Chords for Behind The Vinyl: "Magic Power" with Rik Emmett from Triumph

_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
There we go.
[Am] 12 string and _ like _ [G] we bought these little synthesizers so that's like
one of the cheap Casio-ish kinds of synthesizers playing that melody.
[D] _ _ _ _ _
This song is [G] about _ _ like when I was a [C] kid [G] my mother had bought, I had two brothers
and she [A] bought us all transistor [G] radios and I was maybe about nine years old.
[D] And I would go to bed and I would put the transistor radio [A] under my pillow
_ _ [C] and it [G] was like my passport to the universe.
I had this little radio.
_ And I had been [E] lucky enough that the [D] album before this one, Just A Game,
[C] lay it on the line and [E] hold on it got a lot of [G] airplay.
_ So this thing that I [D] dreamed about when I was [Em] a kid _ that [D] _
maybe someday I [G] would be somebody
that would have music [A] on the radio, now I was living that [D] life.
I would fly into places [C] like San Francisco or Los Angeles [G] or New York City
and my songs had already been [D] on the radio and [Em] I would show up and people [D] would have expectations of me.
[A] _ But it was this whole thing of being on the radio.
[D] _ _ _ _ _
So we sort of [G] made this _ _ [D] _
[G] because of FM radios kind of, [E] that was the [A] world.
And part of this too is [D] the whole Led Zeppelin thing, you know, Stairway to Heaven
and Led Zeppelin had made it so that you could make songs that were eight minutes [G] long
and if you were _ strong [B] enough and you paid enough for independent radio promotion,
they'd [D] get you onto these stations and they'd play this stuff.
So you could start a song very [G] small and [D] quiet and then have it sort of build [G] and build and build,
which kind of became [Bm] a bit of a shtick for arena [C]
rock, _ _ [A] hard rock bands at the [A] time.
But _ [B] as you can see it's picking [C] up _ _
[G] energy as it [A] goes here.
_ Of [B] course the little girl that [A] climbed into bed and pulled the covers over her head, that was actually me.
_ _ It's autobiographical.
_ [D] But of course when you [C] change pronouns in [Bm] a song, it opens up your [D] audience.
Like we had [Em] never had girls come to shows when we had this as a hit,
all of a [G] sudden now we had [A] females showing up to [D] be at the gigs.
_ _ [C] _ _ _ _ [Bm]
We did a video [G] for this.
_ [D] _ [Em] We'd done actually a group [D] of three on a [A] soundstage in Toronto
where they'd built a big [D] flying V guitar _ and we danced around on stage.
There was a girl [Dm] that I was dancing with in the video and we hated them when we [G] saw them.
We called them Birthday Cake in Space because the [Bb] stupid stage thing
just looked like [D] this ridiculous big white cake that we were_ _ _
_ _ _ [Dm] _ _ _ This song never would have [G] been _ what it is if there hadn't [Bb] been Pete Townshend and The Who.
[D] The idea of the acoustic guitars forming a fundamental thing,
then [Dm] hard rock and stuff, breakdowns with little synthy stuff [D] things that [G] go on. _ _ _ _
_ [Dm] _ _ All that [D] offbeat _ [A] stuff, but you [Em] can hear it coming now.
_ _ [Bb]
The eights are coming.
_ _ _ _ [D] _
_ _ _ _ _ _ _ _
That's a high D, that note that I had to sing there.
Now at [G] my age you can't hit those anymore. _ _
Well, on a good night maybe. _ _ _ _
_ _ _ _ [D] _ _ Good sound on that guitar.
That was a Howard [G] Roberts _ Gibson guitar.
_ _ _ _ _ [Bm] _ _
_ _ _ [C] _ _ _ _ _
_ [D] _ _ _ _ So this is like call and response [C] now.
I sing these lines and the guitar answers. _ _
[Bm] _ _ _ _ _ _ _ [A] _
_ _ You hear an organ, these kind of_
_ _ _ [D] _
And [C] that was Mike.
And that [G] session took a long time.
_ [D] _ Mike [Em] wasn't really an organ kind of [D] guy, but [G] we had the Leslie and the [A] organ.
So you can get those sounds [D] by both hands, you [C] push the keyboard.
[G] _ _ _ _ _ _ _
[D] It's great.
[Em] It was one of my favorite parts of the song. _ _
_ [A] _ _ _ _ _ _ _
_ _ _ _ _ _ _ [D] _
_ _ _ [G] _ Fantastic. _
Mike Jones was [D] the engineer on this stuff.
He's passed away,
but he was an English guy that had cut his teeth over in, I think, the Decca [G] Studios in London.
_ [D] _ _
[G] But this was the old days, [D] 24 tracks,
and so a lot of times you'd have to [G] take tracks and bump them
[D] in order to create room [E] for _ _ _ the fills on the tag and stuff.
Is it over?
It's over. _ _ _ _
_ _ [B] _ _ _ _ _ [Gbm] _
_ _ _ [Em] _ _ _ _ [G] _
_ _ _ [E] _ _ _ _ [A] _
_ _ _ [G] _ _ _ _ [Em] _
_ _ _ [B] _ _ _ _ [A] _
_ _ _ [G] _ _ _ _ _