Chords for Daughters - The Making Of You Won’t Get What You Want
Tempo:
140 bpm
Chords used:
Gm
G
Bb
E
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
The whole mindset was like, [A] are we going to be able to actually do this band again?
[G]
[Bb] Certainly times when we've never played, it was just super curious to [Fm] assemble us as people [A] in the same room.
[G] How do we turn this band back on and have it do justice to the body of work we've had?
We can't come back and just suck disappointment, you know?
This one is sort of unique in the sense that it's been so, so long since any sort of activity on our end.
So certainly some element of dusting off the cobwebs to sort of figuring out how we sound as a band,
how we record as a band, how we communicate as a band.
So [Am] the process of creating this record was different from the other records in that we were all [Gm] in different states, different places.
[B]
[Gb] [G] Distance, physically, is challenging.
Where the hell do we practice?
How do we get our gear that we don't have a band anymore?
We don't have the infrastructure of being a working, traveling band like we used to.
Come up without eggs, he says!
[Gm] We literally, any time off we had from our schedules, [Dm] I'd get [G] a plane ticket up here, figure out where to sleep, and we'd try to write.
It was [Am] difficult, very difficult for all of us to be in [Ab] the same [Bb] place.
It just wasn't [G] something that happened instantaneously, and that goes back to the challenge of time,
of when we can actually be together in the same city, in the same [Bb] state.
[Gm] We'd go months without playing with each other, right into writing, [G] and trying to pick it up and write something that's [Gm] good.
And then we'd have [Bb] to demo everything, [A] and then [Gm] hopefully in three months I can come back.
Figuring out those [Bb] mundane things and getting to [G] a space where we can play music, be together, easier said than done.
You know, we [Dm] do the best of what we have, and everybody's [Gm] amazing.
It's [G] not an ideal setup, but if we're making it work, [Bb]
it's what I think we want, right?
[Gm] You know, we don't have rules as to what we're supposed to sound like.
I don't think [G] we know what we're going to do all the time.
I think that works better [C] than having some [G] standardized [F] Donner's [Bb] song for a [Gm] record.
So the process gets [E] exhausting, because we're always [Gm] jumping from sound.
It's not as easy as writing the next record that [G] sounds like the previous record, you know?
Because it's easy to write a Donner's [D] song that sounds like a Donner's song,
something that sounds like Hellsong, something that sounds like [Gm] Self Title.
Those things are done, and we can kind of just make those now.
They were like really [A] out of sight.
The full vision didn't really cohere until the last couple [D] of years.
Suddenly I had an epiphany, like, these are the tones we're going for,
[Gm] these are the sort of melodies and the feeling that we're going to go for,
and then I started to realize what the production value was going to be.
There's a [G] lot more, like, get the right sounds, set the right mood,
and then just ride it for a while, which was not at all [E] part of our [Bb] old songwriting.
It was definitely more like, you know, in the beginning,
it was how [G] many parts can we cram into this one song, and each of them only [Bb] happens once.
[G] Now there's a lot more of like, [Bb] oh, that part's [G] nice, that part's really good,
oh, that sounds really good, let's do [Gm] that, you know, for a little bit.
[Bb] Over time, some melodies, [Gm] drum beats, bass lines developed, like, the bedding of this album.
We had lived with these demos and these Dropbox files forever,
so, you know, the bulk of the work [Bb] was done before we got into the studio,
and then it [G] was just sort of finding the exact right sound
and the exact right [Gm] sort of [Bb] way to layer things with each other.
[Gm]
Sheen is a great place to go [G] if you want to have a good time, cool [Gm] recording,
and, like, not have [Bb] somebody tell you what your record needs to [G] sound like.
We've recorded almost everything there.
We [Bb] recorded the 7-inch there, the, you know, Canada was recorded there.
We [Gm] liked the people there, and we, like, the room, we like.
[E] Those dudes understand us, they get our vibe, we [C] work really well together,
and if it wasn't for them on this one, [E] we wouldn't have been able to put the record together.
[G] Actually, this is the first time where we consciously [Gm] asked Seth Manchester to co-produce with me.
You know, and he's always had a role to some degree in that regard, but this time we really said,
we want to come there to Machines & Magnets and have you, [D] like, actively be a member that's co-producing [A] with us.
You need someone you can trust, we've known them for so long, they've known us for [Em] so long.
We can go in there and [E] they're gonna know what I'm gonna get upset with, what I'm gonna [Em] struggle with, you know, like,
he'll hear a drum beat that I've written, and he'll know I'm not gonna record that well,
and so he'll be able to sit and talk with me and I trust his input.
[F] They sort of blueprinted a lot of this record before we entered the studio, and so, you [E] know,
being able to go into the studio for five days in our backyard [Gm] is a luxury.
Once you hear that, like, the songs are there, it was a lot easier to decide what the guitars were gonna sound like,
you know, what the bass was gonna sound like, and things that you could do to [D] make the record sound like one piece.
When we, you know, eventually did this final studio session, [Ab] having had the last [Gm] five songs for
You Won't Get What You Want done, [E] then it all of a sudden started to feel like [Eb] there was something more than just a [Gm] spattering
and a weird selection of, like, here's a couple of songs like this and a couple of songs like this.
The length of time it took us to make the [D] record is what we needed to find the inspiration [Gm] to make something that sounded different.
We didn't shortcut anything, like, we probably could have finished a record that we would have been unhappy with
years earlier than we finished this.
If you've [D] been following the band, we've taken some turns that we've never touched before.
I'm proud of where the [Gm] band's going.
[G]
[Bb] Certainly times when we've never played, it was just super curious to [Fm] assemble us as people [A] in the same room.
[G] How do we turn this band back on and have it do justice to the body of work we've had?
We can't come back and just suck disappointment, you know?
This one is sort of unique in the sense that it's been so, so long since any sort of activity on our end.
So certainly some element of dusting off the cobwebs to sort of figuring out how we sound as a band,
how we record as a band, how we communicate as a band.
So [Am] the process of creating this record was different from the other records in that we were all [Gm] in different states, different places.
[B]
[Gb] [G] Distance, physically, is challenging.
Where the hell do we practice?
How do we get our gear that we don't have a band anymore?
We don't have the infrastructure of being a working, traveling band like we used to.
Come up without eggs, he says!
[Gm] We literally, any time off we had from our schedules, [Dm] I'd get [G] a plane ticket up here, figure out where to sleep, and we'd try to write.
It was [Am] difficult, very difficult for all of us to be in [Ab] the same [Bb] place.
It just wasn't [G] something that happened instantaneously, and that goes back to the challenge of time,
of when we can actually be together in the same city, in the same [Bb] state.
[Gm] We'd go months without playing with each other, right into writing, [G] and trying to pick it up and write something that's [Gm] good.
And then we'd have [Bb] to demo everything, [A] and then [Gm] hopefully in three months I can come back.
Figuring out those [Bb] mundane things and getting to [G] a space where we can play music, be together, easier said than done.
You know, we [Dm] do the best of what we have, and everybody's [Gm] amazing.
It's [G] not an ideal setup, but if we're making it work, [Bb]
it's what I think we want, right?
[Gm] You know, we don't have rules as to what we're supposed to sound like.
I don't think [G] we know what we're going to do all the time.
I think that works better [C] than having some [G] standardized [F] Donner's [Bb] song for a [Gm] record.
So the process gets [E] exhausting, because we're always [Gm] jumping from sound.
It's not as easy as writing the next record that [G] sounds like the previous record, you know?
Because it's easy to write a Donner's [D] song that sounds like a Donner's song,
something that sounds like Hellsong, something that sounds like [Gm] Self Title.
Those things are done, and we can kind of just make those now.
They were like really [A] out of sight.
The full vision didn't really cohere until the last couple [D] of years.
Suddenly I had an epiphany, like, these are the tones we're going for,
[Gm] these are the sort of melodies and the feeling that we're going to go for,
and then I started to realize what the production value was going to be.
There's a [G] lot more, like, get the right sounds, set the right mood,
and then just ride it for a while, which was not at all [E] part of our [Bb] old songwriting.
It was definitely more like, you know, in the beginning,
it was how [G] many parts can we cram into this one song, and each of them only [Bb] happens once.
[G] Now there's a lot more of like, [Bb] oh, that part's [G] nice, that part's really good,
oh, that sounds really good, let's do [Gm] that, you know, for a little bit.
[Bb] Over time, some melodies, [Gm] drum beats, bass lines developed, like, the bedding of this album.
We had lived with these demos and these Dropbox files forever,
so, you know, the bulk of the work [Bb] was done before we got into the studio,
and then it [G] was just sort of finding the exact right sound
and the exact right [Gm] sort of [Bb] way to layer things with each other.
[Gm]
Sheen is a great place to go [G] if you want to have a good time, cool [Gm] recording,
and, like, not have [Bb] somebody tell you what your record needs to [G] sound like.
We've recorded almost everything there.
We [Bb] recorded the 7-inch there, the, you know, Canada was recorded there.
We [Gm] liked the people there, and we, like, the room, we like.
[E] Those dudes understand us, they get our vibe, we [C] work really well together,
and if it wasn't for them on this one, [E] we wouldn't have been able to put the record together.
[G] Actually, this is the first time where we consciously [Gm] asked Seth Manchester to co-produce with me.
You know, and he's always had a role to some degree in that regard, but this time we really said,
we want to come there to Machines & Magnets and have you, [D] like, actively be a member that's co-producing [A] with us.
You need someone you can trust, we've known them for so long, they've known us for [Em] so long.
We can go in there and [E] they're gonna know what I'm gonna get upset with, what I'm gonna [Em] struggle with, you know, like,
he'll hear a drum beat that I've written, and he'll know I'm not gonna record that well,
and so he'll be able to sit and talk with me and I trust his input.
[F] They sort of blueprinted a lot of this record before we entered the studio, and so, you [E] know,
being able to go into the studio for five days in our backyard [Gm] is a luxury.
Once you hear that, like, the songs are there, it was a lot easier to decide what the guitars were gonna sound like,
you know, what the bass was gonna sound like, and things that you could do to [D] make the record sound like one piece.
When we, you know, eventually did this final studio session, [Ab] having had the last [Gm] five songs for
You Won't Get What You Want done, [E] then it all of a sudden started to feel like [Eb] there was something more than just a [Gm] spattering
and a weird selection of, like, here's a couple of songs like this and a couple of songs like this.
The length of time it took us to make the [D] record is what we needed to find the inspiration [Gm] to make something that sounded different.
We didn't shortcut anything, like, we probably could have finished a record that we would have been unhappy with
years earlier than we finished this.
If you've [D] been following the band, we've taken some turns that we've never touched before.
I'm proud of where the [Gm] band's going.
Key:
Gm
G
Bb
E
D
Gm
G
Bb
The whole mindset was like, [A] are we going to be able to actually do this band again? _ _ _ _ _ _
_ _ _ [G] _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[Bb] Certainly times when we've never played, _ _ _ _ it _ was just super curious to _ [Fm] assemble us as people [A] in the same room. _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ [G] How do we turn this band back on and have it do justice to the body of work we've had?
We can't come back and just suck disappointment, you know?
_ _ _ _ _ _ _ _
_ _ _ _ This one is sort of unique in the sense that it's been so, so long since any sort of activity on our end.
So certainly some element of dusting off the cobwebs to sort of figuring out how we sound as a band,
how we record as a band, how we communicate as a band.
So [Am] the process of creating this record was different from the other records in that we were all [Gm] in different states, different places.
_ [B] _
_ [Gb] _ _ [G] Distance, physically, is challenging.
Where the hell do we practice?
How do we get our gear that we don't have a band anymore?
We don't have the infrastructure of being a working, traveling band like we used to. _
Come up without eggs, _ _ he says!
_ [Gm] We literally, any time off we had from our schedules, [Dm] I'd get [G] a plane ticket up here, figure out where to sleep, and we'd try to write.
It was [Am] difficult, very difficult for all of us to be in [Ab] the same [Bb] place.
It just wasn't [G] something that happened instantaneously, and that goes back to the challenge of time,
of when we can actually be together in the same city, in the same [Bb] state.
[Gm] We'd go months without playing with each other, right into writing, [G] and trying to pick it up and write something that's [Gm] good.
And then we'd have [Bb] to demo everything, [A] and then [Gm] hopefully in three months I can come back.
Figuring out those [Bb] mundane things and getting to [G] a space where we can play music, be together, easier said than done.
You know, we [Dm] do the best of what we have, and everybody's [Gm] amazing.
It's [G] not an ideal _ setup, but if we're making it work, _ [Bb] _ _ _
it's what I think we want, right?
[Gm] You know, we don't have rules as to what we're supposed to sound like.
I don't think [G] we know what we're going to do all the time.
I think that works better [C] than having some [G] _ standardized [F] Donner's [Bb] song for a [Gm] record.
So the process gets [E] exhausting, because we're always [Gm] jumping from sound.
It's not as easy as writing the next record that [G] sounds like the previous record, you know?
Because it's easy to write a Donner's [D] song that sounds like a Donner's song,
something that sounds like Hellsong, something that sounds like [Gm] Self Title.
Those things are done, and we can kind of just make those now.
They were like really [A] out of sight.
The full vision didn't really cohere until the last couple [D] of years.
Suddenly I had an epiphany, like, these are the tones we're going for,
[Gm] these are the sort of melodies and the feeling that we're going to go for,
and then I started to realize what the production value was going to be.
There's a [G] lot more, like, get the right sounds, set the right mood,
and then just ride it for a while, which was not at all [E] part of our [Bb] old songwriting.
It was definitely more like, you know, in the beginning,
it was how [G] many parts can we cram into this one song, and each of them only [Bb] happens once.
[G] Now there's a lot more of like, [Bb] oh, that part's [G] nice, that part's really good,
oh, that sounds really good, let's do [Gm] that, you know, for a little bit.
[Bb] Over time, some melodies, [Gm] drum beats, bass lines developed, like, the bedding of this album.
We had lived with these demos and these Dropbox files forever,
so, you know, the bulk of the work [Bb] was done before we got into the studio,
and then it [G] was just sort of finding the exact right sound
and the exact right [Gm] sort of [Bb] way to layer things with each other.
[Gm] _ _
_ _ _ _ Sheen is a great place to go [G] if you want to have a good time, cool [Gm] recording,
and, like, not have [Bb] somebody tell you what your record needs to [G] sound like.
We've recorded _ almost everything there.
We [Bb] recorded the 7-inch there, the, you know, Canada was recorded there.
We [Gm] liked the people there, and we, like, the room, we like.
[E] _ Those dudes understand us, they get our vibe, we [C] work really well together,
and if it wasn't for them on this one, [E] we wouldn't have been able to put the record together.
[G] Actually, this is the first time where we consciously [Gm] asked Seth Manchester to co-produce with me.
You know, and he's always had a role to some degree in that regard, but this time we really said,
we want to come there to Machines & Magnets and have you, [D] like, actively be a member that's co-producing [A] with us.
You need someone you can trust, we've known them for so long, they've known us for [Em] so long.
We can go in there and [E] they're gonna know what I'm gonna get upset with, what I'm gonna [Em] struggle with, you know, like,
he'll hear a drum beat that I've written, and he'll know I'm not gonna record that well,
and so he'll be able to sit and talk with me and I trust his input.
[F] They sort of blueprinted a lot of this record before we entered the studio, and so, you [E] know,
being able to go into the studio for five days in our backyard [Gm] is a luxury.
Once you hear that, like, the songs are there, it was a lot easier to decide what the guitars were gonna sound like,
you know, what the bass was gonna sound like, and things that you could do to [D] make the record sound like one piece.
When we, you know, eventually did this final studio session, _ _ [Ab] having had the last [Gm] five songs for
You Won't Get What You Want done, _ [E] then it all of a sudden started to feel like [Eb] there was something more than just a [Gm] spattering
and a weird selection of, like, here's a couple of songs like this and a couple of songs like this.
The length of time it took us to make the [D] record is what we needed to find the inspiration [Gm] to make something that sounded different.
We didn't shortcut anything, like, we probably could have finished a record that we would have been unhappy with
years earlier than we finished this.
If you've [D] been following the band, we've taken some turns that we've never touched before.
I'm proud of where the [Gm] band's going. _ _
_ _ _ _ _ _ _ _
_ _ _ [G] _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[Bb] Certainly times when we've never played, _ _ _ _ it _ was just super curious to _ [Fm] assemble us as people [A] in the same room. _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ [G] How do we turn this band back on and have it do justice to the body of work we've had?
We can't come back and just suck disappointment, you know?
_ _ _ _ _ _ _ _
_ _ _ _ This one is sort of unique in the sense that it's been so, so long since any sort of activity on our end.
So certainly some element of dusting off the cobwebs to sort of figuring out how we sound as a band,
how we record as a band, how we communicate as a band.
So [Am] the process of creating this record was different from the other records in that we were all [Gm] in different states, different places.
_ [B] _
_ [Gb] _ _ [G] Distance, physically, is challenging.
Where the hell do we practice?
How do we get our gear that we don't have a band anymore?
We don't have the infrastructure of being a working, traveling band like we used to. _
Come up without eggs, _ _ he says!
_ [Gm] We literally, any time off we had from our schedules, [Dm] I'd get [G] a plane ticket up here, figure out where to sleep, and we'd try to write.
It was [Am] difficult, very difficult for all of us to be in [Ab] the same [Bb] place.
It just wasn't [G] something that happened instantaneously, and that goes back to the challenge of time,
of when we can actually be together in the same city, in the same [Bb] state.
[Gm] We'd go months without playing with each other, right into writing, [G] and trying to pick it up and write something that's [Gm] good.
And then we'd have [Bb] to demo everything, [A] and then [Gm] hopefully in three months I can come back.
Figuring out those [Bb] mundane things and getting to [G] a space where we can play music, be together, easier said than done.
You know, we [Dm] do the best of what we have, and everybody's [Gm] amazing.
It's [G] not an ideal _ setup, but if we're making it work, _ [Bb] _ _ _
it's what I think we want, right?
[Gm] You know, we don't have rules as to what we're supposed to sound like.
I don't think [G] we know what we're going to do all the time.
I think that works better [C] than having some [G] _ standardized [F] Donner's [Bb] song for a [Gm] record.
So the process gets [E] exhausting, because we're always [Gm] jumping from sound.
It's not as easy as writing the next record that [G] sounds like the previous record, you know?
Because it's easy to write a Donner's [D] song that sounds like a Donner's song,
something that sounds like Hellsong, something that sounds like [Gm] Self Title.
Those things are done, and we can kind of just make those now.
They were like really [A] out of sight.
The full vision didn't really cohere until the last couple [D] of years.
Suddenly I had an epiphany, like, these are the tones we're going for,
[Gm] these are the sort of melodies and the feeling that we're going to go for,
and then I started to realize what the production value was going to be.
There's a [G] lot more, like, get the right sounds, set the right mood,
and then just ride it for a while, which was not at all [E] part of our [Bb] old songwriting.
It was definitely more like, you know, in the beginning,
it was how [G] many parts can we cram into this one song, and each of them only [Bb] happens once.
[G] Now there's a lot more of like, [Bb] oh, that part's [G] nice, that part's really good,
oh, that sounds really good, let's do [Gm] that, you know, for a little bit.
[Bb] Over time, some melodies, [Gm] drum beats, bass lines developed, like, the bedding of this album.
We had lived with these demos and these Dropbox files forever,
so, you know, the bulk of the work [Bb] was done before we got into the studio,
and then it [G] was just sort of finding the exact right sound
and the exact right [Gm] sort of [Bb] way to layer things with each other.
[Gm] _ _
_ _ _ _ Sheen is a great place to go [G] if you want to have a good time, cool [Gm] recording,
and, like, not have [Bb] somebody tell you what your record needs to [G] sound like.
We've recorded _ almost everything there.
We [Bb] recorded the 7-inch there, the, you know, Canada was recorded there.
We [Gm] liked the people there, and we, like, the room, we like.
[E] _ Those dudes understand us, they get our vibe, we [C] work really well together,
and if it wasn't for them on this one, [E] we wouldn't have been able to put the record together.
[G] Actually, this is the first time where we consciously [Gm] asked Seth Manchester to co-produce with me.
You know, and he's always had a role to some degree in that regard, but this time we really said,
we want to come there to Machines & Magnets and have you, [D] like, actively be a member that's co-producing [A] with us.
You need someone you can trust, we've known them for so long, they've known us for [Em] so long.
We can go in there and [E] they're gonna know what I'm gonna get upset with, what I'm gonna [Em] struggle with, you know, like,
he'll hear a drum beat that I've written, and he'll know I'm not gonna record that well,
and so he'll be able to sit and talk with me and I trust his input.
[F] They sort of blueprinted a lot of this record before we entered the studio, and so, you [E] know,
being able to go into the studio for five days in our backyard [Gm] is a luxury.
Once you hear that, like, the songs are there, it was a lot easier to decide what the guitars were gonna sound like,
you know, what the bass was gonna sound like, and things that you could do to [D] make the record sound like one piece.
When we, you know, eventually did this final studio session, _ _ [Ab] having had the last [Gm] five songs for
You Won't Get What You Want done, _ [E] then it all of a sudden started to feel like [Eb] there was something more than just a [Gm] spattering
and a weird selection of, like, here's a couple of songs like this and a couple of songs like this.
The length of time it took us to make the [D] record is what we needed to find the inspiration [Gm] to make something that sounded different.
We didn't shortcut anything, like, we probably could have finished a record that we would have been unhappy with
years earlier than we finished this.
If you've [D] been following the band, we've taken some turns that we've never touched before.
I'm proud of where the [Gm] band's going. _ _
_ _ _ _ _ _ _ _