Chords for Don Felder - Heaven and Hell
Tempo:
120.7 bpm
Chords used:
E
D
A
F
F#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Jam Along & Learn...
[B] [F#]
[Em] [F#m]
[Am] [E]
[G]
[D] [F#]
[F] [C]
[D] [Dm]
[A] [E]
[Em] [F#m]
[Am] [E]
[G]
[D] [F#]
[F] [C]
[D] [Dm]
[A] [E]
100% ➙ 121BPM
E
D
A
F
F#
E
D
A
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [B] _ _ _ _ [F#] _ _ _
_ _ _ [Em] _ _ _ [F#m] _ _
[Am] _ _ _ _ _ _ _ [E] _
_ _ _ _ [G] _ _ _ _
_ [D] _ [F#] _ _ _ _ _ _
[F] _ _ _ _ _ _ [C] _ _
_ _ _ _ [D] _ _ _ [Dm] _
_ [A] _ _ [E] _ _ _ _ _
[Am] _ _ _ _ _ _ _ _
_ _ _ _ Beautiful.
[A] _
Yes.
_ _ _ _ _ [D] _ _
_ _ _ _ _ [Bm] _ You talk about [A] writing Hotel California.
[G#] Describe it as the soundtrack of my [G] life.
[A#] What do you mean by that?
Well, you know, when I wrote the track, it came to me at a mid-July day in California
on a little beach house that I was renting.
[G#] And I started playing [Em] the opening.
_ _ _ _ _ [B] _
_ _ _ [D] _ And it just stuck with me for [C#m] a [C#] long time.
And so I went back and made a little recording of it
and basically filled out the track with bass and guitar parts, electric guitar parts.
And it went on to be such a huge hit.
It's [A] something I can't escape.
I hear it in elevators.
I hear it on the radio.
I have to play it in my show.
I played it for years with the Eagles.
It's just something that's just become a part of my life.
And do you ever get tired of playing it?
Not really.
It's one of the most fun guitar parts there is to play, especially the solos on the end.
And it was so much fun doing it and creating it
that it brings back a lot of great memories to play that.
And was it really nearly called Mexican Bolero?
Well, yeah.
When I wrote it, I didn't have any lyrics on it.
And I gave a copy of it to Hindley on a cassette.
And he said, you know, I like that track that sounds like a Mexican reggae
or sort of a Bolero.
And I said, I know which one you're talking about.
So we started writing lyrics to it and it became Hotel California.
[E] And talking of Don's lyrics, I know you must have been asked this about a million times.
[B] _ What's that about?
Well, you'll really have to [C] ask Hindley [D] about that
because he has a brilliant ability to write lyrics in little _ snapshots
of photographs that he throws out at you lyrically.
And he lets you kind of accumulate these photographs in your own mind
and put together a portrait of what you feel the song is about.
I've had people come up to me and say that they thought the band must have been
a satanic cult or double worshippers or that that song was about a hotel in Mexico
and about a lot of different things.
But indeed, it means a lot of different things to a lot of different people.
But for the real meaning, you'll have [A] to ask Don Hindley.
Now, I'm already thinking one of your earliest jobs was working in a guitar [N] shop like this.
You taught a very young Tom Petty how to play guitar.
Is that correct?
Yeah, that's right.
I was working in a shop a little bit bigger than this.
But I was working for not money.
I was working for credit.
And the more guitar students I had and the more guitars that I sold,
I would get credit on an account here and then I could get strings or a guitar
or a little amp for my own use.
And then one day walks this really kind of scrawny-haired, skinny kid.
It was little Tommy Petty.
He was about 13 years old or something.
So I started teaching him guitar.
And the next thing I knew, he was in a band called The Epics and later Mud Crutch.
And then it was very funny.
The first year that I was in the Eagles and we came over to London,
I was staying in a hotel and I was reading an interview by Tom.
And he credited me as far as being his guitar teacher.
And they had just put out their first album.
I guess this was about [D#] 75 or something like this, [E] 74, 75.
And I found it very flattering that he was claiming me as his guitar teacher.
_ [D] Now, if we look at the pictures in the book,
in [G] every picture you're playing a [G#m] different guitar.
How many [Em] guitars?
Is it like Nigel Tufnel in [F] Spinal Tap?
Do you have a whole room full of guitars now or is it something else?
I have a very large storage locker with around 300 guitars in it.
And I have all the guitars that I've ever bought.
I've never sold any.
I nearly sold one when I was in really destitute financial shape in New York.
I nearly sold an old [D] Goldtop Les Paul to get me out of New York up to Boston.
But I took it in and the guy offered me, I think, $150 for it.
And I knew it was worth much more than that.
So I declined his offer and kept it.
I still have it.
[E] _
The book is a very frank book.
[C] And, you know, you're not easy on anyone, including yourself.
There must have been tough times in the Eagles.
You're in the biggest band in the world and yet [D#] it's really hard.
What [Am] were the best things and the worst things about being a band [D] like the Eagles?
Well, the best thing about being in the Eagles was the music.
Despite all the arguing and disagreements and fighting [E] and everything that took place,
the best, most satisfying part of it was walking out on stage in front of a few thousand people every night
and starting the introduction of Hotel California
and having the place just explode with satisfaction and recognition and appreciation of something that I'd [F#] written and played.
And all the other music that we _ [F] managed to get done and write and record together,
it still holds a lot of great memories and was a lot of fun doing and [D#] a lot of [D] fun playing all [C] those years.
Some of the worst things were the years that I spent heavily influenced with drugs and alcohol,
[E] the conflicts we had amongst each other when we were in less than [F] clear conscious states.
And I regret a lot of the stuff that was said to each other, even though _ those words still linger around.
They had a lot of _ [N] negative aspects to them.
Now, Bernie Leland, your old friend, left the Eagles.
When he left the Eagles, he said it was an act of survival.
Was that the same thing for you?
No.
Bernie really _ had gotten to a point where he was really tired of working in such a toxic [E] environment,
_ toxic in a lot of levels, emotional toxicity, the [A] amount of [D] work and diet and lack [F#] of exercise [C#]
and sunshine [Fm] and health
that was necessary to sacrifice in order to be in that band, really started wearing very heavily on Bernie.
He wanted to be healthy.
He wanted to go to the beach.
He wanted to swim, run, exercise, eat well and be really healthy.
And he was right.
We should have taken more time off and maintained ourselves physically and [E] emotionally.
I [F] think he would still have been in the band if we [F#] could have done that.
But for you, was it something that was_
Did you feel that if you stayed in the band, it would have destroyed you?
_ Well, in hindsight, looking back [F] now, it was a [D#] blessing that [D] I left the band.
At the time, you don't really realize what damage you're doing to yourself by staying in an environment like that.
It's like you're in a marriage that you know is over and should _ definitely be ended, but you continue to stay there for the kids.
I continued to stay in the band for the music.
And that was probably a big mistake.
And [E] in hindsight, I'm really glad [F#] that I was able to set myself [E] free from that [D#] whole environment [N] and go on and live a happier, healthy life.
So no regrets?
I do have a few regrets.
I have regrets about [F] some of my conduct in the 70s, some of the abuse of myself that I did with drugs and alcohol,
some of the promiscuity and the impact it took on my wife and my family in years to come.
So I don't think you ever go through [E] life [D] without some sort of regrets.
And I think I have some [D#] regrets from those years, [G] yeah.
Thank you so much.
It was a pleasure to come back.
Thank you very [E] much.
Thank you.
I [A] enjoyed it. _ _
_ _ _ _ _ _ _ [D] _
_ _ _ _ _ _ _ [E] _
_ _ _ _ _ _ _ _
[A] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [B] _ _ _ _ [F#] _ _ _
_ _ _ [Em] _ _ _ [F#m] _ _
[Am] _ _ _ _ _ _ _ [E] _
_ _ _ _ [G] _ _ _ _
_ [D] _ [F#] _ _ _ _ _ _
[F] _ _ _ _ _ _ [C] _ _
_ _ _ _ [D] _ _ _ [Dm] _
_ [A] _ _ [E] _ _ _ _ _
[Am] _ _ _ _ _ _ _ _
_ _ _ _ Beautiful.
[A] _
Yes.
_ _ _ _ _ [D] _ _
_ _ _ _ _ [Bm] _ You talk about [A] writing Hotel California.
[G#] Describe it as the soundtrack of my [G] life.
[A#] What do you mean by that?
Well, you know, when I wrote the track, it came to me at a mid-July day in California
on a little beach house that I was renting.
[G#] And I started playing [Em] the opening.
_ _ _ _ _ [B] _
_ _ _ [D] _ And it just stuck with me for [C#m] a [C#] long time.
And so I went back and made a little recording of it
and basically filled out the track with bass and guitar parts, electric guitar parts.
And it went on to be such a huge hit.
It's [A] something I can't escape.
I hear it in elevators.
I hear it on the radio.
I have to play it in my show.
I played it for years with the Eagles.
It's just something that's just become a part of my life.
And do you ever get tired of playing it?
Not really.
It's one of the most fun guitar parts there is to play, especially the solos on the end.
And it was so much fun doing it and creating it
that it brings back a lot of great memories to play that.
And was it really nearly called Mexican Bolero?
Well, yeah.
When I wrote it, I didn't have any lyrics on it.
And I gave a copy of it to Hindley on a cassette.
And he said, you know, I like that track that sounds like a Mexican reggae
or sort of a Bolero.
And I said, I know which one you're talking about.
So we started writing lyrics to it and it became Hotel California.
[E] And talking of Don's lyrics, I know you must have been asked this about a million times.
[B] _ What's that about?
Well, you'll really have to [C] ask Hindley [D] about that
because he has a brilliant ability to write lyrics in little _ snapshots
of photographs that he throws out at you lyrically.
And he lets you kind of accumulate these photographs in your own mind
and put together a portrait of what you feel the song is about.
I've had people come up to me and say that they thought the band must have been
a satanic cult or double worshippers or that that song was about a hotel in Mexico
and about a lot of different things.
But indeed, it means a lot of different things to a lot of different people.
But for the real meaning, you'll have [A] to ask Don Hindley.
Now, I'm already thinking one of your earliest jobs was working in a guitar [N] shop like this.
You taught a very young Tom Petty how to play guitar.
Is that correct?
Yeah, that's right.
I was working in a shop a little bit bigger than this.
But I was working for not money.
I was working for credit.
And the more guitar students I had and the more guitars that I sold,
I would get credit on an account here and then I could get strings or a guitar
or a little amp for my own use.
And then one day walks this really kind of scrawny-haired, skinny kid.
It was little Tommy Petty.
He was about 13 years old or something.
So I started teaching him guitar.
And the next thing I knew, he was in a band called The Epics and later Mud Crutch.
And then it was very funny.
The first year that I was in the Eagles and we came over to London,
I was staying in a hotel and I was reading an interview by Tom.
And he credited me as far as being his guitar teacher.
And they had just put out their first album.
I guess this was about [D#] 75 or something like this, [E] 74, 75.
And I found it very flattering that he was claiming me as his guitar teacher.
_ [D] Now, if we look at the pictures in the book,
in [G] every picture you're playing a [G#m] different guitar.
How many [Em] guitars?
Is it like Nigel Tufnel in [F] Spinal Tap?
Do you have a whole room full of guitars now or is it something else?
I have a very large storage locker with around 300 guitars in it.
And I have all the guitars that I've ever bought.
I've never sold any.
I nearly sold one when I was in really destitute financial shape in New York.
I nearly sold an old [D] Goldtop Les Paul to get me out of New York up to Boston.
But I took it in and the guy offered me, I think, $150 for it.
And I knew it was worth much more than that.
So I declined his offer and kept it.
I still have it.
[E] _
The book is a very frank book.
[C] And, you know, you're not easy on anyone, including yourself.
There must have been tough times in the Eagles.
You're in the biggest band in the world and yet [D#] it's really hard.
What [Am] were the best things and the worst things about being a band [D] like the Eagles?
Well, the best thing about being in the Eagles was the music.
Despite all the arguing and disagreements and fighting [E] and everything that took place,
the best, most satisfying part of it was walking out on stage in front of a few thousand people every night
and starting the introduction of Hotel California
and having the place just explode with satisfaction and recognition and appreciation of something that I'd [F#] written and played.
And all the other music that we _ [F] managed to get done and write and record together,
it still holds a lot of great memories and was a lot of fun doing and [D#] a lot of [D] fun playing all [C] those years.
Some of the worst things were the years that I spent heavily influenced with drugs and alcohol,
[E] the conflicts we had amongst each other when we were in less than [F] clear conscious states.
And I regret a lot of the stuff that was said to each other, even though _ those words still linger around.
They had a lot of _ [N] negative aspects to them.
Now, Bernie Leland, your old friend, left the Eagles.
When he left the Eagles, he said it was an act of survival.
Was that the same thing for you?
No.
Bernie really _ had gotten to a point where he was really tired of working in such a toxic [E] environment,
_ toxic in a lot of levels, emotional toxicity, the [A] amount of [D] work and diet and lack [F#] of exercise [C#]
and sunshine [Fm] and health
that was necessary to sacrifice in order to be in that band, really started wearing very heavily on Bernie.
He wanted to be healthy.
He wanted to go to the beach.
He wanted to swim, run, exercise, eat well and be really healthy.
And he was right.
We should have taken more time off and maintained ourselves physically and [E] emotionally.
I [F] think he would still have been in the band if we [F#] could have done that.
But for you, was it something that was_
Did you feel that if you stayed in the band, it would have destroyed you?
_ Well, in hindsight, looking back [F] now, it was a [D#] blessing that [D] I left the band.
At the time, you don't really realize what damage you're doing to yourself by staying in an environment like that.
It's like you're in a marriage that you know is over and should _ definitely be ended, but you continue to stay there for the kids.
I continued to stay in the band for the music.
And that was probably a big mistake.
And [E] in hindsight, I'm really glad [F#] that I was able to set myself [E] free from that [D#] whole environment [N] and go on and live a happier, healthy life.
So no regrets?
I do have a few regrets.
I have regrets about [F] some of my conduct in the 70s, some of the abuse of myself that I did with drugs and alcohol,
some of the promiscuity and the impact it took on my wife and my family in years to come.
So I don't think you ever go through [E] life [D] without some sort of regrets.
And I think I have some [D#] regrets from those years, [G] yeah.
Thank you so much.
It was a pleasure to come back.
Thank you very [E] much.
Thank you.
I [A] enjoyed it. _ _
_ _ _ _ _ _ _ [D] _
_ _ _ _ _ _ _ [E] _
_ _ _ _ _ _ _ _
[A] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _