Chords for George Benson Hot Rod Deluxe | Fender
Tempo:
104.75 bpm
Chords used:
D
E
G
F#
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[A#] [E] See that fender thing coming through?
[D] [G] [F] That's a blues sound.
[E] People like,
[F] and you can get happy with it, see?
It ain't going nowhere.
It ain't going to fluff out on you.
It ain't going to wrinkle up and distort, unless you [G] want it.
[E]
[D]
In the days when I couldn't afford an amplifier at all, [F#] and we only wished we could have something
as sophisticated and dynamic as a fender, because one fender amp could handle all our needs.
You know, if we had a bass player, we ran the microphone through the amplifier.
I had a five-piece singing group, and I played the guitar, sang and danced, and the amp handled
all of it very easily.
[D] All the guys who I saw playing fender amplifiers always had that nice, crispy, [E] instant sound.
I think that's the thing that made fender stick out, is it's got an instant sound.
I didn't appreciate that until later.
A lot of people don't know that I played fender before.
And John Hammond, who discovered everybody, he discovered Billie Holiday, Aretha Franklin,
Count Basie, he was now my mentor, who brought me over to Columbia Records.
And he asked me if I would be interested in doing an ad for fender.
I said, wow.
He said, they're going to give you an amplifier.
I said, why?
Because that was very expensive for us.
We weren't making a lot of money in those days.
Not only did they give me an amplifier, but they gave me a 12-string guitar.
So exciting days.
[A]
[F] [E] I was in Russia, and I was playing a big party with a lot of people, and we had to rent amps.
Naturally, they came with fender amplifiers.
I had never seen anything like them, ever.
They got different fenders in Russia, you know.
But they had somebody that left the overdrive on.
Boy, I sounded [Bm] like Eddie Van Halen.
[F#] [C]
[G#m] I left it alone because [E] I didn't have time to play with it.
So I left it, and I [Em] tried to buy that amp.
I said, man, what kind [D] of amp?
A fender.
I said, no.
Yeah, it was.
It [G] was a fender amp.
[A] And so when we started talking about [C] amps, that's why I asked if we could have that device
left in the amp, because a little bit of that, under the right circumstance, [D] works wonders.
[A#m] [A#]
[E] [D]
When I told your engineers what I wanted, they instantly came up with the first thing
that bothered me the most.
They said, George, what do you look for in an amplifier?
And they asked, well, what kind of amplifier do you like?
And they knew what I had played before.
And they said, why do you like that amp?
I said, because it reproduces the guitar the way that it's supposed to sound.
It does not hype anything.
It just makes it [D#] louder.
[Em]
And they said, well, we can do this.
And they changed the [F#] tube in the amplifier.
[C#] [G] And all of a sudden, I heard Fender from a whole different point of [D] view.
So [E] they gave me more headroom, so I could turn the amplifier up to [G] five or six [E] and [G] still
be [E] close to the amp.
And the sound got bigger.
[D] [B] That, [F#m] to me, was a [D] revelation.
And so the fact that they allowed me to design the cover and the way the [B] amplifier looked,
I thought [F#] that was outstanding, [C#] because it's a great privilege.
This [Dm] covering [D] with that sound.
I know you can't see [E] the sound right now.
But when I [C] put my guitar through this [C#] amplifier, it gave me everything I was looking for.
Punch, power, tonality.
Connecting [D] my name to Fender, it should be [F#] something that comes from my head [G#m] and from my experience.
And I think we came up with a great look.
I love this [Cm] covering that we have on here.
And the way that you've incorporated my logo here, I think that's enough prestige for one
guitar player from Pittsburgh, Pennsylvania.
[D] Isn't that nice?
Take this to the gig and come on back with some money.
[G] [E] [D]
[D#] [Em] [D]
[E]
[G] [C]
[N]
[D] [G] [F] That's a blues sound.
[E] People like,
[F] and you can get happy with it, see?
It ain't going nowhere.
It ain't going to fluff out on you.
It ain't going to wrinkle up and distort, unless you [G] want it.
[E]
[D]
In the days when I couldn't afford an amplifier at all, [F#] and we only wished we could have something
as sophisticated and dynamic as a fender, because one fender amp could handle all our needs.
You know, if we had a bass player, we ran the microphone through the amplifier.
I had a five-piece singing group, and I played the guitar, sang and danced, and the amp handled
all of it very easily.
[D] All the guys who I saw playing fender amplifiers always had that nice, crispy, [E] instant sound.
I think that's the thing that made fender stick out, is it's got an instant sound.
I didn't appreciate that until later.
A lot of people don't know that I played fender before.
And John Hammond, who discovered everybody, he discovered Billie Holiday, Aretha Franklin,
Count Basie, he was now my mentor, who brought me over to Columbia Records.
And he asked me if I would be interested in doing an ad for fender.
I said, wow.
He said, they're going to give you an amplifier.
I said, why?
Because that was very expensive for us.
We weren't making a lot of money in those days.
Not only did they give me an amplifier, but they gave me a 12-string guitar.
So exciting days.
[A]
[F] [E] I was in Russia, and I was playing a big party with a lot of people, and we had to rent amps.
Naturally, they came with fender amplifiers.
I had never seen anything like them, ever.
They got different fenders in Russia, you know.
But they had somebody that left the overdrive on.
Boy, I sounded [Bm] like Eddie Van Halen.
[F#] [C]
[G#m] I left it alone because [E] I didn't have time to play with it.
So I left it, and I [Em] tried to buy that amp.
I said, man, what kind [D] of amp?
A fender.
I said, no.
Yeah, it was.
It [G] was a fender amp.
[A] And so when we started talking about [C] amps, that's why I asked if we could have that device
left in the amp, because a little bit of that, under the right circumstance, [D] works wonders.
[A#m] [A#]
[E] [D]
When I told your engineers what I wanted, they instantly came up with the first thing
that bothered me the most.
They said, George, what do you look for in an amplifier?
And they asked, well, what kind of amplifier do you like?
And they knew what I had played before.
And they said, why do you like that amp?
I said, because it reproduces the guitar the way that it's supposed to sound.
It does not hype anything.
It just makes it [D#] louder.
[Em]
And they said, well, we can do this.
And they changed the [F#] tube in the amplifier.
[C#] [G] And all of a sudden, I heard Fender from a whole different point of [D] view.
So [E] they gave me more headroom, so I could turn the amplifier up to [G] five or six [E] and [G] still
be [E] close to the amp.
And the sound got bigger.
[D] [B] That, [F#m] to me, was a [D] revelation.
And so the fact that they allowed me to design the cover and the way the [B] amplifier looked,
I thought [F#] that was outstanding, [C#] because it's a great privilege.
This [Dm] covering [D] with that sound.
I know you can't see [E] the sound right now.
But when I [C] put my guitar through this [C#] amplifier, it gave me everything I was looking for.
Punch, power, tonality.
Connecting [D] my name to Fender, it should be [F#] something that comes from my head [G#m] and from my experience.
And I think we came up with a great look.
I love this [Cm] covering that we have on here.
And the way that you've incorporated my logo here, I think that's enough prestige for one
guitar player from Pittsburgh, Pennsylvania.
[D] Isn't that nice?
Take this to the gig and come on back with some money.
[G] [E] [D]
[D#] [Em] [D]
[E]
[G] [C]
[N]
Key:
D
E
G
F#
C
D
E
G
_ _ _ _ _ _ _ _
_ [A#] _ _ [E] See that fender thing coming through? _
_ _ [D] _ _ _ [G] _ [F] That's a blues sound.
[E] People like, _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [F] _ _ _ and you can get happy with it, see?
_ It ain't going nowhere.
It ain't going to fluff out on you.
It ain't going to wrinkle up and distort, unless you [G] want it. _
_ _ _ _ [E] _ _ _ _
_ _ [D] _ _ _ _ _ _
_ _ In the days when I couldn't afford an amplifier at all, [F#] and we only wished we could have something
as sophisticated and dynamic as a fender, because one fender amp could handle all our needs.
You know, if we had a bass player, we ran the microphone through the amplifier.
I had a five-piece singing group, and I played the guitar, sang and danced, and the amp handled
all of it very easily.
_ _ [D] All the guys who I saw playing fender amplifiers always had that nice, crispy, [E] instant sound.
I think that's the thing that made fender stick out, is it's got an instant sound.
I didn't appreciate that until later.
A lot of people don't know that I played fender before.
And John Hammond, who discovered everybody, he discovered Billie Holiday, Aretha Franklin,
Count Basie, he was now my mentor, who brought me over to Columbia Records.
And he asked me if I would be interested in doing an ad for fender.
I said, wow.
He said, they're going to give you an amplifier.
I said, why?
Because that was very expensive for us.
We weren't making a lot of money in those days. _
Not only did they give me an amplifier, but they gave me a 12-string guitar. _ _ _
_ So exciting days.
_ _ [A] _ _
[F] _ _ [E] I was in Russia, and I was playing a big party with a lot of people, and we had to rent amps.
Naturally, they came with fender amplifiers.
I had never seen anything like them, ever.
They got different fenders in Russia, you know.
_ _ _ But they had somebody that left the overdrive on.
_ Boy, I sounded [Bm] like Eddie Van Halen.
_ _ [F#] _ _ [C] _
[G#m] I left it alone because [E] I didn't have time to play with it.
So I left it, and I [Em] tried to buy that amp.
I said, man, what kind [D] of amp?
A fender.
I said, no.
Yeah, it was.
It [G] was a fender amp.
[A] And so when we started talking about [C] amps, that's why I asked if we could have that device
left in the amp, because a little bit of that, under the right circumstance, [D] works wonders.
_ [A#m] _ _ _ [A#] _ _
_ _ [E] _ _ _ _ _ [D] _
When I told your engineers what I wanted, they instantly came up with the first thing
that bothered me the most.
They said, George, what do you look for in an amplifier?
_ And they asked, well, what kind of amplifier do you like?
And they knew what I had played before.
And they said, why do you like that amp?
I said, because it reproduces the guitar the way that it's supposed to sound.
It does not hype anything.
It just makes it [D#] louder.
_ [Em]
And they said, well, we can do this.
And they changed the [F#] tube in the amplifier.
[C#] _ [G] And all of a sudden, I heard Fender from a whole different point of [D] view. _ _ _ _ _
So [E] they gave me more headroom, so I could turn the amplifier up to [G] five or six [E] and [G] still
be [E] close to the amp.
And the sound got bigger.
[D] _ [B] That, [F#m] to me, was a [D] revelation.
And so the fact that they allowed me to design the cover and the way the [B] amplifier looked,
I thought [F#] that was outstanding, [C#] because it's a great privilege.
This _ [Dm] covering [D] with that sound.
I know you can't see [E] the sound right now.
But when I [C] put my guitar through this [C#] amplifier, it gave me everything I was looking for.
Punch, power, tonality.
Connecting [D] my name to Fender, it should be [F#] something that _ comes from my head [G#m] and from my experience.
And I think we came up with a great look.
I love this [Cm] covering that we have on here.
_ And the way that you've incorporated my logo here, I think that's enough prestige for one
guitar player from Pittsburgh, Pennsylvania. _ _
_ _ [D] Isn't that nice?
Take this to the gig and come on back with some money.
_ _ [G] _ _ _ [E] _ _ _ _ _ _ [D] _ _
_ [D#] _ _ [Em] _ _ _ [D] _ _
_ _ _ [E] _ _ _ _ _
[G] _ _ [C] _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _
_ [A#] _ _ [E] See that fender thing coming through? _
_ _ [D] _ _ _ [G] _ [F] That's a blues sound.
[E] People like, _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [F] _ _ _ and you can get happy with it, see?
_ It ain't going nowhere.
It ain't going to fluff out on you.
It ain't going to wrinkle up and distort, unless you [G] want it. _
_ _ _ _ [E] _ _ _ _
_ _ [D] _ _ _ _ _ _
_ _ In the days when I couldn't afford an amplifier at all, [F#] and we only wished we could have something
as sophisticated and dynamic as a fender, because one fender amp could handle all our needs.
You know, if we had a bass player, we ran the microphone through the amplifier.
I had a five-piece singing group, and I played the guitar, sang and danced, and the amp handled
all of it very easily.
_ _ [D] All the guys who I saw playing fender amplifiers always had that nice, crispy, [E] instant sound.
I think that's the thing that made fender stick out, is it's got an instant sound.
I didn't appreciate that until later.
A lot of people don't know that I played fender before.
And John Hammond, who discovered everybody, he discovered Billie Holiday, Aretha Franklin,
Count Basie, he was now my mentor, who brought me over to Columbia Records.
And he asked me if I would be interested in doing an ad for fender.
I said, wow.
He said, they're going to give you an amplifier.
I said, why?
Because that was very expensive for us.
We weren't making a lot of money in those days. _
Not only did they give me an amplifier, but they gave me a 12-string guitar. _ _ _
_ So exciting days.
_ _ [A] _ _
[F] _ _ [E] I was in Russia, and I was playing a big party with a lot of people, and we had to rent amps.
Naturally, they came with fender amplifiers.
I had never seen anything like them, ever.
They got different fenders in Russia, you know.
_ _ _ But they had somebody that left the overdrive on.
_ Boy, I sounded [Bm] like Eddie Van Halen.
_ _ [F#] _ _ [C] _
[G#m] I left it alone because [E] I didn't have time to play with it.
So I left it, and I [Em] tried to buy that amp.
I said, man, what kind [D] of amp?
A fender.
I said, no.
Yeah, it was.
It [G] was a fender amp.
[A] And so when we started talking about [C] amps, that's why I asked if we could have that device
left in the amp, because a little bit of that, under the right circumstance, [D] works wonders.
_ [A#m] _ _ _ [A#] _ _
_ _ [E] _ _ _ _ _ [D] _
When I told your engineers what I wanted, they instantly came up with the first thing
that bothered me the most.
They said, George, what do you look for in an amplifier?
_ And they asked, well, what kind of amplifier do you like?
And they knew what I had played before.
And they said, why do you like that amp?
I said, because it reproduces the guitar the way that it's supposed to sound.
It does not hype anything.
It just makes it [D#] louder.
_ [Em]
And they said, well, we can do this.
And they changed the [F#] tube in the amplifier.
[C#] _ [G] And all of a sudden, I heard Fender from a whole different point of [D] view. _ _ _ _ _
So [E] they gave me more headroom, so I could turn the amplifier up to [G] five or six [E] and [G] still
be [E] close to the amp.
And the sound got bigger.
[D] _ [B] That, [F#m] to me, was a [D] revelation.
And so the fact that they allowed me to design the cover and the way the [B] amplifier looked,
I thought [F#] that was outstanding, [C#] because it's a great privilege.
This _ [Dm] covering [D] with that sound.
I know you can't see [E] the sound right now.
But when I [C] put my guitar through this [C#] amplifier, it gave me everything I was looking for.
Punch, power, tonality.
Connecting [D] my name to Fender, it should be [F#] something that _ comes from my head [G#m] and from my experience.
And I think we came up with a great look.
I love this [Cm] covering that we have on here.
_ And the way that you've incorporated my logo here, I think that's enough prestige for one
guitar player from Pittsburgh, Pennsylvania. _ _
_ _ [D] Isn't that nice?
Take this to the gig and come on back with some money.
_ _ [G] _ _ _ [E] _ _ _ _ _ _ [D] _ _
_ [D#] _ _ [Em] _ _ _ [D] _ _
_ _ _ [E] _ _ _ _ _
[G] _ _ [C] _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _