Chords for Artist Spotlight: Carmine Appice

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_ I started by going to my cousin Joey's house.
And then we were Italian families, so we were constantly always going to our family's house.
So I would always bang on Joey's drums.
And finally, _ my parents thought that maybe I was serious about it.
So they said, how about for Christmas if we go to Sam Ash and Utica Avenue, the very first [Bb] Sam Ash.
And we see if we can get a drum set.
I had [Abm] graduated high school.
I [B] majored in music in high school.
[Eb] I played in the band, the orchestra. _
In 1966, I was playing clubs. _ _
[Dbm] And _ [Abm] Tim Bogert came into this [Bbm] choo-choo club in New Jersey.
_ And they [B] said, we heard you've got a great foot and you can sing.
[Eb] We're looking for somebody _ _ like you.
[Dbm] And I called it my life-changing decision because I [Bb] decided to do [Bbm] it.
Nine months [B] later, we were on the charts.
_ And [F] when we went into recording, we came to Hanging On, we did it in one take, [Ab] monologue.
That's what it was [Fm] in those days.
We did the whole album, like, it didn't take very long.
Atlantic [B] Records heard it, said, we want [E] it. _ _ _ _
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_ You rehearse there [G] for four or five days.
[Gb] And then _ Ed comes in to meet you and he just comes in and says hello for a minute and then he leaves.
_ And then you do it live.
_ I remember going down in the elevator and saying _ to the elevator operator,
I said, how many people watch this show?
He goes, oh, about 50 million.
_ _ _ _ Butterflies, you know.
But as soon as we hit the stage and started playing, it just, it was a blast.
It was just like being on [Bm] stage. _ _ _ _
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Well, _ [Bm] _ [Gbm] I mean, Cactus originally was supposed to be with [Fm] me, Tim Bogert, [D] Jeff Beck and Rod Stewart.
And Rod bowed out and Jeff got in a car wreck.
_ So after that, it was like, _ what do you want to do?
We just [C] sort of broke up vanilla fudge for this, you know.
So we said, well, let's get somebody else.
So me and Tim got Jim McCarty and the rest of the day.
And Jim played with Mitch Ryder and played with Buddy Miles and was produced by Hendrix.
He was close friends with Hendrix.
And as we were, we knew [Gm] Hendrix also.
We did Parchment Farm at the time.
It was the fastest double bass shuffle on record. _
[Gb] _ [Cm] _ Billy Cobbentord, he had it with us, Stratus, but it's hard to, [G] you know, [Gm] 1970 versus 72.
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Parchment Farm really put the cream on the cake.
We wanted it to be faster [N] than 10 years after I'm coming home.
You know, with double bass drum, we gave that shuffle that power.
It was like a free trip.
[Gm] We were a PA system, so I had to play loud.
But end, that's why I had [Cm] these tips on my sticks with the [Bb] butt end to have a tip, because it gives you [G] more bounce.
[C] I've been playing butt end since 1967. _ _ _ _ _
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[N] happened was I was in Cactus and, you know, _ you got to visualize what we looked like.
My hair was down [Am] to here.
I had a beard or, you know, sometimes I had a beard, [G] sometimes I had this.
So I go to Sam Ash, [Ab] now they had two stars.
I, you know, I just look around at the books and [D] stuff.
I sort of pick [Gm] up this one book.
There's a guy in there with his hair slicked back like Elvis. _ _
1970, 1971, _ [C] he's like this.
[D] I play like this.
_ [Eb] Learn to play rock [Gm] drums.
_ And I said, _ _ _ _ what is this, man?
This guy looks [Ab] played out.
And I look at the material.
It was terrible.
It [Gm] wasn't like _ really rock drums.
It was like useless stuff, you know.
So you know what?
I'm going to write a book.
I'm just going to put stuff in there that's usable to play [Gb] straight with a band.
Originally I wrote it on five lines.
[Gm] And then I said, you know what?
This is too confusing.
I'm going to write it like Chapin.
Chapin had the two lines and then sometimes the three lines.
So I took the three line approach with the three [N] long, you know, wide lines.
And I started writing it on loose leaf paper.
When we printed it, I said, now that is great.
It's so clean [Ab] and easy to read.
It wasn't a book about learning how to read.
It was a book about learning how to play.
You know, I updated [G] it to go to Warner Brothers in the [Gm] 80s.
And that's when I [N] realized I had some going on here too because a manager I had at the time all of a sudden got me a three-year book deal
and got me tens [Gm] of thousands of dollars in advances.
I said, _ that's for the book?
He said, [F] yeah.
I said, wow.
I also had Do You Think [G] I'm Sexy?
That was with Warner Chapel.
So I was making these huge [C] deals with Warner Brothers.
This is a hit for me.
It's like, [Gm] you know, when I met Dave Weckl, _ Greg Bissonnette introduced me to Greg.
And he said, thank you for Realistic Rock.
Dave Weckl said to me, I said, why?
He says, I went to it.
I said, that's funny.
You went to Realistic Rock.
He said, yeah.
[N] You know, I'm on the street and I meet Andrew Dice Clay.
He went to the book.
You know, radio disc jockeys.
I mean, television personality.
So I gave a copy to Fred Stare.
If he wanted to learn to play drums.
I gave it to him through Gregory Peck.
How about that? _ _ _ _
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