Chords for Behind The Vinyl: "This Beat Goes On / Switchin' To Glide" with The Kings

_ _ _ _ _ _ _ _
_ [E] Look at that.
I haven't done that for many years.
I know.
_ What [C#] is that?
Yeah.
[A] The extreme.
I've heard this riff before.
[E] _ _ _ [A]
I remember, yeah.
Was that [E] a strip joint you wrote that?
Well, back in the day [A] when I used to play six string [E] with the band,
well, I played bass and six string,
and I was tuning the guitar, remember? _ _
_ And suddenly our keyboard player said,
what is that?
And I said, I [A] don't know.
And I remembered [E] it, went home,
[A] and I said, hey, Mr.
Zero, listen to this.
[E] _ _ [A] And _ then_
[E] So I remembered the song, [A] The Name Game,
which was this [E] thing back in the 60s that_
[A] And I thought there'd never been a [E] name song in a while,
so that's where Hey Judy and Trudy,
and [A] I thought, I haven't heard that in a while,
so we just had some fun with [E] that.
[A] I thought it was a great idea.
And then, bring you up when I was in Toronto,
I thought that was the stupidest thing I could have thought.
It's so dumb.
[C] Well, nobody from Toronto says [G] Torontonese is two Ts.
Right, [C] so I thought it was so dumb it was smart,
[G] which I think is what we try to accomplish [D] a lot. _
[A] It seems simple, but it's not.
[D] And we had the different version of it.
We had [G] the other chord changes originally,
[D] in [B] the B [Em] part of the verse.
In [A] _ the B part of the verse of [E] this beat,
and Ezrin, [A] our producer, Bob Ezrin, _
[E] _ said he was [A] saying,
_ _ something's [E] just not right.
Yeah, [A] so he changed the chords to [E] make it this version.
[A] Yeah, so I just changed the chords [E] around a little bit,
and left the studio for half an hour or an hour.
And then there's the Mercedes.
We used to have this Mercedes that [A] I bought for $600.
[E] The four on the tree.
[A] It was a 64 _ _
[E] 220S.
We put a lot [A] of miles in that car.
Yeah, it was a lot of fun driving that thing around.
Lots [E] of room for the girls in [A] the back seat.
Even that happens [C] sometimes.
_ _ _ [G] Yeah, and [C] I have the grill hanging in our rehearsal [G] studio.
That's right.
The grill, [D] the Mercedes grill is hanging on the [A] wall.
It was already old when we got it,
but [D] we _ _ [G] ran it into the ground.
[D] Yeah.
Remember [B] Sonny?
[E] _ I just [A] sort of said that lick.
Da da [E] da da da da.
I sort of remember that [A] old_
[E] _ What was it?
Question mark and the mysterious.
[A] 96 [Em] Tears.
Yeah, 96 Tears.
Somehow I [A] just heard [D] it _ beforehand,
[A] and I just thought that's a great [D] sound,
that old Parfiz sound.
[A] So a little [E] borrowing,
little inspirations [B] from different places.
_ [E] _ And I remember [A] this beat goes on.
I sort of wrote myself into a [E] corner there,
because all [C#] these lower arms come [F#] along.
Yeah, because there was different [B] words before.
You had all those wacky words [F#m] before.
So I changed all that,
[B] but this beat goes on.
I thought, [F#] well, it can't be the beat goes on,
because [B] there's already Sonny and Cher [C#] and [F#] everything.
I thought, well, [B] maybe this beat goes on.
It was [F#] kind of a cheat,
but _ [B] people still say, well, the beat goes on.
[F#] I say, well, it's not the beat goes on.
No, [B] and it goes on and on.
On and on and on.
It was really a lesson in songwriting [F#] over and over,
because we reworked it [Bm] and reworked it.
And then we [A] had that song [E] first,
[D] and then I remember [A] it was the summertime.
[E] I was at my house in [D] Old Phil,
and I was working.
I had that [A] da-da-dum, da-da [E]-dum, da [D]-da-dum guitar lick. _ _
[A] And [E] you said, I have [D] this idea of switching [E] to glide. _
And I went da-da-dum, da-da-dum, da-da [D]-dum,
switching [E] to glide.
And it just happened just like that.
[A] And we thought it would be [E] a great idea
to put the two things together and [D] switch into glide.
[E] And then Nothing Matters But The Weekend.
I had that line [A] pretty quick.
_ [E] [D] You know, Nothing Matters But From A Tuesday Point Of View.
And I [A] thought, wow, that is really [E] good.
I [D] like that a lot.
Tuesdays in the [A] middle.
Yeah, right in the middle [E] of the week.
Just [D] as far from Friday on each [A] side.
And then [E] the next [D] line, Like A Kettle In The Kitchen.
That took me [E] forever.
[G#] To feel esteemed, [D] because it was like,
it's got to rhyme, [E] it's got to be good,
it's got to be [D] hooky and creative.
[Am] It just took me [E] so long [G#m] to get that.
I remember that, yeah.
_ [D#] And then, [E] you know.
You had all the different, it was all these,
no, this isn't going to work, that's not going to work.
Yeah, it was over and [D] over and over.
And that's just the way it [A] works, you know.
_ [E] [D] But then it worked, switching to glide.
[A] Yeah, [E] it's perfect.
And _ [D] again, Ezra [A] thought it was a great idea,
[E] that being a [D] segue with the glide in the middle.
And he didn't have to touch, he thought the whole
switching to glide part of the song was just.
It was right [E] on Sonny's mini move, that the [D] glide,
_ that's done on a mini move with the [A]
[D] oscillators.
Yeah, [F#m] _ [E] and that's been, you [Em] know,
[Gm] every time we play it, we have to get that sound [D] right. _
[E] People don't want to hear another sound
other than that glide, that's for sure.
You can keep it in your phone now,
[G] we don't have our keyboard players had it in a cell phone.
So it's like, you just.
_ _ _ [E] _ And that's.
[A] _ [Em] I remember, [D] yeah, I remember when we,
[A] well I was in the [E] beaches and I [D] was playing
the This Beat [Am] Goes On song,
[E] and then the [D] Switching to Glide song,
and I just put the one [A] into the other,
and I remember that, I [E] remember thinking,
[D] this has got to be a segue, these [A] two songs.
Right, that was the [Em] big celebration [D] when it was.
The glide wasn't there then,
but [E] then the glide came in obviously.
[D] _ _ And [A] then the ending, [E] the ending.
[D] It was just an ad-lib where you came up with this.
I just [A] asked, I was doing the, yeah,
_ [Em] [D] and then I just ad-libbed, we [A] got to get out of the hole.
[E] Out of the [D] hole.
Out of this hole.
[A] Because we were in a hole.
[E] Yeah.
[D] But every set we had in it was.
[A] _ [E] We were doing our own [D] album in the studio,
and that's where we, [A] Nimbus 9 [E] in Yorkville.
[D] That's how we met Ezrin.
That's how we met Bob Ezrin.
He came in because he used to work there
with Alice Cooper and Jack Richardson and everybody.
_ _ And the people we were working with
[G] sort of _ [D] started talking to him about it,
and he listened to our tapes
and [E] thought it was [G] pretty good.
So that's how it happened.
[B] Yeah, and good luck in the future with it,
because it's going pretty good so far.
Yeah, it's alright.
That's a hit.
_ [E] It was funny because we kind of listened to the four songs.
They said, which song do you think would make the best [N] video?
And we listened to all four.
I think this one, it wasn't like, oh, this is our big hit
that's going to change our lives and propel us
into superstardom all across the world.
It was [G] just like, this seemed like [B] it's going to make the best video.
And hey, here's the note, but this is different on this version.
The album version is a single version.
I re-sang it.
That's right.
[E] _
For the remix.
[B] That's right, for the remix of the single.
And because you [F#] didn't know where the end was.
I just [B] kept singing.
You just kept singing, and Stacey was supposed to phage out,
and you never phaged out.
[N] _ _ _ _