take _ and we nailed it.
It wasn't on the first day.
The [F] first day he was tired and _ he was still kind of [D] nervous, but the second day he was
very relaxed _ and that _ _ [C#] _
_ _ [D] _ _ _ _ _ _
_ _ _ _ [C#] _ _ _ _
[A#] tune became _ a hit single _ [F] in many countries.
It was on the [E] radio as if it were a pop song.
[D#] _ _ _
It really [E] helped to propel [A] _ the [F#] _ _ _ spectacle of the record.
[C#] _
_ _ [F] Elegance of G turned out to be probably my most_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _