Break Another Piece Of My Heart Chords by Chris Rea
Tempo:
97.9 bpm
Chords used:
A
Bm
D
C#m
Gm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
That'll be good.
That's changed quite a bit, hasn't it?
Well, we've been through four different versions.
We've tried it outside, we've tried it with a lot of beating drums
and it tends to sound not as soulful, not as gospely blues.
And we just think it works this way.
We get more shivers this way.
And it's simple.
So, I think this is the way it's going to be now.
We always go through the evolution of a song,
trying it four or five different ways.
I think this is going to be it.
[E] [A] [G]
[A] [E]
[G]
Come and have a look at this.
This is why we come to a place like this.
There are so many fantastic microphones that you can no longer buy.
Miravel has collected over the years
some absolutely wonderful items for recording.
These are to car collectors, Bugattis or old Ferraris.
That's what they are, to people in the music business.
[Dm]
[F] [Gm] Mimi was hoping I didn't see it.
[D] [G]
[Dm] You have to wait for this to warm up.
If I didn't love Patrice, I'd [D] steal this.
When you've been doing [G] it as long as [D] I have,
[G] you forget who's the engineer, who's [Dm] the producer,
because you're just keen.
[Gm]
[F] [Dm] [C]
[F] [A] [F] [Gm]
[Dm]
[Gm]
[C] [F] [D] I'm coming out, Gerry.
[Gm] The banjo is very, very important to me for Stoney Road
because that's where all the guitar licks originally came from.
The banjo was there before the guitar.
[A#] [Cm] [Dm]
[Gm] [A#]
[F]
[Gm]
[F]
[Gm]
[Dm]
[A#]
[F#m] Did Gerry resign? [A] No.
[Bm]
[D] [A] [Bm]
[D] [A] [Bm]
[A] [Bm]
[A] [Bm]
[A] [D]
[A] [Bm]
[F#m] [A] [Bm]
[A] [Bm]
[A] [Bm]
[D] [A] [Bm]
[C#m] Because when I think it's all [D] over,
past and gone,
[C#m] we're going to make [Bm] a new [C#m] start.
[D] [A] There you go,
[Bm] break another piece [A] of my heart.
[Bm]
[A] All our friends want to know,
[D] they all want to know the [A] reason why.
[Bm]
You [F#m] say [A] we're made for each other,
[Bm] but there'll never be another,
[A] then you make me cry.
[Bm]
Because [C#m] when I think it's all [D] over,
past and gone,
[C#m] we're going to make [Bm] a new [A] start.
[D] [A] There you go,
[Bm] break another piece [A] of my heart.
[Bm]
[F#m] Oh, [A] there you go,
[Bm] break another piece [A] of my heart.
[Bm]
Now, [C#m] I don't want [D] anybody else but you,
[C#m] and my love is so straight and [Bm] true.
[D]
[C#m] But every promise that you make
[D] is a promise that you break.
[C#m] I don't know what I'm [Bm] going to [C#m]
[D] do.
[F#m] There you go,
[Bm]
[A] [Bm]
break another piece [A] of my heart.
[Bm] Break another piece of my [A] heart.
Now, [Bm]
[C#m] I don't want [D] anybody else but you,
but [C#m] when I think we've got a brand new [Bm] [C#m] start.
[D] [A] There you go,
[Bm] break another [A] piece of my heart.
[Bm] There you go,
[A] there you go,
[Bm] break another piece [A] [Bm] of my heart.
[A] Yeah, there you go,
[Bm]
another piece of [A] my [Bm] heart.
Ooh, baby.
[A] [Bm] [E] [A] [Bm]
That's changed quite a bit, hasn't it?
Well, we've been through four different versions.
We've tried it outside, we've tried it with a lot of beating drums
and it tends to sound not as soulful, not as gospely blues.
And we just think it works this way.
We get more shivers this way.
And it's simple.
So, I think this is the way it's going to be now.
We always go through the evolution of a song,
trying it four or five different ways.
I think this is going to be it.
[E] [A] [G]
[A] [E]
[G]
Come and have a look at this.
This is why we come to a place like this.
There are so many fantastic microphones that you can no longer buy.
Miravel has collected over the years
some absolutely wonderful items for recording.
These are to car collectors, Bugattis or old Ferraris.
That's what they are, to people in the music business.
[Dm]
[F] [Gm] Mimi was hoping I didn't see it.
[D] [G]
[Dm] You have to wait for this to warm up.
If I didn't love Patrice, I'd [D] steal this.
When you've been doing [G] it as long as [D] I have,
[G] you forget who's the engineer, who's [Dm] the producer,
because you're just keen.
[Gm]
[F] [Dm] [C]
[F] [A] [F] [Gm]
[Dm]
[Gm]
[C] [F] [D] I'm coming out, Gerry.
[Gm] The banjo is very, very important to me for Stoney Road
because that's where all the guitar licks originally came from.
The banjo was there before the guitar.
[A#] [Cm] [Dm]
[Gm] [A#]
[F]
[Gm]
[F]
[Gm]
[Dm]
[A#]
[F#m] Did Gerry resign? [A] No.
[Bm]
[D] [A] [Bm]
[D] [A] [Bm]
[A] [Bm]
[A] [Bm]
[A] [D]
[A] [Bm]
[F#m] [A] [Bm]
[A] [Bm]
[A] [Bm]
[D] [A] [Bm]
[C#m] Because when I think it's all [D] over,
past and gone,
[C#m] we're going to make [Bm] a new [C#m] start.
[D] [A] There you go,
[Bm] break another piece [A] of my heart.
[Bm]
[A] All our friends want to know,
[D] they all want to know the [A] reason why.
[Bm]
You [F#m] say [A] we're made for each other,
[Bm] but there'll never be another,
[A] then you make me cry.
[Bm]
Because [C#m] when I think it's all [D] over,
past and gone,
[C#m] we're going to make [Bm] a new [A] start.
[D] [A] There you go,
[Bm] break another piece [A] of my heart.
[Bm]
[F#m] Oh, [A] there you go,
[Bm] break another piece [A] of my heart.
[Bm]
Now, [C#m] I don't want [D] anybody else but you,
[C#m] and my love is so straight and [Bm] true.
[D]
[C#m] But every promise that you make
[D] is a promise that you break.
[C#m] I don't know what I'm [Bm] going to [C#m]
[D] do.
[F#m] There you go,
[Bm]
[A] [Bm]
break another piece [A] of my heart.
[Bm] Break another piece of my [A] heart.
Now, [Bm]
[C#m] I don't want [D] anybody else but you,
but [C#m] when I think we've got a brand new [Bm] [C#m] start.
[D] [A] There you go,
[Bm] break another [A] piece of my heart.
[Bm] There you go,
[A] there you go,
[Bm] break another piece [A] [Bm] of my heart.
[A] Yeah, there you go,
[Bm]
another piece of [A] my [Bm] heart.
Ooh, baby.
[A] [Bm] [E] [A] [Bm]
Key:
A
Bm
D
C#m
Gm
A
Bm
D
That'll be good.
_ That's changed quite a bit, hasn't it?
Well, we've been through four _ different versions.
We've tried it outside, we've tried it with a lot of beating drums
and it tends to sound _ _ not as soulful, not as gospely blues.
And we just think it works this way.
We get more shivers this way.
_ And it's simple.
So, I think this is the way it's going to be now.
We always go through the evolution of a song,
trying it four or five different ways.
_ I think this is going to be it.
_ [E] _ _ _ [A] _ _ [G] _
_ _ [A] _ _ [E] _ _ _ _
_ _ [G] _ _ _ _ _ _
Come and have a look at this.
_ This is why we come to a place like this.
_ _ There are so many fantastic microphones that you can no longer buy.
Miravel has collected over the years
some absolutely wonderful items for recording.
These are to car collectors, Bugattis or old Ferraris.
That's what they are, to people in the music business.
[Dm] _ _
[F] _ _ [Gm] Mimi was hoping I didn't see it.
[D] _ [G] _
[Dm] You have to wait for this to warm up. _ _ _ _
If _ _ I didn't love Patrice, I'd [D] steal this.
_ _ _ When you've been doing [G] it as long as [D] I have,
[G] you forget who's the engineer, who's [Dm] the producer,
because you're just keen.
_ _ _ [Gm] _ _ _ _
[F] _ _ _ _ _ [Dm] _ _ [C] _
[F] _ [A] _ [F] _ [Gm] _ _ _ _ _
_ _ [Dm] _ _ _ _ _ _
_ _ [Gm] _ _ _ _ _ _
[C] _ [F] _ _ _ [D] _ I'm coming out, Gerry.
[Gm] The banjo is very, very important to me for Stoney Road
because that's where all the guitar licks originally came from.
The banjo was there before the guitar.
_ [A#] _ _ [Cm] _ [Dm] _ _ _ _
_ _ _ [Gm] _ _ _ [A#] _ _
_ _ [F] _ _ _ _ _ _
_ _ [Gm] _ _ _ _ _ _
_ [F] _ _ _ _ _ _ _
_ [Gm] _ _ _ _ _ _ _
[Dm] _ _ _ _ _ _ _ _
_ _ _ _ _ [A#] _ _ _
[F#m] Did Gerry resign? [A] No.
_ _ [Bm] _ _
_ [D] _ [A] _ _ _ _ _ [Bm] _
_ [D] _ [A] _ _ _ _ [Bm] _ _
_ _ [A] _ _ _ _ [Bm] _ _
_ _ [A] _ _ _ _ [Bm] _ _
_ _ [A] _ _ _ _ [D] _ _
_ _ [A] _ _ _ _ [Bm] _ _
_ [F#m] _ [A] _ _ _ _ [Bm] _ _
_ _ [A] _ _ _ _ [Bm] _ _
_ _ [A] _ _ _ _ [Bm] _ _
_ [D] _ [A] _ _ _ _ [Bm] _ _
_ [C#m] Because when I think it's all [D] over,
past and gone,
[C#m] _ we're going to make [Bm] a new [C#m] start.
[D] _ [A] There you go,
_ _ [Bm] break another piece [A] of my heart.
_ [Bm] _ _
_ [A] All our friends want to know,
[D] they all want to know the [A] reason why.
_ [Bm] _ _
You [F#m] say [A] we're made for each other,
[Bm] but there'll never be another,
[A] then you make me cry.
[Bm] _ _
Because [C#m] when I think it's all [D] over,
past and gone,
[C#m] _ we're going to make [Bm] a new [A] start.
[D] _ [A] There you go,
_ _ [Bm] break another piece [A] of my heart.
_ [Bm] _
[F#m] Oh, [A] there you go,
_ _ [Bm] break another piece [A] of my heart.
_ [Bm] _ _
Now, [C#m] _ I don't want [D] anybody else but you,
[C#m] and my love is so straight and [Bm] true.
[D] _
_ [C#m] But every promise that you make
[D] is a promise that you break.
[C#m] I don't know what I'm [Bm] going to [C#m]
[D] do.
[F#m] There you go,
_ _ [Bm] _ _
_ _ [A] _ _ _ _ [Bm] _
break another piece [A] of my heart.
[Bm] Break another piece of my [A] heart.
_ Now, [Bm] _ _
_ _ [C#m] _ I don't want [D] anybody else but you,
but [C#m] when I think we've got a brand new [Bm] [C#m] start.
[D] [A] There you go,
_ [Bm] break another [A] piece of my heart.
_ [Bm] There you go,
_ [A] there you go,
_ _ [Bm] break another piece [A] _ _ _ [Bm] of my _ heart.
[A] Yeah, there you go,
[Bm] _
another piece of [A] my _ _ [Bm] heart.
Ooh, baby.
[A] _ _ _ _ [Bm] _ _ _ [E] _ [A] _ _ _ _ [Bm] _ _
_ That's changed quite a bit, hasn't it?
Well, we've been through four _ different versions.
We've tried it outside, we've tried it with a lot of beating drums
and it tends to sound _ _ not as soulful, not as gospely blues.
And we just think it works this way.
We get more shivers this way.
_ And it's simple.
So, I think this is the way it's going to be now.
We always go through the evolution of a song,
trying it four or five different ways.
_ I think this is going to be it.
_ [E] _ _ _ [A] _ _ [G] _
_ _ [A] _ _ [E] _ _ _ _
_ _ [G] _ _ _ _ _ _
Come and have a look at this.
_ This is why we come to a place like this.
_ _ There are so many fantastic microphones that you can no longer buy.
Miravel has collected over the years
some absolutely wonderful items for recording.
These are to car collectors, Bugattis or old Ferraris.
That's what they are, to people in the music business.
[Dm] _ _
[F] _ _ [Gm] Mimi was hoping I didn't see it.
[D] _ [G] _
[Dm] You have to wait for this to warm up. _ _ _ _
If _ _ I didn't love Patrice, I'd [D] steal this.
_ _ _ When you've been doing [G] it as long as [D] I have,
[G] you forget who's the engineer, who's [Dm] the producer,
because you're just keen.
_ _ _ [Gm] _ _ _ _
[F] _ _ _ _ _ [Dm] _ _ [C] _
[F] _ [A] _ [F] _ [Gm] _ _ _ _ _
_ _ [Dm] _ _ _ _ _ _
_ _ [Gm] _ _ _ _ _ _
[C] _ [F] _ _ _ [D] _ I'm coming out, Gerry.
[Gm] The banjo is very, very important to me for Stoney Road
because that's where all the guitar licks originally came from.
The banjo was there before the guitar.
_ [A#] _ _ [Cm] _ [Dm] _ _ _ _
_ _ _ [Gm] _ _ _ [A#] _ _
_ _ [F] _ _ _ _ _ _
_ _ [Gm] _ _ _ _ _ _
_ [F] _ _ _ _ _ _ _
_ [Gm] _ _ _ _ _ _ _
[Dm] _ _ _ _ _ _ _ _
_ _ _ _ _ [A#] _ _ _
[F#m] Did Gerry resign? [A] No.
_ _ [Bm] _ _
_ [D] _ [A] _ _ _ _ _ [Bm] _
_ [D] _ [A] _ _ _ _ [Bm] _ _
_ _ [A] _ _ _ _ [Bm] _ _
_ _ [A] _ _ _ _ [Bm] _ _
_ _ [A] _ _ _ _ [D] _ _
_ _ [A] _ _ _ _ [Bm] _ _
_ [F#m] _ [A] _ _ _ _ [Bm] _ _
_ _ [A] _ _ _ _ [Bm] _ _
_ _ [A] _ _ _ _ [Bm] _ _
_ [D] _ [A] _ _ _ _ [Bm] _ _
_ [C#m] Because when I think it's all [D] over,
past and gone,
[C#m] _ we're going to make [Bm] a new [C#m] start.
[D] _ [A] There you go,
_ _ [Bm] break another piece [A] of my heart.
_ [Bm] _ _
_ [A] All our friends want to know,
[D] they all want to know the [A] reason why.
_ [Bm] _ _
You [F#m] say [A] we're made for each other,
[Bm] but there'll never be another,
[A] then you make me cry.
[Bm] _ _
Because [C#m] when I think it's all [D] over,
past and gone,
[C#m] _ we're going to make [Bm] a new [A] start.
[D] _ [A] There you go,
_ _ [Bm] break another piece [A] of my heart.
_ [Bm] _
[F#m] Oh, [A] there you go,
_ _ [Bm] break another piece [A] of my heart.
_ [Bm] _ _
Now, [C#m] _ I don't want [D] anybody else but you,
[C#m] and my love is so straight and [Bm] true.
[D] _
_ [C#m] But every promise that you make
[D] is a promise that you break.
[C#m] I don't know what I'm [Bm] going to [C#m]
[D] do.
[F#m] There you go,
_ _ [Bm] _ _
_ _ [A] _ _ _ _ [Bm] _
break another piece [A] of my heart.
[Bm] Break another piece of my [A] heart.
_ Now, [Bm] _ _
_ _ [C#m] _ I don't want [D] anybody else but you,
but [C#m] when I think we've got a brand new [Bm] [C#m] start.
[D] [A] There you go,
_ [Bm] break another [A] piece of my heart.
_ [Bm] There you go,
_ [A] there you go,
_ _ [Bm] break another piece [A] _ _ _ [Bm] of my _ heart.
[A] Yeah, there you go,
[Bm] _
another piece of [A] my _ _ [Bm] heart.
Ooh, baby.
[A] _ _ _ _ [Bm] _ _ _ [E] _ [A] _ _ _ _ [Bm] _ _