Chords for George Harrison - Concert For George: Drummer

_ _ _ _ _ _ _ _
[F] _ _ Is that it?
[G] Thank you Jan.
Ringo?
_ _ [D] Is he coming in today?
_ Could be.
_ [G#] Ray's getting me a tambourine.
I promised [B] him, I promised him, [E] I promised one.
Maple _ _ Ludwig tambourine.
He's got me.
[G] This is a con.
He's got me.
_ _ Jim Kelton [Am] said one [Bm] day,
_ the [F] Congo player has to be your friend.
Bit of snare.
_ [N] _ _ _ _
_ _ _ And some ride cymbals. _
_ [Dm] _ _ _ _ _ [D#] _ _
_ _ _ _ [E] _ _ _
Six o'clock. _ _ _ _ _
_ Two. _ _ _ _
It was just a great [F#m] jam.
My passion [E] is still the drums.
I love to [A] play.
From [E] the dream of being a 13 year old,
only wanting to play the drums, _
_ to [A] getting a kit of drums,
playing with [E] people.
You know, that was the other dream,
[C#] playing with good [F#m] [E] players.
I had Ray on one [B] side,
master percussion. _
_ _ It's dynamite.
[E] Ringo would surprise you.
He plays across the beat sometimes on fills.
[G#] George used to love [F#] that.
It always used to make him laugh.
How does he do that as well?
Every so often he'd pull a drum [F#m] fill out
in between a phrase,
which [B] nobody would do.
But it's so musical, it's so [F#] fluid.
You think, wow, I [B] wouldn't do that,
but I'm glad he did that. _
[D] And there was nobody else.
Jim was the next drummer for George.
Jim is my all-time favourite drummer.
He's [E] so versatile, _
_ the way he can play. _ _
But sometimes he can be very strange.
It was after Bangladesh,
and we were playing together on something,
I don't know.
[G#] It must have been the shooting,
[F#] because I had the cans on,
and we're playing.
And I'm going, I just can't hear the [F#m] other drums.
And I look [B] over, and Jim is playing pretend.
Ooh, if I [F#m] hit that.
Ooh, if [B] I went like that.
He wasn't hitting anything,
it was just [D] like miming.
What the hell is he [Bm] doing?
He sits [D] so high, you know.
When he was a kid, [F] [B] as a beetle,
with the floppy [D] hair and everything.
And he plays very unorthodox, you know,
self-taught, so he would slosh the hi-hats
and play like that,
and [G] sitting up real high [E] like that.
_ It looked funny to me as a young man
watching him do that,
because I was a jazz player.
And it was all buried beneath me,
beetles and all that sort of stuff.
It's almost as if they're [G#] painting with [F#] watercolour.
The colour runs, and the rhythm runs.
It runs down [F#m] the paper or canvas.
Whereas other [B] people would be very specific
[F#m] about the oil, and it sticks on the paper.
[B] But Ringo, it runs [D] down, and it's fluid.
It's very fluid.
_ _ George knew what he wanted from the [G#] drums.
And more so, he knew what he didn't want.
There's not a lot of [E] _ flashy drumming,
but all the drumming kind of serves the songs.
And basically what you hear on [F#m] this album,
or any album that I played with [A] George on,
was basically [E] just him _ letting me know
kind of what he wanted to [A] hear.
_ _ And then following his lead, [E] _ _ generally his vocal.
_ I usually play to [A] the vocal,
which is not always the best thing for a drummer to do.
But [E] somewhere along the line,
that's what I learned to do,
and that's what I [A] still do today.
[E] And in the studio, it can [A] be [E] dangerous to do that,
because the vocal is always redone.
_ [B] So you should always kind of,
the drummer needs to be the guy that, you know,
just [E] _ _ squares off and [G#] doesn't let anything [F#] else bother him or affect him.
But I've always been a reactionary player.
_ [F#m] We can all play.
_ [B] It's the emotion you're put into it.
[F#m] That's the art.
_ _ _ [B] _ Leaving a [D] hole _ is as important as filling up, you know.
_ [G#] And it's the emotional space you put the [D] drums.
_ [E] Because you don't get a lot of chances, you know.
You can't spread the chord with the drums.
You've only got that. _
_ _ I mean, personally, I've always played with the singer.
_ I still do to this day.
_ Even if I'm, you know, I've written the track
and doing a record for me,
I have someone singing it so I can feel where it's going.
I've got it in my head.
But _ _ it's always helped me to play with the song. _ _ _ _ _ _
_ _ _ _ [A] _ _ _ _
[Bm] _ [A] _ _ [E] _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [F#] _ [N] He promised me a tambourine, but I was a lying bastard.
Excuse me.
Yeah, he did that months ago.
He said, oh, sure, Mr.
Big Shot Roy Cooper.
Here it is.
_ Oh, he's such an adorable human being.
One of my all-time favourite guys. _
_ _ _ _ [G#] It's in its original box.
[A] Oh, [G#m] great.
With [B] Handel, with care on it.
_ [G#] _
_ I'll admit that, [D#m] ladies and gentlemen.
I'll just be on [C] my way.
[N] _ _ May it give you many hours