Chords for CHICAGO - Jason Scheff joins the band, 1985
Tempo:
72.45 bpm
Chords used:
F#m
A
F#
Bm
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G] In the 80s, key [G#] personnel changes kept Chicago's [A#m] music fresh.
Music veteran Bill [G#] Champlin joined the group [G] in 1982 for Chicago 16.
[A#m] In 1985, the group [A#] found [G] bassist-vocalist Jason Sheff.
And now the current Chicago is the strongest musical unit a band has [B] ever had.
[C#]
[G#] [F#m]
Singing
[C#] Singing
[Fm]
[C#] [A]
[G#] [A] [Bm]
[A] [Bm] [A] They needed to start their album and they really hadn't [C#] decided on anybody.
[G#] Actually couldn't find somebody who played bass [A] and sang [C#] that they wanted [A] to have in the band, right?
So they were getting to the point where they were going to just hire a singer [F#m] and hire a bass player also.
So [A] from my demo [Bm] tape they thought that I was a keyboard player because I had played keyboards on some of [A] the stuff.
And I write that way so they think he's a keyboard player.
And I remember talking to the manager the first day and he was saying,
[Bm] What do you [A] play?
And I said, I play bass.
And he said, [F#m] Oh my God, it's a match [G#] made in heaven.
We [F#] brought him in, he played bass and he sang and it was like, what are these guys bringing a clone of Peter in?
[C#] You know, [D#m] that's what they thought.
And in reality, [F#] what we needed is to [C#] get [F#] real vocal harmonies, you need a high, a mid and a low.
That's how [G#] you get it.
And if you want the high voice, you got to get somebody who can sing the high notes.
[C#] And it's called a tenor voice.
[C#m] So we needed to hire a tenor.
They could see that [A#m] I was actually a fan of the music too and that I really wanted to be there.
[G#] And so it was a cool [C#] thing to have happen.
Without offending anybody, Mick, whatever, [G#] and stuff, whom I truly love the Stones,
[A#m] you know, Jason has got a shot at being that when he grows [E] up.
You know, and [C#] I mean that with all my heart.
[A#m] And he knows it and [G#] he sure works very [Am] hard at it.
[F#m]
[Am] [G] All the [F#] freight that day.
[E] [Am] Looking for something [D] to say.
[Am] Watching lights [F#] against the sky.
[E] [A] Your heart [F#m] goes.
[F] Sitting cross-eyed [C] on the line.
[G] Hunting by all [F] six to find.
[Am] [F#]
[E] [A] [F#m]
[Am] [C] Saving plenty [F#] in his brain.
[E] [Am] All of a sudden, it's showtime and the lights go down and the [F#m] crowd goes crazy.
That's [A] when I start realizing, oh, that's right, this is what it's like.
And we're back and everything.
The first night it [E] happened, [Am] man, [A] I mean, everybody was [F#] trying to make me feel comfortable.
And you're going to do great, [F] this is going to be fine, man, this is going to [G] be great.
And our manager was there and he's [C] like, okay, here we go.
It made me feel good [G] to know that they [F] weren't booing.
You know, that, okay, Peter's [C#m] left the band, Jason's in it [G] now, and we don't dig it.
[D] So we're going to pay $17.50 or [F#] $25 to have a bad time and boo, right?
They were there to have a good time, they were screaming.
And I thought, man, [A] this is great.
[G] And all of a sudden these banners go [F#] up that people said, welcome, [E] Jason, [Am] and we love you, Chicago.
[Bm]
[F#m] [C#m] [Bm] [F#] The band accepted me right off the [F#m] bat.
[C#m] [G#] Once they made the decision, [F#m] that was it.
Who's having [Bm] dogs?
Some of that magic started coming back again.
It [F#m]
felt like we had the band back together.
[D] Different than with Terry, [Bm] but still, the whole wheel was back and running and [B] operating.
It felt like a unit, [F#m] something working.
[F#] Everything all right?
Unbelievable.
Compliments to the [Bm] chef.
Really great.
[F#m] I can't eat anything less, no.
[Bm] [F#m] I think [F#] it's time that Jason [Bm] has his inaugural [D] demon dog.
[Bm] What do you think, buddy?
[E] A real Chicago hot dog.
[E] I'm ready.
[D] That's it?
Oh, man.
That's it, man.
A real Chicago [G#m] hot dog.
Pepper.
A [G] lot of history here.
There's some new history, too.
Sit it up right here.
[F#m] Let me get into position.
[A#] You have to line up those peppers just so. [Am] Just so.
You've got to eat the whole [B] thing in two bites.
Cheers.
Cheers, guys.
Here we go, guys.
Nice to be [C#m] aboard.
Thank you.
Pleasure.
[B] Cheers.
[E] Well, [D] does he like it?
[E] Mmm.
[D] [E]
[F#] [Am] [F]
[Em] [A] More from Chicago when In Concert continues.
[N]
Music veteran Bill [G#] Champlin joined the group [G] in 1982 for Chicago 16.
[A#m] In 1985, the group [A#] found [G] bassist-vocalist Jason Sheff.
And now the current Chicago is the strongest musical unit a band has [B] ever had.
[C#]
[G#] [F#m]
Singing
[C#] Singing
[Fm]
[C#] [A]
[G#] [A] [Bm]
[A] [Bm] [A] They needed to start their album and they really hadn't [C#] decided on anybody.
[G#] Actually couldn't find somebody who played bass [A] and sang [C#] that they wanted [A] to have in the band, right?
So they were getting to the point where they were going to just hire a singer [F#m] and hire a bass player also.
So [A] from my demo [Bm] tape they thought that I was a keyboard player because I had played keyboards on some of [A] the stuff.
And I write that way so they think he's a keyboard player.
And I remember talking to the manager the first day and he was saying,
[Bm] What do you [A] play?
And I said, I play bass.
And he said, [F#m] Oh my God, it's a match [G#] made in heaven.
We [F#] brought him in, he played bass and he sang and it was like, what are these guys bringing a clone of Peter in?
[C#] You know, [D#m] that's what they thought.
And in reality, [F#] what we needed is to [C#] get [F#] real vocal harmonies, you need a high, a mid and a low.
That's how [G#] you get it.
And if you want the high voice, you got to get somebody who can sing the high notes.
[C#] And it's called a tenor voice.
[C#m] So we needed to hire a tenor.
They could see that [A#m] I was actually a fan of the music too and that I really wanted to be there.
[G#] And so it was a cool [C#] thing to have happen.
Without offending anybody, Mick, whatever, [G#] and stuff, whom I truly love the Stones,
[A#m] you know, Jason has got a shot at being that when he grows [E] up.
You know, and [C#] I mean that with all my heart.
[A#m] And he knows it and [G#] he sure works very [Am] hard at it.
[F#m]
[Am] [G] All the [F#] freight that day.
[E] [Am] Looking for something [D] to say.
[Am] Watching lights [F#] against the sky.
[E] [A] Your heart [F#m] goes.
[F] Sitting cross-eyed [C] on the line.
[G] Hunting by all [F] six to find.
[Am] [F#]
[E] [A] [F#m]
[Am] [C] Saving plenty [F#] in his brain.
[E] [Am] All of a sudden, it's showtime and the lights go down and the [F#m] crowd goes crazy.
That's [A] when I start realizing, oh, that's right, this is what it's like.
And we're back and everything.
The first night it [E] happened, [Am] man, [A] I mean, everybody was [F#] trying to make me feel comfortable.
And you're going to do great, [F] this is going to be fine, man, this is going to [G] be great.
And our manager was there and he's [C] like, okay, here we go.
It made me feel good [G] to know that they [F] weren't booing.
You know, that, okay, Peter's [C#m] left the band, Jason's in it [G] now, and we don't dig it.
[D] So we're going to pay $17.50 or [F#] $25 to have a bad time and boo, right?
They were there to have a good time, they were screaming.
And I thought, man, [A] this is great.
[G] And all of a sudden these banners go [F#] up that people said, welcome, [E] Jason, [Am] and we love you, Chicago.
[Bm]
[F#m] [C#m] [Bm] [F#] The band accepted me right off the [F#m] bat.
[C#m] [G#] Once they made the decision, [F#m] that was it.
Who's having [Bm] dogs?
Some of that magic started coming back again.
It [F#m]
felt like we had the band back together.
[D] Different than with Terry, [Bm] but still, the whole wheel was back and running and [B] operating.
It felt like a unit, [F#m] something working.
[F#] Everything all right?
Unbelievable.
Compliments to the [Bm] chef.
Really great.
[F#m] I can't eat anything less, no.
[Bm] [F#m] I think [F#] it's time that Jason [Bm] has his inaugural [D] demon dog.
[Bm] What do you think, buddy?
[E] A real Chicago hot dog.
[E] I'm ready.
[D] That's it?
Oh, man.
That's it, man.
A real Chicago [G#m] hot dog.
Pepper.
A [G] lot of history here.
There's some new history, too.
Sit it up right here.
[F#m] Let me get into position.
[A#] You have to line up those peppers just so. [Am] Just so.
You've got to eat the whole [B] thing in two bites.
Cheers.
Cheers, guys.
Here we go, guys.
Nice to be [C#m] aboard.
Thank you.
Pleasure.
[B] Cheers.
[E] Well, [D] does he like it?
[E] Mmm.
[D] [E]
[F#] [Am] [F]
[Em] [A] More from Chicago when In Concert continues.
[N]
Key:
F#m
A
F#
Bm
E
F#m
A
F#
_ _ _ [G] In the 80s, key [G#] personnel changes kept Chicago's [A#m] music fresh.
Music veteran Bill [G#] Champlin joined the group [G] in 1982 for Chicago 16.
[A#m] In 1985, the group [A#] found [G] bassist-vocalist Jason Sheff.
And now the current Chicago is the strongest musical unit a band has [B] ever had.
_ [C#] _ _ _
[G#] _ _ _ _ _ _ _ [F#m]
Singing
_ _ [C#] Singing
_ _ [Fm] _
_ _ [C#] _ _ _ _ [A] _ _
_ _ [G#] _ _ _ [A] _ _ [Bm] _
_ [A] _ _ [Bm] _ _ [A] They needed to start their album and they really hadn't [C#] decided on anybody.
[G#] Actually couldn't find somebody who played bass [A] and sang [C#] that they wanted [A] to have in the band, right?
So they were getting to the point where they were going to just hire a singer [F#m] and hire a bass player also.
So [A] from my demo [Bm] tape they thought that I was a keyboard player because I had played keyboards on some of [A] the stuff.
And I write that way so they think he's a keyboard player.
And I remember talking to the manager the first day and he was saying,
[Bm] What do you [A] play?
And I said, I play bass.
And he said, [F#m] Oh my God, it's a match [G#] made in heaven.
_ _ We [F#] brought him in, he played bass and he sang and it was like, what are these guys bringing a clone of Peter in?
[C#] You know, [D#m] that's what they thought.
And in reality, [F#] what we needed is to [C#] get [F#] real vocal harmonies, you need a high, a mid and a low.
That's how [G#] you get it.
And if you want the high voice, you got to get somebody who can sing the high notes.
[C#] And it's called a tenor voice.
[C#m] So we needed to hire a tenor.
They could see that [A#m] I was actually a fan of the music too and that I really wanted to be there.
[G#] And so it was a cool [C#] thing to have happen.
Without offending anybody, Mick, whatever, [G#] and stuff, whom I truly love the Stones,
[A#m] you know, Jason has got a shot at being that when he grows [E] up.
You know, and [C#] I mean that with all my heart.
[A#m] And he knows it and [G#] he sure works very [Am] hard at it.
_ _ _ [F#m] _
_ _ _ [Am] _ _ [G] All the [F#] freight that day.
[E] _ [Am] _ Looking for something [D] to say.
_ _ _ [Am] _ Watching lights [F#] against the sky.
_ [E] _ [A] _ Your heart [F#m] goes.
_ _ _ [F] _ Sitting cross-eyed [C] on the line.
_ _ [G] _ Hunting by all [F] six to find.
_ _ [Am] _ _ _ _ [F#] _
_ _ [E] _ [A] _ _ _ _ [F#m] _
_ [Am] _ _ _ [C] Saving plenty [F#] in his brain.
_ [E] [Am] All of a sudden, it's showtime and the lights go down and the [F#m] crowd goes crazy.
That's [A] when I start realizing, oh, that's right, this is what it's like.
And we're back and everything.
The first night it [E] happened, [Am] man, [A] I mean, everybody was [F#] trying to make me feel comfortable.
And you're going to do great, [F] this is going to be fine, man, this is going to [G] be great.
And our manager was there and he's [C] like, okay, here we go.
It made me feel good [G] to know that they [F] weren't booing.
You know, that, okay, Peter's [C#m] left the band, Jason's in it [G] now, and we don't dig it.
[D] So we're going to pay $17.50 or [F#] $25 to have a bad time and boo, right?
They were there to have a good time, they were screaming.
And I thought, man, [A] this is great.
[G] And all of a sudden these banners go [F#] up that people said, welcome, [E] Jason, [Am] and we love you, Chicago.
[Bm] _ _
[F#m] _ _ _ [C#m] _ _ [Bm] _ [F#] The band accepted me right off the [F#m] bat.
[C#m] [G#] Once they made the decision, [F#m] that was it.
Who's having [Bm] dogs?
Some of that magic started coming back again.
It [F#m]
felt like we had the band back together.
_ [D] Different than with Terry, [Bm] but still, the whole wheel was back and running and [B] operating.
It felt like a unit, [F#m] something working.
_ [F#] Everything all right?
Unbelievable.
Compliments to the [Bm] chef.
Really great.
[F#m] I can't eat anything less, no.
[Bm] _ [F#m] _ I think [F#] it's time that Jason [Bm] has his inaugural [D] demon dog.
[Bm] What do you think, buddy?
[E] A real Chicago hot dog.
[E] I'm ready.
[D] That's it?
Oh, man.
That's it, man.
A real Chicago [G#m] hot dog.
Pepper.
A [G] lot of history here.
There's some new history, too.
Sit it up right here.
[F#m] Let me get into position.
[A#] You have to line up those peppers just so. [Am] Just so.
You've got to eat the whole [B] thing in two bites.
_ _ Cheers.
Cheers, guys.
Here we go, guys.
Nice to be [C#m] aboard.
Thank you.
Pleasure.
[B] Cheers.
_ [E] _ _ Well, [D] does he like it?
_ [E] Mmm.
[D] _ _ [E] _ _ _
[F#] _ _ _ [Am] _ _ _ _ [F] _
[Em] _ _ [A] More from Chicago when In Concert continues.
[N] _
Music veteran Bill [G#] Champlin joined the group [G] in 1982 for Chicago 16.
[A#m] In 1985, the group [A#] found [G] bassist-vocalist Jason Sheff.
And now the current Chicago is the strongest musical unit a band has [B] ever had.
_ [C#] _ _ _
[G#] _ _ _ _ _ _ _ [F#m]
Singing
_ _ [C#] Singing
_ _ [Fm] _
_ _ [C#] _ _ _ _ [A] _ _
_ _ [G#] _ _ _ [A] _ _ [Bm] _
_ [A] _ _ [Bm] _ _ [A] They needed to start their album and they really hadn't [C#] decided on anybody.
[G#] Actually couldn't find somebody who played bass [A] and sang [C#] that they wanted [A] to have in the band, right?
So they were getting to the point where they were going to just hire a singer [F#m] and hire a bass player also.
So [A] from my demo [Bm] tape they thought that I was a keyboard player because I had played keyboards on some of [A] the stuff.
And I write that way so they think he's a keyboard player.
And I remember talking to the manager the first day and he was saying,
[Bm] What do you [A] play?
And I said, I play bass.
And he said, [F#m] Oh my God, it's a match [G#] made in heaven.
_ _ We [F#] brought him in, he played bass and he sang and it was like, what are these guys bringing a clone of Peter in?
[C#] You know, [D#m] that's what they thought.
And in reality, [F#] what we needed is to [C#] get [F#] real vocal harmonies, you need a high, a mid and a low.
That's how [G#] you get it.
And if you want the high voice, you got to get somebody who can sing the high notes.
[C#] And it's called a tenor voice.
[C#m] So we needed to hire a tenor.
They could see that [A#m] I was actually a fan of the music too and that I really wanted to be there.
[G#] And so it was a cool [C#] thing to have happen.
Without offending anybody, Mick, whatever, [G#] and stuff, whom I truly love the Stones,
[A#m] you know, Jason has got a shot at being that when he grows [E] up.
You know, and [C#] I mean that with all my heart.
[A#m] And he knows it and [G#] he sure works very [Am] hard at it.
_ _ _ [F#m] _
_ _ _ [Am] _ _ [G] All the [F#] freight that day.
[E] _ [Am] _ Looking for something [D] to say.
_ _ _ [Am] _ Watching lights [F#] against the sky.
_ [E] _ [A] _ Your heart [F#m] goes.
_ _ _ [F] _ Sitting cross-eyed [C] on the line.
_ _ [G] _ Hunting by all [F] six to find.
_ _ [Am] _ _ _ _ [F#] _
_ _ [E] _ [A] _ _ _ _ [F#m] _
_ [Am] _ _ _ [C] Saving plenty [F#] in his brain.
_ [E] [Am] All of a sudden, it's showtime and the lights go down and the [F#m] crowd goes crazy.
That's [A] when I start realizing, oh, that's right, this is what it's like.
And we're back and everything.
The first night it [E] happened, [Am] man, [A] I mean, everybody was [F#] trying to make me feel comfortable.
And you're going to do great, [F] this is going to be fine, man, this is going to [G] be great.
And our manager was there and he's [C] like, okay, here we go.
It made me feel good [G] to know that they [F] weren't booing.
You know, that, okay, Peter's [C#m] left the band, Jason's in it [G] now, and we don't dig it.
[D] So we're going to pay $17.50 or [F#] $25 to have a bad time and boo, right?
They were there to have a good time, they were screaming.
And I thought, man, [A] this is great.
[G] And all of a sudden these banners go [F#] up that people said, welcome, [E] Jason, [Am] and we love you, Chicago.
[Bm] _ _
[F#m] _ _ _ [C#m] _ _ [Bm] _ [F#] The band accepted me right off the [F#m] bat.
[C#m] [G#] Once they made the decision, [F#m] that was it.
Who's having [Bm] dogs?
Some of that magic started coming back again.
It [F#m]
felt like we had the band back together.
_ [D] Different than with Terry, [Bm] but still, the whole wheel was back and running and [B] operating.
It felt like a unit, [F#m] something working.
_ [F#] Everything all right?
Unbelievable.
Compliments to the [Bm] chef.
Really great.
[F#m] I can't eat anything less, no.
[Bm] _ [F#m] _ I think [F#] it's time that Jason [Bm] has his inaugural [D] demon dog.
[Bm] What do you think, buddy?
[E] A real Chicago hot dog.
[E] I'm ready.
[D] That's it?
Oh, man.
That's it, man.
A real Chicago [G#m] hot dog.
Pepper.
A [G] lot of history here.
There's some new history, too.
Sit it up right here.
[F#m] Let me get into position.
[A#] You have to line up those peppers just so. [Am] Just so.
You've got to eat the whole [B] thing in two bites.
_ _ Cheers.
Cheers, guys.
Here we go, guys.
Nice to be [C#m] aboard.
Thank you.
Pleasure.
[B] Cheers.
_ [E] _ _ Well, [D] does he like it?
_ [E] Mmm.
[D] _ _ [E] _ _ _
[F#] _ _ _ [Am] _ _ _ _ [F] _
[Em] _ _ [A] More from Chicago when In Concert continues.
[N] _
Facts about this song