Chords for Behind The Vinyl: "Don't Forget Me (When I'm Gone)" with Glass Tiger
Tempo:
112.05 bpm
Chords used:
A
D
E
B
F
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Here we go.
Wait for the drum fill.
So the first thing that comes to mind for me with this is
[C#m] we wrote this song [D] and
[E] Someday, yeah, same day.
Very [C#m] first day we ever [A] worked with Jim [E] Barnes.
Within 40 minutes of meeting Jim.
Yeah
Took us to the house
[A] Asked us what we, well, [Dm] he picked us up at the [Gm] airport and he said [A] what are you guys listening to these days?
Yeah, and [D] we told him Tears for Fears.
Yeah.
It's one of them.
That's how we [A] get the shuffle.
But we were [D] actually thinking
[G]
[A] Shout.
Yeah, and Everybody Wants to Rule the World.
And he put Everybody Wants to Rule the World and he went, ah, shuffle.
Yeah, and I remember him saying going, [D] we haven't had one of those in a [A] while.
Yeah, it's like it's time for another shuffle.
And so [E] it's like he went down his checklist.
[C#m] You've got, and I think you put [E] it on the greatest hits package, you've got some [C#m] original
[D] [E] writing.
One of the things that Jim [C#] did,
it was [A] cassette tape back in the day, [E] but when you're sitting in a writing situation, in the back room
[A] you just have a live mic in the room [D] and that was normal to the cassette deck so that it would [A] just capture everything that's
going on.
It [D] wasn't anything [E] more than, sometimes [A] you'd be writing a song and you'd take a left turn and an hour [D] later you go,
you know,
[A] what we were doing an hour ago was way cooler.
[B] So then you'd be able to go back to the cassette tape, hit rewind, go an hour ago
we were doing this and we were we were [E] grooving on it.
Now we've lost [B] the plot.
So Jim [D] used to just capture the whole [F#] day and we would just put another blank in, another blank in.
[F#m] So at the end of the [E] session, me being the pack rat,
I put them all in my pocket of course and then [B] transferred them all.
So you hear the [F] actual writing
as
it happened in real time.
I've condensed it, so to like two minutes.
People have asked me did I know it was a hit and
of course you're not really [A#] sure what a hit is, but [C] I always remember [G] a listening session, Derek Sutton [C] was with us
and we [A] were in the studio in Vancouver.
I think it was just you and I
[G] representing the [A] band.
But we did a [D] playback and I [G] heard
[A] the harmony that I did that sounded very much like the Everly Brothers.
I remember that, yeah.
[D] That was a moment [E] when I went
Derek [A] reacted to that.
Yeah, [E]
[A] that's the high harmony on it.
[E]
[B] And
that Everly Brothers thing for [E] me just sort of said, [B] this is special.
[D] I remember turning to balance because [F#] you know we have had no concept of [C#] first album,
[E] never, don't know what a hit is and
watching Jim's face [B] because he's had all these [F] mega hits.
I remember trying to read his face whether it was good or not and I [Dm] remember sitting in the car driving across,
I think it was [F] Langley, and he's like snapping his fingers as he's driving.
I said Jim,
[C] is it good?
He goes, [G] yeah, it's good.
Everybody always wants to make a [C] big deal out of Ryan Adams singing [A] on it thinking it was some big
industry [D] thing.
Yeah.
When it was actually just a couple of [A] drunk guys over Heineken's, right?
[B] Brian kept tabs on
He was a journalist or something, right?
Yeah, he kept tabs on Jim, what was going on, how you doing?
[F#] And he showed up at the studio that night because he was into the Junos.
[D] Jim [E] maybe contrived [B] it, I don't know, but Ryan and I studied [A] about four or five [E] Heineken's, probably you.
And then Jim just [F] quietly said,
what are you guys going to sing [F] a couple of songs together?
Of course, that loosened Brian up and I was like, yeah, come on.
[A#] And you [F] know the [A#] young boy from Newmarket that played him in the [C] video?
He got laid because of that.
[G]
[C] [G] No, but I met him years ago, he's all grown up with that, right?
He's like famous over that, right?
Because he sang the Brian Adams part.
[D]
[F] But anyway, you know, I think we're all disappointed
it never went to number one in America [C] because we know it should have and we know the reasons why [A#] it [F] didn't.
But just a Bob Lefsetz called that classic pop hat.
Yeah, we use that.
Nice compliment from him.
Thanks, Bob.
[D] Played it for probably
10 years [A] before we recorded it.
We actually [D] were on our [A] fourth album and
we were one song [N] short.
Wait for the drum fill.
So the first thing that comes to mind for me with this is
[C#m] we wrote this song [D] and
[E] Someday, yeah, same day.
Very [C#m] first day we ever [A] worked with Jim [E] Barnes.
Within 40 minutes of meeting Jim.
Yeah
Took us to the house
[A] Asked us what we, well, [Dm] he picked us up at the [Gm] airport and he said [A] what are you guys listening to these days?
Yeah, and [D] we told him Tears for Fears.
Yeah.
It's one of them.
That's how we [A] get the shuffle.
But we were [D] actually thinking
[G]
[A] Shout.
Yeah, and Everybody Wants to Rule the World.
And he put Everybody Wants to Rule the World and he went, ah, shuffle.
Yeah, and I remember him saying going, [D] we haven't had one of those in a [A] while.
Yeah, it's like it's time for another shuffle.
And so [E] it's like he went down his checklist.
[C#m] You've got, and I think you put [E] it on the greatest hits package, you've got some [C#m] original
[D] [E] writing.
One of the things that Jim [C#] did,
it was [A] cassette tape back in the day, [E] but when you're sitting in a writing situation, in the back room
[A] you just have a live mic in the room [D] and that was normal to the cassette deck so that it would [A] just capture everything that's
going on.
It [D] wasn't anything [E] more than, sometimes [A] you'd be writing a song and you'd take a left turn and an hour [D] later you go,
you know,
[A] what we were doing an hour ago was way cooler.
[B] So then you'd be able to go back to the cassette tape, hit rewind, go an hour ago
we were doing this and we were we were [E] grooving on it.
Now we've lost [B] the plot.
So Jim [D] used to just capture the whole [F#] day and we would just put another blank in, another blank in.
[F#m] So at the end of the [E] session, me being the pack rat,
I put them all in my pocket of course and then [B] transferred them all.
So you hear the [F] actual writing
as
it happened in real time.
I've condensed it, so to like two minutes.
People have asked me did I know it was a hit and
of course you're not really [A#] sure what a hit is, but [C] I always remember [G] a listening session, Derek Sutton [C] was with us
and we [A] were in the studio in Vancouver.
I think it was just you and I
[G] representing the [A] band.
But we did a [D] playback and I [G] heard
[A] the harmony that I did that sounded very much like the Everly Brothers.
I remember that, yeah.
[D] That was a moment [E] when I went
Derek [A] reacted to that.
Yeah, [E]
[A] that's the high harmony on it.
[E]
[B] And
that Everly Brothers thing for [E] me just sort of said, [B] this is special.
[D] I remember turning to balance because [F#] you know we have had no concept of [C#] first album,
[E] never, don't know what a hit is and
watching Jim's face [B] because he's had all these [F] mega hits.
I remember trying to read his face whether it was good or not and I [Dm] remember sitting in the car driving across,
I think it was [F] Langley, and he's like snapping his fingers as he's driving.
I said Jim,
[C] is it good?
He goes, [G] yeah, it's good.
Everybody always wants to make a [C] big deal out of Ryan Adams singing [A] on it thinking it was some big
industry [D] thing.
Yeah.
When it was actually just a couple of [A] drunk guys over Heineken's, right?
[B] Brian kept tabs on
He was a journalist or something, right?
Yeah, he kept tabs on Jim, what was going on, how you doing?
[F#] And he showed up at the studio that night because he was into the Junos.
[D] Jim [E] maybe contrived [B] it, I don't know, but Ryan and I studied [A] about four or five [E] Heineken's, probably you.
And then Jim just [F] quietly said,
what are you guys going to sing [F] a couple of songs together?
Of course, that loosened Brian up and I was like, yeah, come on.
[A#] And you [F] know the [A#] young boy from Newmarket that played him in the [C] video?
He got laid because of that.
[G]
[C] [G] No, but I met him years ago, he's all grown up with that, right?
He's like famous over that, right?
Because he sang the Brian Adams part.
[D]
[F] But anyway, you know, I think we're all disappointed
it never went to number one in America [C] because we know it should have and we know the reasons why [A#] it [F] didn't.
But just a Bob Lefsetz called that classic pop hat.
Yeah, we use that.
Nice compliment from him.
Thanks, Bob.
[D] Played it for probably
10 years [A] before we recorded it.
We actually [D] were on our [A] fourth album and
we were one song [N] short.
Key:
A
D
E
B
F
A
D
E
_ _ _ _ _ _ _
Here we go.
Wait for the drum fill.
So the first thing that comes to mind for me with this is
_ [C#m] we wrote this song [D] and
[E] Someday, yeah, same day.
Very [C#m] first day we ever [A] worked with Jim [E] Barnes.
Within 40 minutes of meeting Jim.
Yeah
Took us to the house
[A] Asked us what we, well, [Dm] he picked us up at the [Gm] airport and he said [A] what are you guys listening to these days?
Yeah, and [D] we told him Tears for Fears.
Yeah.
It's one of them.
That's how we [A] get the shuffle.
But we were [D] actually thinking
[G] _ _
[A] _ Shout.
Yeah, and Everybody Wants to Rule the World.
And he put Everybody Wants to Rule the World and he went, ah, shuffle.
Yeah, and I remember him saying going, [D] we haven't had one of those in a [A] while.
Yeah, it's like it's time for another shuffle.
And so [E] it's like he went down his checklist.
_ _ [C#m] You've got, and I think you put [E] it on the greatest hits package, you've got some [C#m] original
[D] _ [E] writing.
One of the things that Jim [C#] did,
it was [A] cassette tape back in the day, [E] but when you're sitting in a writing situation, in the back room
[A] you just have a live mic in the room [D] and that was normal to the cassette deck so that it would [A] just capture everything that's
going on.
It [D] wasn't anything [E] more than, sometimes [A] you'd be writing a song and you'd take a left turn and an hour [D] later you go,
you know,
[A] what we were doing an hour ago was way cooler.
[B] So then you'd be able to go back to the cassette tape, hit rewind, go an hour ago
we were doing this and we were we were [E] grooving on it.
Now we've lost [B] the plot.
So Jim [D] used to just capture the whole [F#] day and we would just put another blank in, another blank in.
[F#m] So at the end of the [E] session, me being the pack rat,
I put them all in my pocket of course and then [B] transferred them all.
So you hear the [F] actual writing
_ _ as
it happened in real time.
I've condensed it, so to like two minutes.
People have asked me did I know it was a hit and
of course you're not really [A#] sure what a hit is, but [C] I always remember [G] a listening session, Derek Sutton [C] was with us
and we [A] were in the studio in Vancouver.
I think it was just you and I
[G] representing the [A] band.
But we did a [D] playback and I [G] heard _
[A] the harmony that I did that sounded very much like the Everly Brothers.
I remember that, yeah.
_ _ [D] That was a moment [E] when I went_
Derek [A] reacted to that.
Yeah, _ _ _ _ [E] _ _
[A] _ that's the high harmony on it.
_ [E] _ _
[B] And
that Everly Brothers thing for [E] me just sort of said, [B] this is special.
[D] I remember turning to balance because [F#] you know we have had no concept of [C#] first album,
[E] never, don't know what a hit is and
watching Jim's face [B] because he's had all these [F] mega hits.
I remember trying to read his face whether it was good or not and I [Dm] remember sitting in the car driving across,
I think it was [F] Langley, and he's like snapping his fingers as he's driving.
I said Jim,
[C] is it good?
He goes, [G] yeah, it's good.
Everybody always wants to make a [C] big deal out of Ryan Adams singing [A] on it thinking it was some big
industry [D] thing.
Yeah.
When it was actually just a couple of [A] drunk guys over Heineken's, right?
[B] Brian kept tabs on_
He was a journalist or something, right?
Yeah, he kept tabs on Jim, what was going on, how you doing?
[F#] And he showed up at the studio that night because he was into the Junos.
[D] Jim [E] maybe contrived [B] it, I don't know, but Ryan and I studied [A] about four or five [E] Heineken's, probably you.
_ And then Jim just [F] quietly said,
what are you guys going to sing [F] a couple of songs together?
Of course, that loosened Brian up and I was like, yeah, come on.
[A#] And you [F] know _ _ _ the [A#] young boy from Newmarket that played him in the [C] video?
_ _ _ He got laid because of that.
[G] _
_ _ _ [C] _ _ _ [G] No, _ _ but I met him years ago, he's all grown up with that, right?
He's like famous over that, right?
Because he sang the Brian Adams part.
_ [D] _
_ _ _ _ _ _ _
[F] But anyway, you know, I think we're all disappointed
it never went to number one in America [C] because we know it should have and we know the reasons why [A#] it [F] didn't.
But just a Bob Lefsetz called that classic pop hat.
Yeah, we use that.
Nice compliment from him.
Thanks, Bob. _ _ _ _
[D] _ Played it for probably
_ 10 years [A] before we recorded it.
We actually [D] were on our [A] fourth album and
_ _ we were one song [N] short. _
Here we go.
Wait for the drum fill.
So the first thing that comes to mind for me with this is
_ [C#m] we wrote this song [D] and
[E] Someday, yeah, same day.
Very [C#m] first day we ever [A] worked with Jim [E] Barnes.
Within 40 minutes of meeting Jim.
Yeah
Took us to the house
[A] Asked us what we, well, [Dm] he picked us up at the [Gm] airport and he said [A] what are you guys listening to these days?
Yeah, and [D] we told him Tears for Fears.
Yeah.
It's one of them.
That's how we [A] get the shuffle.
But we were [D] actually thinking
[G] _ _
[A] _ Shout.
Yeah, and Everybody Wants to Rule the World.
And he put Everybody Wants to Rule the World and he went, ah, shuffle.
Yeah, and I remember him saying going, [D] we haven't had one of those in a [A] while.
Yeah, it's like it's time for another shuffle.
And so [E] it's like he went down his checklist.
_ _ [C#m] You've got, and I think you put [E] it on the greatest hits package, you've got some [C#m] original
[D] _ [E] writing.
One of the things that Jim [C#] did,
it was [A] cassette tape back in the day, [E] but when you're sitting in a writing situation, in the back room
[A] you just have a live mic in the room [D] and that was normal to the cassette deck so that it would [A] just capture everything that's
going on.
It [D] wasn't anything [E] more than, sometimes [A] you'd be writing a song and you'd take a left turn and an hour [D] later you go,
you know,
[A] what we were doing an hour ago was way cooler.
[B] So then you'd be able to go back to the cassette tape, hit rewind, go an hour ago
we were doing this and we were we were [E] grooving on it.
Now we've lost [B] the plot.
So Jim [D] used to just capture the whole [F#] day and we would just put another blank in, another blank in.
[F#m] So at the end of the [E] session, me being the pack rat,
I put them all in my pocket of course and then [B] transferred them all.
So you hear the [F] actual writing
_ _ as
it happened in real time.
I've condensed it, so to like two minutes.
People have asked me did I know it was a hit and
of course you're not really [A#] sure what a hit is, but [C] I always remember [G] a listening session, Derek Sutton [C] was with us
and we [A] were in the studio in Vancouver.
I think it was just you and I
[G] representing the [A] band.
But we did a [D] playback and I [G] heard _
[A] the harmony that I did that sounded very much like the Everly Brothers.
I remember that, yeah.
_ _ [D] That was a moment [E] when I went_
Derek [A] reacted to that.
Yeah, _ _ _ _ [E] _ _
[A] _ that's the high harmony on it.
_ [E] _ _
[B] And
that Everly Brothers thing for [E] me just sort of said, [B] this is special.
[D] I remember turning to balance because [F#] you know we have had no concept of [C#] first album,
[E] never, don't know what a hit is and
watching Jim's face [B] because he's had all these [F] mega hits.
I remember trying to read his face whether it was good or not and I [Dm] remember sitting in the car driving across,
I think it was [F] Langley, and he's like snapping his fingers as he's driving.
I said Jim,
[C] is it good?
He goes, [G] yeah, it's good.
Everybody always wants to make a [C] big deal out of Ryan Adams singing [A] on it thinking it was some big
industry [D] thing.
Yeah.
When it was actually just a couple of [A] drunk guys over Heineken's, right?
[B] Brian kept tabs on_
He was a journalist or something, right?
Yeah, he kept tabs on Jim, what was going on, how you doing?
[F#] And he showed up at the studio that night because he was into the Junos.
[D] Jim [E] maybe contrived [B] it, I don't know, but Ryan and I studied [A] about four or five [E] Heineken's, probably you.
_ And then Jim just [F] quietly said,
what are you guys going to sing [F] a couple of songs together?
Of course, that loosened Brian up and I was like, yeah, come on.
[A#] And you [F] know _ _ _ the [A#] young boy from Newmarket that played him in the [C] video?
_ _ _ He got laid because of that.
[G] _
_ _ _ [C] _ _ _ [G] No, _ _ but I met him years ago, he's all grown up with that, right?
He's like famous over that, right?
Because he sang the Brian Adams part.
_ [D] _
_ _ _ _ _ _ _
[F] But anyway, you know, I think we're all disappointed
it never went to number one in America [C] because we know it should have and we know the reasons why [A#] it [F] didn't.
But just a Bob Lefsetz called that classic pop hat.
Yeah, we use that.
Nice compliment from him.
Thanks, Bob. _ _ _ _
[D] _ Played it for probably
_ 10 years [A] before we recorded it.
We actually [D] were on our [A] fourth album and
_ _ we were one song [N] short. _