Chords for BBC Introducing X Abbey Road Studios - Chappaqua Wrestling

_ _ _ _ And these sessions at Abbey Road I think are going to be very special.
I've invited _ Chappaqua
Wrestling down because they're one of the best new bands I've heard recently.
They experiment,
they've got huge melodies and really something interesting going on and I look forward to
hearing what everyone records at these legendary studios for introducing.
Right, come on then. _ _ _ _
_ _ _ [F#m] _ _ _ _ [Bm] _
_ _ _ [F#m] _ _ _ _ [E] _
_ _ _ _ _ _ _ _
[Bm] _ _ _ _ [F#m] _ _ _ [Bm] _
_ _ [F#m] _ Hi, I'm Charlie.
_ [E] _
_ I'm Jude.
I'm [A] Jake.
And I'm Finn.
[G] Jake and I have been playing together since we [Em] were 14.
_ It's actually [D] our 10 year anniversary
[Em] this year, isn't it?
Yeah, it is.
How sweet is that?
[G#] So we're going to spend a little bit of time in the cottage somewhere and do [F#] some writing
to celebrate.
Just writing?
Yeah, just writing.
Nothing [F#] else.
_ We _ played in a band in Brighton for a while and that's
when we met Jude when we were about 16.
And then Jude and Charlie went off to South America.
I went to Manchester Uni.
_ _ Charlie
came up a year later.
The band formed, became Chappaqua Wrestling, moved [D] back to Brighton
and along comes Finn. _ _ _
So yeah, it's been a long process but the Chappaqua Wrestling era
is quite fresh. _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ I got an email called Charlie and then we obviously all called each other.
We're like,
oh my god, we're going to Abbey Road.
We're going to Abbey Road Studios to do a three
day session and here we are.
It was a [A] bit too good of an email and too much good information in one email for [A] it
to be like, is this [A#] serious?
[Am] Just sort of like looking for a little [D] weird fishing scam
like _ clues.
Like [E] is this really real?
Just at [D] the end like, and then sign here and take a photo.
Give me [Dm] your bank details.
Yeah, _ I'll promise to [B] give you the money back in tenfold.
But actually no, it was legit.
Imagine if we still can get [F#] stitched up.
Yeah.
[E] Walk out and it's like, Bay Left Life.
Yeah, come on.
20 grand, [A] mate.
_ Without a [G] doubt, the best email to [D] receive and the best experience.
So Hugh and Radio
[A] One, the whole thing, just thank you so much.
[G] Endlessly.
_ _ _ _ [D] _ _ The Zebra Crossing is as obvious as it is.
We went over it and were like bloody hell.
We got that check.
Yeah, yeah.
When you have to use it for [A] legitimate reasons and it feels so good.
Oh my god.
We actually did walk over like [D] bloody hell, we were doing it exactly how they do it.
It really feels special.
_ _ _ _ We arrived, we went into the studio _ and there was a drum kit [N] set up with about 30 mics.
Like there was a good buzz, everyone was really excited to be there.
Finn sits down, starts playing, stops playing, says can I have a sandwich?
I want to have a break.
We've just got to Abbey Road.
Yeah, Diva.
_ I needed some energy.
_ The young Diva on the drum.
_ _ [Dm] _ _
_ Met John [G#] and Andy who are absolute [G#] legends.
Amazing guys.
[N] Just brilliant.
It was so nice.
It's really important working with people who are as friendly
and really approachable and warm.
Because obviously you're worried as an artist coming in like, it's Abbey Road, they're going
to be like mean engineers.
Mean?
Not mean, but just like top dogs you imagine them to be like.
Ultra professional, but they were ultra professional, but just the soundest guys.
Really, really nice guys.
They transcend [D] professionalism and they bring it [B] out of you, you know. _ _ _ _ _ _ _
_ _ _ [E] As soon as we were jumping into the songs, because they're quite differently, like sonically
they've [D] sort of got some differences.
Football's just a bit more of [E] a_ A rocker.
A bit of a rocker, yeah.
So it's got a bit more of a droning quality.
Which Finn well [G] nailed.
Private [F#m] Time's a lot more of a [B] classic vibe.
As _ _ _ _ _ [E]
soon as we came in on the [G#] recording day, we get to chat with both Jon and Andy about that.
_ That conversation was over in 30 seconds.
They're like, [C] cool, got it.
Let's do it. _ _ _
Unreal.
_ [D] _ _ _ _ [G] _ _
_ _ _ [C] _ _ _ _ _
_ _ [Dm] _ _ _ _ _ [G] _
_ _ _ [C] _ _ _ _ _
_ _ _ _ [F] _ _ _ [Em] _
_ _ _ [Am] _ _ _ _ [E] _
Ten hour day the first day, [C] we did nearly all [Em] the recording, which even Jon was [C] like,
that was a lot.
We must have done like _ [E]
20 drum _ tracks, like about 50, [G] 60 tracks. _
_ One take Charlie. _ _ _
_ All out of tune.
_ _ [C#] _ _
_ _ _ The next day obviously takes just as much time because it's lots of cutting.
That's when Jon really came into himself, was just like, blah, blah, blah.
Just doing mad tricks.
We were like, Jesus Christ, this guy's got [F#]
skills.
It's going to be a bit boring for like half an hour.
[Em] I love it. _ _ _ _
So then [G#] the songs were essentially [A] finished last night and then today has been mastering.
Generally though, everything is like really under control.
Jon's nailed kind of all of that and it's sounding [G] really good.
A little bit in the super highs on the song tech.
_ [D] _ _ _
_ _ _ _ _ [Bm] _ _ _
_ _ _ _ _ [A] _ _ _
_ _ One of the best things about this is that [G] these tracks are our garage, so we can distribute [E] these and do what we like with them.
So [D] we'd like to get this Presto vinyl.
We'll [G#] sell those [Fm] online and at our tours.
In a nice way, it's kind of slowing down [E] the horses so that we can prolong it and do [A] everything right [Em] instead of rushing into everything [E] hard.
Because we've got the tracks for [C] an album or two probably ready to go, but [Em] it's about getting it done right, playing the right shows.
And [E] then even 2020 will [C] be hopefully even more buzzing for us.
And [G] I owe it all so [C] _
bad, [E] it's unfair.
_ _ [Bm] _
_ _ _ [F#m] _ _ _ _ [Bm] _
_ _ [F#m] _ _ _ _ _ [E] _
_ _ _ _ _ _ _ _
_ _ [F] One tiny mistake, but it's so hard to make the whole thing perfect. _ _