Chords for Behind The Vinyl: "When I'm With You" with Sheriff
Tempo:
108.25 bpm
Chords used:
E
A
D
F#
B
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Let me see if I can do this.
There you go.
That looks good.
You got it.
[A]
See how perfect that was?
[D] You've got a steady [E] hand.
Wow, haven't heard this version in a [A] long time, huh?
It's been about [D] 20 years for me.
Yeah.
[E]
[D] It's so [A] different.
Wow.
[E] So, 1982.
Grant Avenue Studios in Hamilton.
That's right.
[A] Incredible, huh?
[F#] And that's what a lot of people don't know.
[D] Remember [E] the bed tracks were done by [A] [E] Daniel [F#] Lanwa.
That's right.
[D] And he was supposed to be the engineer for this record, remember?
But he got a call [E] to go work with a little [D] small band in Ireland,
[E] which ended up being U2.
So we ended up [D] doing the rest of the record with Stacy.
Well, he owned the studio, right?
He owned the studio, yeah.
He [E] actually owned the studio [A] in Hamilton, Ontario, you mentioned.
But then he took off and left us with Stacy.
We [E] finished the record, whatever, it was great.
[D]
[E] But, yeah, so this song, remember when it came out?
It was a hit for us in the early 80s.
[D] And then Punk Rock.
That's right.
[E] It went to number 61 on Billboard, [A] is that right?
That's right, yeah.
61 on Billboard, and then it went down, down, down.
Yeah.
And [E] then everything ended for us [D] because Punk Rock came out and New [A] Wave.
Skinny Tide Band.
And that's it, we were out of a job.
So we became [E] couriers.
[A]
Well, the reason we became couriers was you and I [E]
purchased our own recording [D] studio.
We did, yeah.
And we had to pay it [A] off somehow.
Yeah.
So we worked at the courier thing for, what, four years?
And that was a rough thing because, you know, you would deliver a parcel.
[D] I don't know if it happened to you, but it happened to me [E] many times.
We would deliver a parcel [A] and the song's playing on the radio,
and you'd say, hey, that's [E] my band, that's me on the radio.
And they'd go, yeah, [D] right, get out.
Remember that?
[E] It was frustrating.
But then [A] when it did become, [F#] it somehow got out there that we were [D] couriers
and CBC was trying to chase us.
Well, this [E] is after, before that happened, we got a call from Dean [A] Cameron.
Right?
You're talking about the second time it became a hit.
[D] [E] So, yeah, we got a call from, we were working on the [D] Alias album.
It wasn't Alias, we were just [A] working on tracks.
But, yeah, remember we got a call from [E] Dean saying, you guys are going to have [A] a hit.
We both got a call, remember, Fred?
Do you realize you have a number one record?
Yeah, what are you talking [E] about?
Our album's not out yet.
[D] Yeah, so we went up to, remember we went up to [A] Capitol Records,
and we walked into the [E] boardroom and there was balloons and congratulations
and all that stuff, and we're like, [F#] what's going on?
So that DJ in Vegas had re-released it, and it went up to number one.
[B] Jay, [E] it'll come to me, hang on.
Good, [F#] your memory's better than mine.
[E] But, yeah, [B] so it went to number one, and here we are, we're couriers,
we're a number one song [F#]
on Billboard [E] in America.
Something [B] wrong with that picture, right?
It didn't go number one in Canada, did it, [F#] again?
It went number one the first time.
[E] That's right.
In the early 80s, but [B] it didn't go number one the second time.
Yeah.
And, hey, here's the note, but this is different on this version.
The album version and this single version.
I re-sang it.
That's [E] right.
For the [B] remix.
That's right, for the remix of the single.
And because you didn't know where the end was.
I just kept singing.
You just kept singing, and Stacey was supposed to phage out, and you never phage out.
[F#] And he kept it.
So here it is.
[B]
It's still pretty long.
[F#] Yeah, that's when I was a youngin'.
[B] That's right.
Wow, [Bm] incredible, huh?
This is the first time I've got to say [G] I've heard True on vinyl [Bm] for, it must be, 20, [G] 30 years or something like that.
[Bm] Yeah, it is, but it takes me straight [G] back to the thrill of taking that record [Bm] home to my mum and dad. Yeah.
And putting it [G] on the record [E] player.
There's a heavy guitar [A] that I never, I hated heavy guitar at [Am] the time, [E] but Kevin asked me to play [G] through a Marshall, and then he wanted a [E] Les Paul, so they actually borrowed a Les Paul that Keith Richards had left behind.
No way.
[A] Fantastic.
Yeah.
So you got to play Keith Richards' guitar on this.
[G] Is that
There you go.
That looks good.
You got it.
[A]
See how perfect that was?
[D] You've got a steady [E] hand.
Wow, haven't heard this version in a [A] long time, huh?
It's been about [D] 20 years for me.
Yeah.
[E]
[D] It's so [A] different.
Wow.
[E] So, 1982.
Grant Avenue Studios in Hamilton.
That's right.
[A] Incredible, huh?
[F#] And that's what a lot of people don't know.
[D] Remember [E] the bed tracks were done by [A] [E] Daniel [F#] Lanwa.
That's right.
[D] And he was supposed to be the engineer for this record, remember?
But he got a call [E] to go work with a little [D] small band in Ireland,
[E] which ended up being U2.
So we ended up [D] doing the rest of the record with Stacy.
Well, he owned the studio, right?
He owned the studio, yeah.
He [E] actually owned the studio [A] in Hamilton, Ontario, you mentioned.
But then he took off and left us with Stacy.
We [E] finished the record, whatever, it was great.
[D]
[E] But, yeah, so this song, remember when it came out?
It was a hit for us in the early 80s.
[D] And then Punk Rock.
That's right.
[E] It went to number 61 on Billboard, [A] is that right?
That's right, yeah.
61 on Billboard, and then it went down, down, down.
Yeah.
And [E] then everything ended for us [D] because Punk Rock came out and New [A] Wave.
Skinny Tide Band.
And that's it, we were out of a job.
So we became [E] couriers.
[A]
Well, the reason we became couriers was you and I [E]
purchased our own recording [D] studio.
We did, yeah.
And we had to pay it [A] off somehow.
Yeah.
So we worked at the courier thing for, what, four years?
And that was a rough thing because, you know, you would deliver a parcel.
[D] I don't know if it happened to you, but it happened to me [E] many times.
We would deliver a parcel [A] and the song's playing on the radio,
and you'd say, hey, that's [E] my band, that's me on the radio.
And they'd go, yeah, [D] right, get out.
Remember that?
[E] It was frustrating.
But then [A] when it did become, [F#] it somehow got out there that we were [D] couriers
and CBC was trying to chase us.
Well, this [E] is after, before that happened, we got a call from Dean [A] Cameron.
Right?
You're talking about the second time it became a hit.
[D] [E] So, yeah, we got a call from, we were working on the [D] Alias album.
It wasn't Alias, we were just [A] working on tracks.
But, yeah, remember we got a call from [E] Dean saying, you guys are going to have [A] a hit.
We both got a call, remember, Fred?
Do you realize you have a number one record?
Yeah, what are you talking [E] about?
Our album's not out yet.
[D] Yeah, so we went up to, remember we went up to [A] Capitol Records,
and we walked into the [E] boardroom and there was balloons and congratulations
and all that stuff, and we're like, [F#] what's going on?
So that DJ in Vegas had re-released it, and it went up to number one.
[B] Jay, [E] it'll come to me, hang on.
Good, [F#] your memory's better than mine.
[E] But, yeah, [B] so it went to number one, and here we are, we're couriers,
we're a number one song [F#]
on Billboard [E] in America.
Something [B] wrong with that picture, right?
It didn't go number one in Canada, did it, [F#] again?
It went number one the first time.
[E] That's right.
In the early 80s, but [B] it didn't go number one the second time.
Yeah.
And, hey, here's the note, but this is different on this version.
The album version and this single version.
I re-sang it.
That's [E] right.
For the [B] remix.
That's right, for the remix of the single.
And because you didn't know where the end was.
I just kept singing.
You just kept singing, and Stacey was supposed to phage out, and you never phage out.
[F#] And he kept it.
So here it is.
[B]
It's still pretty long.
[F#] Yeah, that's when I was a youngin'.
[B] That's right.
Wow, [Bm] incredible, huh?
This is the first time I've got to say [G] I've heard True on vinyl [Bm] for, it must be, 20, [G] 30 years or something like that.
[Bm] Yeah, it is, but it takes me straight [G] back to the thrill of taking that record [Bm] home to my mum and dad. Yeah.
And putting it [G] on the record [E] player.
There's a heavy guitar [A] that I never, I hated heavy guitar at [Am] the time, [E] but Kevin asked me to play [G] through a Marshall, and then he wanted a [E] Les Paul, so they actually borrowed a Les Paul that Keith Richards had left behind.
No way.
[A] Fantastic.
Yeah.
So you got to play Keith Richards' guitar on this.
[G] Is that
Key:
E
A
D
F#
B
E
A
D
_ _ _ _ _ Let me see if I can do this.
There you go.
That looks good.
You got it.
_ [A]
See how perfect that was?
[D] _ You've got a steady [E] hand. _
Wow, haven't heard this version in a [A] long time, huh? _ _
It's been about [D] 20 years for me.
Yeah.
[E] _ _ _ _
_ [D] It's so [A] different. _ _ _ _
Wow.
_ [E] So, 1982. _
Grant Avenue Studios in Hamilton.
That's right.
[A] Incredible, huh?
[F#] And that's what a lot of people don't know.
[D] _ _ Remember [E] the bed tracks were done by [A] _ [E] _ Daniel [F#] Lanwa.
That's right.
[D] And he was supposed to be the engineer for this record, remember?
But he got a call [E] to go work with a little [D] small band in Ireland,
[E] which ended up being U2.
_ So we ended up [D] doing the rest of the record with Stacy.
Well, he owned the studio, right?
He owned the studio, yeah.
He [E] actually owned the studio [A] in Hamilton, Ontario, you mentioned.
But then he took off and left us with Stacy.
We [E] finished the record, whatever, it was great.
_ [D] _
_ _ [E] But, yeah, so this song, remember when it came out?
It was a hit for us in the early 80s.
[D] And then Punk Rock.
That's right.
[E] It went to number 61 on Billboard, [A] is that right?
That's right, yeah.
61 on Billboard, and then it went down, down, down.
Yeah.
And [E] then everything ended for us [D] because Punk Rock came out and New [A] Wave.
Skinny Tide Band.
And that's it, we were out of a job.
So we became [E] couriers.
_ _ [A]
Well, the reason we became couriers was you and I [E] _
purchased our own recording [D] studio.
We did, yeah.
And we had to pay it [A] off somehow.
Yeah.
So we worked at the courier thing for, what, four years?
And that was a rough thing because, you know, _ you would deliver a parcel.
[D] I don't know if it happened to you, but it happened to me [E] many times.
We would deliver a parcel [A] and the song's playing on the radio,
and you'd say, hey, that's [E] my band, that's me on the radio.
And they'd go, yeah, [D] right, get out.
Remember that?
[E] It was frustrating.
But then [A] when it did become, [F#] it somehow got out there that we were [D] couriers
and CBC was trying to chase us.
Well, this [E] is after, before that happened, we got a call from Dean [A] Cameron.
Right?
You're talking about the second time it became a hit.
[D] _ [E] So, yeah, we got a call from, we were working on the [D] Alias album.
It wasn't Alias, we were just [A] working on tracks.
_ But, yeah, remember we got a call from [E] Dean saying, you guys are going to have [A] a hit.
We both got a call, remember, Fred?
Do you realize you have a number one record?
Yeah, what are you talking [E] about?
Our album's not out yet.
[D] Yeah, so we went up to, remember we went up to [A] Capitol Records,
_ and we walked into the [E] boardroom and there was balloons and congratulations
and all that stuff, and we're like, [F#] what's going on?
So that DJ in Vegas had re-released it, and it went up to number one.
_ [B] _ Jay, [E] it'll come to me, hang on.
Good, [F#] your memory's better than mine.
[E] But, yeah, [B] so it went to number one, and here we are, we're couriers,
we're a number one song [F#]
on Billboard [E] in America.
Something [B] wrong with that picture, right?
It didn't go number one in Canada, did it, [F#] again?
It went number one the first time.
[E] That's right.
In the early 80s, but [B] it didn't go number one the second time.
Yeah.
And, hey, here's the note, but this is different on this version.
The album version and this single version.
I re-sang it.
That's [E] right.
For the [B] remix.
That's right, for the remix of the single.
And because you didn't know where the end was.
I just kept singing.
You just kept singing, and Stacey was supposed to phage out, and you never phage out.
[F#] And he kept it.
So here it is. _ _ _
_ _ _ [B] _ _ _ _
It's still pretty long.
[F#] Yeah, _ _ _ _ that's when I was a youngin'.
[B] That's right. _ _ _
Wow, [Bm] incredible, huh?
This is the first time I've got to say [G] I've heard True on vinyl [Bm] for, it must be, 20, [G] 30 years or something like that.
[Bm] Yeah, it is, but it takes me straight [G] back to the thrill of taking that record [Bm] home to my mum and dad. Yeah.
And putting it [G] on the record [E] player.
There's a heavy guitar [A] that I never, I hated heavy guitar at [Am] the time, [E] but Kevin _ asked me to play [G] through a Marshall, and then he wanted a [E] Les Paul, so they actually borrowed a Les Paul that Keith Richards had left behind.
No way.
_ [A] Fantastic.
Yeah.
So you got to play Keith Richards' guitar on this.
[G] Is that
There you go.
That looks good.
You got it.
_ [A]
See how perfect that was?
[D] _ You've got a steady [E] hand. _
Wow, haven't heard this version in a [A] long time, huh? _ _
It's been about [D] 20 years for me.
Yeah.
[E] _ _ _ _
_ [D] It's so [A] different. _ _ _ _
Wow.
_ [E] So, 1982. _
Grant Avenue Studios in Hamilton.
That's right.
[A] Incredible, huh?
[F#] And that's what a lot of people don't know.
[D] _ _ Remember [E] the bed tracks were done by [A] _ [E] _ Daniel [F#] Lanwa.
That's right.
[D] And he was supposed to be the engineer for this record, remember?
But he got a call [E] to go work with a little [D] small band in Ireland,
[E] which ended up being U2.
_ So we ended up [D] doing the rest of the record with Stacy.
Well, he owned the studio, right?
He owned the studio, yeah.
He [E] actually owned the studio [A] in Hamilton, Ontario, you mentioned.
But then he took off and left us with Stacy.
We [E] finished the record, whatever, it was great.
_ [D] _
_ _ [E] But, yeah, so this song, remember when it came out?
It was a hit for us in the early 80s.
[D] And then Punk Rock.
That's right.
[E] It went to number 61 on Billboard, [A] is that right?
That's right, yeah.
61 on Billboard, and then it went down, down, down.
Yeah.
And [E] then everything ended for us [D] because Punk Rock came out and New [A] Wave.
Skinny Tide Band.
And that's it, we were out of a job.
So we became [E] couriers.
_ _ [A]
Well, the reason we became couriers was you and I [E] _
purchased our own recording [D] studio.
We did, yeah.
And we had to pay it [A] off somehow.
Yeah.
So we worked at the courier thing for, what, four years?
And that was a rough thing because, you know, _ you would deliver a parcel.
[D] I don't know if it happened to you, but it happened to me [E] many times.
We would deliver a parcel [A] and the song's playing on the radio,
and you'd say, hey, that's [E] my band, that's me on the radio.
And they'd go, yeah, [D] right, get out.
Remember that?
[E] It was frustrating.
But then [A] when it did become, [F#] it somehow got out there that we were [D] couriers
and CBC was trying to chase us.
Well, this [E] is after, before that happened, we got a call from Dean [A] Cameron.
Right?
You're talking about the second time it became a hit.
[D] _ [E] So, yeah, we got a call from, we were working on the [D] Alias album.
It wasn't Alias, we were just [A] working on tracks.
_ But, yeah, remember we got a call from [E] Dean saying, you guys are going to have [A] a hit.
We both got a call, remember, Fred?
Do you realize you have a number one record?
Yeah, what are you talking [E] about?
Our album's not out yet.
[D] Yeah, so we went up to, remember we went up to [A] Capitol Records,
_ and we walked into the [E] boardroom and there was balloons and congratulations
and all that stuff, and we're like, [F#] what's going on?
So that DJ in Vegas had re-released it, and it went up to number one.
_ [B] _ Jay, [E] it'll come to me, hang on.
Good, [F#] your memory's better than mine.
[E] But, yeah, [B] so it went to number one, and here we are, we're couriers,
we're a number one song [F#]
on Billboard [E] in America.
Something [B] wrong with that picture, right?
It didn't go number one in Canada, did it, [F#] again?
It went number one the first time.
[E] That's right.
In the early 80s, but [B] it didn't go number one the second time.
Yeah.
And, hey, here's the note, but this is different on this version.
The album version and this single version.
I re-sang it.
That's [E] right.
For the [B] remix.
That's right, for the remix of the single.
And because you didn't know where the end was.
I just kept singing.
You just kept singing, and Stacey was supposed to phage out, and you never phage out.
[F#] And he kept it.
So here it is. _ _ _
_ _ _ [B] _ _ _ _
It's still pretty long.
[F#] Yeah, _ _ _ _ that's when I was a youngin'.
[B] That's right. _ _ _
Wow, [Bm] incredible, huh?
This is the first time I've got to say [G] I've heard True on vinyl [Bm] for, it must be, 20, [G] 30 years or something like that.
[Bm] Yeah, it is, but it takes me straight [G] back to the thrill of taking that record [Bm] home to my mum and dad. Yeah.
And putting it [G] on the record [E] player.
There's a heavy guitar [A] that I never, I hated heavy guitar at [Am] the time, [E] but Kevin _ asked me to play [G] through a Marshall, and then he wanted a [E] Les Paul, so they actually borrowed a Les Paul that Keith Richards had left behind.
No way.
_ [A] Fantastic.
Yeah.
So you got to play Keith Richards' guitar on this.
[G] Is that