Chords for Behind The Vinyl: "Sweet City Woman" with Rich Dodson from The Stampeders
Tempo:
87.175 bpm
Chords used:
G
Am
A
D
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
There we go.
Yeah.
[Am]
Well, I came up with this lick.
I [G] love this lick, and I had to find a home for this lick.
[Am] And us being a Calgary country rock band,
moving down to [G] Toronto, the big city, that's
where a lot of this lyric came from.
We were [A] always wearing my cowboy [Am] hats,
lots of country music [D] in Calgary.
And we were doing this sort of country [G] rock feel thing.
And that's sort of like where a lot of that came from,
[Am] the feel.
So it's really a [E] Calgary band coming to Toronto, [G] the big city.
That's sort of the crux of the lyric, really.
And we had earlier on [A] played Expo 67 in Montreal.
[G] And I'm going to say that that's the ballsy ball,
because I love Montreal and the culture
and the whole [D] outside cafe thing [A] and the whole scene.
And [C] [G] that's where that ballsy ball thing
came from, from my standpoint.
And yes, on the way to the studio,
I thought this lick could be really cool
if it was played on banjo, because it [C] really, I
[G] think it needs that little extra [D] bit of color.
So I stopped by [G] Longham Quaid and [A] talked to my buddy Bob Abbott.
And I said, [G] Bob, session this morning,
I need the best banjo you've gotten here.
Could you just [Am] rent me one or loan me one?
No problem.
Pick one out.
So I just picked up, I guess, a [G] Gibson top of the line banjo.
He put it in the case for me.
And I [Am] ran out the door, headed off to Toronto Sound.
And [D] we had played this song [G] so much.
I mean, we just, we could play it flawlessly,
[A] without issues.
So I tuned that banjo up to a guitar tuning.
[Am] [G] And we mic'd it all up.
And I think maybe one or two takes, and that was it,
finished.
[E] And I can't believe I played that thing on a banjo,
[A] because I can't to this day.
Still banging that lick off [G] the way we did it.
But yeah, it was a borrowed banjo.
And after the session was over, I took [C] it back to [B] Longham Quaid,
gave it back to Bob Abbott.
And he tells me, Rich, I sold that [G] banjo 1,000 times over.
That's the one.
So it's [C] a big thing for him.
But yeah, I just borrowed that banjo on [Am] the way.
Not that I can't [G] play five string banjo.
I can noodle a bit with the funny tuning.
But the tuning had to be a guitar [A] type tuning
to play that lick, because we were playing the lick all the time on guitar.
And [D] I still play it on guitar.
I play that lick [G] on guitar.
[A] But yeah, coming back from a gig in Kingston,
[C] after Sweet City Woman had been [G] released about 2 in the morning
in our old station wagon, [Am] American radio would drift [D] in.
And we were getting WABC [G] on the way back from Kingston to Toronto.
And just [Am] out of nowhere, WABC, New York, [D] number one, Sweet City [G] Woman.
WABC in New York freaked us out.
We pulled over, [G#] jumped around, [F#] jumped around the car like dummies,
yelling and screaming.
[E] So excited to hear this [E] track, number one in New York.
So that I remember all the time.
[F] Impossible for me to hear the opening of this [Cm] song.
Yeah, [D#] impossible.
Not to picture me, [G#]
myself, [Fm] on top of a Mayan pyramid [Cm] in Teotihuacan, Mexico.
[D] I wrote this [E] song.
I wrote the chorus to this [A] song.
[C#] While vacuuming [D] at a friend's house, I was house sitting.
[A] And our producer at the time, [D] before making this record,
[F#m] Bob Ezrin actually said
Yeah.
[Am]
Well, I came up with this lick.
I [G] love this lick, and I had to find a home for this lick.
[Am] And us being a Calgary country rock band,
moving down to [G] Toronto, the big city, that's
where a lot of this lyric came from.
We were [A] always wearing my cowboy [Am] hats,
lots of country music [D] in Calgary.
And we were doing this sort of country [G] rock feel thing.
And that's sort of like where a lot of that came from,
[Am] the feel.
So it's really a [E] Calgary band coming to Toronto, [G] the big city.
That's sort of the crux of the lyric, really.
And we had earlier on [A] played Expo 67 in Montreal.
[G] And I'm going to say that that's the ballsy ball,
because I love Montreal and the culture
and the whole [D] outside cafe thing [A] and the whole scene.
And [C] [G] that's where that ballsy ball thing
came from, from my standpoint.
And yes, on the way to the studio,
I thought this lick could be really cool
if it was played on banjo, because it [C] really, I
[G] think it needs that little extra [D] bit of color.
So I stopped by [G] Longham Quaid and [A] talked to my buddy Bob Abbott.
And I said, [G] Bob, session this morning,
I need the best banjo you've gotten here.
Could you just [Am] rent me one or loan me one?
No problem.
Pick one out.
So I just picked up, I guess, a [G] Gibson top of the line banjo.
He put it in the case for me.
And I [Am] ran out the door, headed off to Toronto Sound.
And [D] we had played this song [G] so much.
I mean, we just, we could play it flawlessly,
[A] without issues.
So I tuned that banjo up to a guitar tuning.
[Am] [G] And we mic'd it all up.
And I think maybe one or two takes, and that was it,
finished.
[E] And I can't believe I played that thing on a banjo,
[A] because I can't to this day.
Still banging that lick off [G] the way we did it.
But yeah, it was a borrowed banjo.
And after the session was over, I took [C] it back to [B] Longham Quaid,
gave it back to Bob Abbott.
And he tells me, Rich, I sold that [G] banjo 1,000 times over.
That's the one.
So it's [C] a big thing for him.
But yeah, I just borrowed that banjo on [Am] the way.
Not that I can't [G] play five string banjo.
I can noodle a bit with the funny tuning.
But the tuning had to be a guitar [A] type tuning
to play that lick, because we were playing the lick all the time on guitar.
And [D] I still play it on guitar.
I play that lick [G] on guitar.
[A] But yeah, coming back from a gig in Kingston,
[C] after Sweet City Woman had been [G] released about 2 in the morning
in our old station wagon, [Am] American radio would drift [D] in.
And we were getting WABC [G] on the way back from Kingston to Toronto.
And just [Am] out of nowhere, WABC, New York, [D] number one, Sweet City [G] Woman.
WABC in New York freaked us out.
We pulled over, [G#] jumped around, [F#] jumped around the car like dummies,
yelling and screaming.
[E] So excited to hear this [E] track, number one in New York.
So that I remember all the time.
[F] Impossible for me to hear the opening of this [Cm] song.
Yeah, [D#] impossible.
Not to picture me, [G#]
myself, [Fm] on top of a Mayan pyramid [Cm] in Teotihuacan, Mexico.
[D] I wrote this [E] song.
I wrote the chorus to this [A] song.
[C#] While vacuuming [D] at a friend's house, I was house sitting.
[A] And our producer at the time, [D] before making this record,
[F#m] Bob Ezrin actually said
Key:
G
Am
A
D
E
G
Am
A
_ _ _ _ _ _ _ _
There we go.
Yeah.
_ [Am] _ _ _
Well, I came up with this lick.
I [G] love this lick, and I had to find a home for this lick.
_ _ [Am] And us being a Calgary country rock band,
moving down to [G] Toronto, the big city, that's
where a lot of this lyric came from.
We were [A] always wearing my cowboy [Am] hats,
lots of country music [D] in Calgary.
And we were doing this sort of country [G] rock feel thing.
And that's sort of like where a lot of that came from,
[Am] the feel. _
_ So it's really a [E] Calgary band coming to Toronto, [G] the big city.
That's sort of the crux of the lyric, really.
And we had earlier on [A] played Expo 67 in Montreal.
[G] And I'm going to say that that's the ballsy ball,
because I love Montreal and the culture
and the whole [D] outside cafe thing [A] and the whole scene.
And [C] _ [G] that's where that ballsy ball thing
came from, from my standpoint.
_ And yes, on the way to the studio,
I thought this lick could be really cool
if it was played on banjo, because it [C] really, I
[G] think it needs that little extra [D] bit of color.
So I stopped by [G] Longham Quaid and [A] talked to my buddy Bob Abbott.
And I said, [G] Bob, session this morning,
I need the best banjo you've gotten here.
Could you just [Am] rent me one or loan me one?
No problem.
Pick one out.
So I just picked up, I guess, a [G] Gibson top of the line banjo.
He put it in the case for me.
And I [Am] ran out the door, headed off to Toronto Sound.
And [D] we had played this song [G] so much.
I mean, we just, we could play it flawlessly,
[A] without issues.
So I tuned that banjo up to a guitar tuning.
[Am] _ [G] And we mic'd it all up.
And I think maybe one or two takes, and that was it,
finished.
[E] And I can't believe I played that thing on a banjo,
[A] because I can't to this day.
Still banging that lick off [G] the way we did it.
But yeah, it was a borrowed banjo.
And after the session was over, I took [C] it back to [B] Longham Quaid,
gave it back to Bob Abbott.
And he tells me, Rich, I sold that [G] banjo 1,000 times over.
That's the one.
So it's [C] a big thing for him.
But yeah, I just borrowed that banjo on [Am] the way.
Not that I can't [G] play five string banjo.
I can noodle a bit with the funny tuning.
But the tuning had to be a guitar [A] type tuning
to play that lick, because we were playing the lick all the time on guitar.
And [D] I still play it on guitar.
I play that lick [G] on guitar.
_ _ _ _ _ [A] But yeah, coming back from a gig in Kingston,
[C] after Sweet City Woman had been [G] released about 2 in the morning
in our old station wagon, _ _ [Am] American radio would drift [D] in.
And we were getting WABC _ [G] on the way back from Kingston to Toronto.
And just [Am] out of nowhere, WABC, New York, [D] number one, Sweet City [G] Woman.
WABC in New York freaked us out.
We pulled over, [G#] jumped around, [F#] jumped around the car like dummies,
yelling and screaming.
[E] So excited to hear this [E] track, number one in New York.
So that I remember all the time.
_ [F] _ Impossible for me to hear the opening of this [Cm] song.
Yeah, [D#] impossible.
Not to picture me, [G#]
myself, [Fm] on top of a Mayan pyramid [Cm] in Teotihuacan, Mexico.
[D] I wrote this [E] song.
I wrote the chorus to this [A] song. _
[C#] While vacuuming [D] at a friend's house, I was house sitting.
[A] And our producer at the time, [D] before making this record,
[F#m] Bob Ezrin actually said
There we go.
Yeah.
_ [Am] _ _ _
Well, I came up with this lick.
I [G] love this lick, and I had to find a home for this lick.
_ _ [Am] And us being a Calgary country rock band,
moving down to [G] Toronto, the big city, that's
where a lot of this lyric came from.
We were [A] always wearing my cowboy [Am] hats,
lots of country music [D] in Calgary.
And we were doing this sort of country [G] rock feel thing.
And that's sort of like where a lot of that came from,
[Am] the feel. _
_ So it's really a [E] Calgary band coming to Toronto, [G] the big city.
That's sort of the crux of the lyric, really.
And we had earlier on [A] played Expo 67 in Montreal.
[G] And I'm going to say that that's the ballsy ball,
because I love Montreal and the culture
and the whole [D] outside cafe thing [A] and the whole scene.
And [C] _ [G] that's where that ballsy ball thing
came from, from my standpoint.
_ And yes, on the way to the studio,
I thought this lick could be really cool
if it was played on banjo, because it [C] really, I
[G] think it needs that little extra [D] bit of color.
So I stopped by [G] Longham Quaid and [A] talked to my buddy Bob Abbott.
And I said, [G] Bob, session this morning,
I need the best banjo you've gotten here.
Could you just [Am] rent me one or loan me one?
No problem.
Pick one out.
So I just picked up, I guess, a [G] Gibson top of the line banjo.
He put it in the case for me.
And I [Am] ran out the door, headed off to Toronto Sound.
And [D] we had played this song [G] so much.
I mean, we just, we could play it flawlessly,
[A] without issues.
So I tuned that banjo up to a guitar tuning.
[Am] _ [G] And we mic'd it all up.
And I think maybe one or two takes, and that was it,
finished.
[E] And I can't believe I played that thing on a banjo,
[A] because I can't to this day.
Still banging that lick off [G] the way we did it.
But yeah, it was a borrowed banjo.
And after the session was over, I took [C] it back to [B] Longham Quaid,
gave it back to Bob Abbott.
And he tells me, Rich, I sold that [G] banjo 1,000 times over.
That's the one.
So it's [C] a big thing for him.
But yeah, I just borrowed that banjo on [Am] the way.
Not that I can't [G] play five string banjo.
I can noodle a bit with the funny tuning.
But the tuning had to be a guitar [A] type tuning
to play that lick, because we were playing the lick all the time on guitar.
And [D] I still play it on guitar.
I play that lick [G] on guitar.
_ _ _ _ _ [A] But yeah, coming back from a gig in Kingston,
[C] after Sweet City Woman had been [G] released about 2 in the morning
in our old station wagon, _ _ [Am] American radio would drift [D] in.
And we were getting WABC _ [G] on the way back from Kingston to Toronto.
And just [Am] out of nowhere, WABC, New York, [D] number one, Sweet City [G] Woman.
WABC in New York freaked us out.
We pulled over, [G#] jumped around, [F#] jumped around the car like dummies,
yelling and screaming.
[E] So excited to hear this [E] track, number one in New York.
So that I remember all the time.
_ [F] _ Impossible for me to hear the opening of this [Cm] song.
Yeah, [D#] impossible.
Not to picture me, [G#]
myself, [Fm] on top of a Mayan pyramid [Cm] in Teotihuacan, Mexico.
[D] I wrote this [E] song.
I wrote the chorus to this [A] song. _
[C#] While vacuuming [D] at a friend's house, I was house sitting.
[A] And our producer at the time, [D] before making this record,
[F#m] Bob Ezrin actually said
Facts about this song