Chords for Behind The Vinyl: "Voodoo Thing" with Colin James
Tempo:
86.45 bpm
Chords used:
E
Em
A
B
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G]
[E] All right, so here we are with my very first record apart from a single I had [Em] before this record which we hand-delivered to radio stations
Which had two songs on [E] it it had why July on one side and five long years on the other and that's what got me
signed at the time to
Virgin Records America brand-new Virgin Records [Em] America who at the time
[E] had only two artists that had Iggy Pop Keith Richards and then me and
Pretty exciting for me.
I was you know living in Vancouver, and I had [A] to go to Los Angeles and
They fit me up with a producer they [E] thought would be perfect for me named Tom Dowd and Tom Dowd's a legend he was like
From the New York [B] area I think originally
He was involved in the Manhattan project if you can believe [F] that
[E] He which is you know a nuclear?
[Em] Science and
[E]
He had worked with everyone from John Coltrane to Bobby Darin to Eric Clapton to
in a gauda de vita with you know
I mean just you know everybody pretty intimidating [A] for me because he had worked with the wreath of [D] Franklin and Amit [A] Erdogan and all those guys
[E] and
We went to Miami to criteria
[Bm] Records where the [A#] honeymooners would do [B] all their live recording
[A] Jackie Gleason [E] that was his studio you could go in the back rooms, and you could find all [Bm] the reel-to-reels [E] of Jackie Gleason
But everybody [Em] because the [A] reels were hanging it you could just go to these amazing rooms
Anyway the sad thing about my story is
The record me and Tom although [B] he was a fascinating guy.
We didn't get along super great.
He didn't want me to play any blues
He really it was like pulling teeth [E] to get any blues on this record
Why July was the only one he kind of allowed at the time [G]
and as a result we kind [A] of got into some [E] arguments
Sadly, but [G] we got one song [B] with Tom is all [A] we got which [G] is a jazz instrumental called three sheets to the wind
[E] but
At the time we were lacking a couple [Em] songs, and we didn't really have a radio single.
That was a sure thing
We had five long years.
We felt good about that
[E] but it had already been on some radio [Am] and
One night me and my [E] buddy who was staying with me in South Beach came [A] back to the room, and I said I need another song
That day we had tried [Em] something in the [E] studio because we kept a room where the band could play
And we went in and I said [Bm] the valentine done, and I got this riff.
You know I think it's pretty cool riff and
And I saw and then and then me [E] and my buddy
Well one night.
We started.
I started working on it
And we got about two verses in and I phoned my [Em] manager the next day, and [E] I said
Voodoo thing I'm gonna call it voodoo thing, and I think it's I [A] think it's I think [E] it's pretty good
I think it's gonna be good, and he said you can't [Em] call it
No one's gonna want to hear it because of voodoo child by Hendrix.
[E] It's gonna confuse everybody
And I said I don't think so voodoo thing which I don't think that's an issue
I said and I stood my ground and we got the song and
I ended up though [N] having to re-record it, so I didn't record the Miami version never made it
It never made it somewhere it exists.
It was a nightmare
Nightmare and we went to LA we worked with
Danny Kortzmar there's six producers on this record if you can even believe it my very first record has Bob Rock Danny Kortzmar Tom Dowd
The guy who had worked with Dire Straits
Neil Dorfman and others who I can't even remember right now, but anyway voodoo thing was born
and then Bob [B] Seger was recording next door and Bob Seger came [G#m] in and listened to the
Listen to the rough on the board and [C#m] complimented me on the song which was cool.
[F#] I was meeting Bob Seger that was [B] amazing
And wadi I met wadi and I [Em] think
Richie [B] Hayward from Little Feet was there that day too [E] if I'm not mistaken
And if it wasn't for [G] this song I'd probably be doing something else you know
[C] Thought I was [Em] good.
I was in it for the long run at [F] the time.
I mean I thought you [G] know if this record doesn't happen then
[E] All right, so here we are with my very first record apart from a single I had [Em] before this record which we hand-delivered to radio stations
Which had two songs on [E] it it had why July on one side and five long years on the other and that's what got me
signed at the time to
Virgin Records America brand-new Virgin Records [Em] America who at the time
[E] had only two artists that had Iggy Pop Keith Richards and then me and
Pretty exciting for me.
I was you know living in Vancouver, and I had [A] to go to Los Angeles and
They fit me up with a producer they [E] thought would be perfect for me named Tom Dowd and Tom Dowd's a legend he was like
From the New York [B] area I think originally
He was involved in the Manhattan project if you can believe [F] that
[E] He which is you know a nuclear?
[Em] Science and
[E]
He had worked with everyone from John Coltrane to Bobby Darin to Eric Clapton to
in a gauda de vita with you know
I mean just you know everybody pretty intimidating [A] for me because he had worked with the wreath of [D] Franklin and Amit [A] Erdogan and all those guys
[E] and
We went to Miami to criteria
[Bm] Records where the [A#] honeymooners would do [B] all their live recording
[A] Jackie Gleason [E] that was his studio you could go in the back rooms, and you could find all [Bm] the reel-to-reels [E] of Jackie Gleason
But everybody [Em] because the [A] reels were hanging it you could just go to these amazing rooms
Anyway the sad thing about my story is
The record me and Tom although [B] he was a fascinating guy.
We didn't get along super great.
He didn't want me to play any blues
He really it was like pulling teeth [E] to get any blues on this record
Why July was the only one he kind of allowed at the time [G]
and as a result we kind [A] of got into some [E] arguments
Sadly, but [G] we got one song [B] with Tom is all [A] we got which [G] is a jazz instrumental called three sheets to the wind
[E] but
At the time we were lacking a couple [Em] songs, and we didn't really have a radio single.
That was a sure thing
We had five long years.
We felt good about that
[E] but it had already been on some radio [Am] and
One night me and my [E] buddy who was staying with me in South Beach came [A] back to the room, and I said I need another song
That day we had tried [Em] something in the [E] studio because we kept a room where the band could play
And we went in and I said [Bm] the valentine done, and I got this riff.
You know I think it's pretty cool riff and
And I saw and then and then me [E] and my buddy
Well one night.
We started.
I started working on it
And we got about two verses in and I phoned my [Em] manager the next day, and [E] I said
Voodoo thing I'm gonna call it voodoo thing, and I think it's I [A] think it's I think [E] it's pretty good
I think it's gonna be good, and he said you can't [Em] call it
No one's gonna want to hear it because of voodoo child by Hendrix.
[E] It's gonna confuse everybody
And I said I don't think so voodoo thing which I don't think that's an issue
I said and I stood my ground and we got the song and
I ended up though [N] having to re-record it, so I didn't record the Miami version never made it
It never made it somewhere it exists.
It was a nightmare
Nightmare and we went to LA we worked with
Danny Kortzmar there's six producers on this record if you can even believe it my very first record has Bob Rock Danny Kortzmar Tom Dowd
The guy who had worked with Dire Straits
Neil Dorfman and others who I can't even remember right now, but anyway voodoo thing was born
and then Bob [B] Seger was recording next door and Bob Seger came [G#m] in and listened to the
Listen to the rough on the board and [C#m] complimented me on the song which was cool.
[F#] I was meeting Bob Seger that was [B] amazing
And wadi I met wadi and I [Em] think
Richie [B] Hayward from Little Feet was there that day too [E] if I'm not mistaken
And if it wasn't for [G] this song I'd probably be doing something else you know
[C] Thought I was [Em] good.
I was in it for the long run at [F] the time.
I mean I thought you [G] know if this record doesn't happen then
Key:
E
Em
A
B
G
E
Em
A
_ _ _ _ _ _ _ [G] _
_ _ [E] _ _ All right, so here we are with my very first record apart from a single I had [Em] before this record which we hand-delivered to radio stations
Which had two songs on [E] it it had why July on one side and five long years on the other and that's what got me
signed at the time to
Virgin Records America brand-new Virgin Records [Em] America who at the time
[E] had only two artists that had Iggy Pop Keith Richards and then me and
Pretty exciting for me.
I was you know living in Vancouver, and I had [A] to go to Los Angeles and
They fit me up with a producer they [E] thought would be perfect for me named Tom Dowd and Tom Dowd's a legend he was like
From the New York [B] area I think originally
He was involved in the Manhattan project if you can believe [F] that
[E] He which is you know a nuclear?
_ _ [Em] Science and
[E] _
He had worked with everyone from John Coltrane to Bobby Darin to Eric Clapton to
in a gauda de vita with you know
I mean just you know everybody pretty intimidating [A] for me because he had worked with the wreath of [D] Franklin and Amit [A] Erdogan and all those guys
[E] and
We went to Miami to criteria
_ [Bm] Records where the [A#] honeymooners would do [B] all their live recording
[A] Jackie Gleason [E] that was his studio you could go in the back rooms, and you could find all [Bm] the reel-to-reels [E] of Jackie Gleason
But everybody [Em] because the [A] reels were hanging it you could just go to these amazing rooms
Anyway the sad thing about my story is
The record me and Tom although [B] he was a fascinating guy.
We didn't get along super great.
He didn't want me to play any blues
_ He really it was like pulling teeth [E] to get any blues on this record
Why July was the only one he kind of allowed at the time [G]
and as a result we kind [A] of got into some [E] arguments
Sadly, but [G] we got one song [B] with Tom is all [A] we got which [G] is a jazz instrumental called three sheets to the wind
[E] but
At the time we were lacking a couple [Em] songs, and we didn't really have a radio single.
That was a sure thing
We had five long years.
We felt good about that
[E] but it had already been on some radio [Am] and
One night me and my [E] buddy who was staying with me in South Beach came [A] back to the room, and I said I need another song
That day we had tried [Em] something in the [E] studio because we kept a room where the band could play
And we went in and I said [Bm] the valentine done, and I got this riff.
You know I think it's pretty cool riff and
And I saw and then and then me [E] and my buddy
Well one night.
We started.
I started working on it
And we got about two verses in and I phoned my [Em] manager the next day, and [E] I said
Voodoo thing I'm gonna call it voodoo thing, and I think it's I [A] think it's I think [E] it's pretty good
I think it's gonna be good, and he said you can't [Em] call it
No one's gonna want to hear it because of voodoo child by Hendrix.
[E] It's gonna confuse everybody
And I said I don't think so voodoo thing which I don't think that's an issue
I said and I stood my ground and we got the song and
I ended up though [N] having to re-record it, so I didn't record the Miami version never made it
It never made it somewhere it exists.
It was a nightmare
Nightmare and we went to LA we worked with
Danny Kortzmar there's six producers on this record if you can even believe it my very first record has Bob Rock Danny Kortzmar Tom Dowd
_ _ The guy who had worked with Dire Straits
Neil Dorfman and others who I can't even remember right now, but anyway voodoo thing was born
and then Bob [B] Seger was recording next door and Bob Seger came [G#m] in and listened to the
Listen to the rough on the board and [C#m] complimented me on the song which was cool.
[F#] I was meeting Bob Seger that was [B] amazing
And wadi I met wadi and I [Em] think
Richie [B] Hayward from Little Feet was there that day too [E] if I'm not mistaken
And if it wasn't for [G] this song I'd probably be doing something else you know
_ _ [C] Thought I was [Em] good.
I was in it for the long run at [F] the time.
I mean I thought you [G] know if this record doesn't happen then
_ _ [E] _ _ All right, so here we are with my very first record apart from a single I had [Em] before this record which we hand-delivered to radio stations
Which had two songs on [E] it it had why July on one side and five long years on the other and that's what got me
signed at the time to
Virgin Records America brand-new Virgin Records [Em] America who at the time
[E] had only two artists that had Iggy Pop Keith Richards and then me and
Pretty exciting for me.
I was you know living in Vancouver, and I had [A] to go to Los Angeles and
They fit me up with a producer they [E] thought would be perfect for me named Tom Dowd and Tom Dowd's a legend he was like
From the New York [B] area I think originally
He was involved in the Manhattan project if you can believe [F] that
[E] He which is you know a nuclear?
_ _ [Em] Science and
[E] _
He had worked with everyone from John Coltrane to Bobby Darin to Eric Clapton to
in a gauda de vita with you know
I mean just you know everybody pretty intimidating [A] for me because he had worked with the wreath of [D] Franklin and Amit [A] Erdogan and all those guys
[E] and
We went to Miami to criteria
_ [Bm] Records where the [A#] honeymooners would do [B] all their live recording
[A] Jackie Gleason [E] that was his studio you could go in the back rooms, and you could find all [Bm] the reel-to-reels [E] of Jackie Gleason
But everybody [Em] because the [A] reels were hanging it you could just go to these amazing rooms
Anyway the sad thing about my story is
The record me and Tom although [B] he was a fascinating guy.
We didn't get along super great.
He didn't want me to play any blues
_ He really it was like pulling teeth [E] to get any blues on this record
Why July was the only one he kind of allowed at the time [G]
and as a result we kind [A] of got into some [E] arguments
Sadly, but [G] we got one song [B] with Tom is all [A] we got which [G] is a jazz instrumental called three sheets to the wind
[E] but
At the time we were lacking a couple [Em] songs, and we didn't really have a radio single.
That was a sure thing
We had five long years.
We felt good about that
[E] but it had already been on some radio [Am] and
One night me and my [E] buddy who was staying with me in South Beach came [A] back to the room, and I said I need another song
That day we had tried [Em] something in the [E] studio because we kept a room where the band could play
And we went in and I said [Bm] the valentine done, and I got this riff.
You know I think it's pretty cool riff and
And I saw and then and then me [E] and my buddy
Well one night.
We started.
I started working on it
And we got about two verses in and I phoned my [Em] manager the next day, and [E] I said
Voodoo thing I'm gonna call it voodoo thing, and I think it's I [A] think it's I think [E] it's pretty good
I think it's gonna be good, and he said you can't [Em] call it
No one's gonna want to hear it because of voodoo child by Hendrix.
[E] It's gonna confuse everybody
And I said I don't think so voodoo thing which I don't think that's an issue
I said and I stood my ground and we got the song and
I ended up though [N] having to re-record it, so I didn't record the Miami version never made it
It never made it somewhere it exists.
It was a nightmare
Nightmare and we went to LA we worked with
Danny Kortzmar there's six producers on this record if you can even believe it my very first record has Bob Rock Danny Kortzmar Tom Dowd
_ _ The guy who had worked with Dire Straits
Neil Dorfman and others who I can't even remember right now, but anyway voodoo thing was born
and then Bob [B] Seger was recording next door and Bob Seger came [G#m] in and listened to the
Listen to the rough on the board and [C#m] complimented me on the song which was cool.
[F#] I was meeting Bob Seger that was [B] amazing
And wadi I met wadi and I [Em] think
Richie [B] Hayward from Little Feet was there that day too [E] if I'm not mistaken
And if it wasn't for [G] this song I'd probably be doing something else you know
_ _ [C] Thought I was [Em] good.
I was in it for the long run at [F] the time.
I mean I thought you [G] know if this record doesn't happen then