Chords for Greg Lake of Emerson, Lake and Palmer
Tempo:
76.1 bpm
Chords used:
E
B
A
D
Am
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
J-200s, well, they are of course iconic in the sense of who played them.
You know, I mean, they're the choice of the king and everyone in his wake.
But the beautiful thing about them is the [B] tone.
It is the greatest rhythm [E] guitar I think ever made.
And it's good, but also it's got punch.
[A] [E] [E]
So, you've got this, but all equally,
[B] you've got this beautiful picking.
[D] [Dm]
[E] [Am]
[E] So it does a lot of things.
You can pick with it, you can strum it, you can really develop power.
And when it's properly amplified, it could hurt you.
The power you can generate with the J-200.
And it's an inspirational guitar.
It's beautiful under the fingers.
It's beautiful to [F#] feel.
Lovely.
[E] Just a gratifying thing to play.
I never tire of them.
They look beautiful and they are beautiful.
Some are more special than others.
I've got some J-200s which I just can't, I would never sell.
They're just too lovely.
They talk to me.
They say, Greg, you haven't played me for a long time.
You know, are you neglecting me?
And I pick them up and when I play it, so they're grateful.
It's the vibration of them.
You feel it in your chest.
It's such a lovely deep warmth, but it's also got that power.
And it's dramatic guitar.
[B] Ba, [E] ba, [E]
ba, ba.
The curtains open and there's Elvis with his back to the audience.
They're shining a spotlight up and up on the back screen.
There was a silhouette of Elvis.
Must have been 40 feet tall.
And he turned around all of a sudden.
Going to a party in the county jail.
And it was like a wave of spiritualism just hit you.
I mean, people fainted.
I watched two or three women in the front row just fall off their seat onto the ground.
He did 30 seconds of Jailhouse [G#] Rock and then did,
Since my baby left me, ba, ba, I found a new place to dwell.
He did 30 seconds of Heartbreak Hotel.
And then he did, You ain't nothing but a hound dog.
So he'd done three major world hits within one and a half minutes of coming on stage.
And after he finished them, the place looked just like a bomb had hit it.
There were cups, glasses all over the floor.
There were women crying with makeup.
It was just like a bomb had hit the place.
He did about, I suppose it must have been a half an hour show.
Something like that.
Maybe 40 minutes tops.
And I can't remember the last song it was.
And he leaves the stage and the band keep playing.
They keep playing.
They keep playing.
And all of a sudden they stop.
It was as though they just quit.
And they turned on the fluorescent lights in the room.
And over the PA came those famous words,
Ladies and gentlemen, Elvis has left the building.
In the Court of the Crimson King, on soft grey mornings, widows cry.
The wise men tell a joke.
All these lyrics that were really quite off the ball.
[D#] And of course it was in the period of LSD and all these things.
We formed this band and we decided it had to be original.
In those days the currency was originality.
You needed to be original.
These days it's more like you have to be the same to fit into some market concept.
Then the idea was you needed to be different.
And so what we decided to do,
we'd apply, we'd try and apply all new principles to what we did.
And one of the things we immediately decided,
most rock and roll bands at the time based their inspiration,
they drew their inspiration from American music,
from blues, soul music, [C#m] gospel.
So we thought we'll look for something different.
And what we decided was to use European music for the influence.
So we started to [C] really take our [G#] influence more from classical music,
folk music, medieval music, some of it.
I mean, the [E] Crimson stuff, [B] [F#]
[C#] [B] these are strange chords, you know.
And [Em] we were quite good players at the time.
We'd practice hard and we were all taught well.
So we could really play.
And so what we based the band on was more listening.
You know, we would listen rather than focus on what we were playing.
We would focus on listening what other people were playing.
And we would respond to that.
And sometimes you'd find we'd be on stage and somebody wouldn't play at all
until they felt the moment was right.
Then they would play.
And sometimes you'd have long gaps of silence where no one would play.
And we used to have one song that had no time signature and no key.
We counted in one, two, three, four, and it was playing.
There was nothing.
There was not a sound, but it had started.
And so you'd get, you [B] know, [E]
[A] somebody start playing.
And somebody would play as a result of that.
And then it would start.
Some nights it was boring, but other nights it was a madness.
[D] [Am] [A] [D]
[Am] [D]
[A] [A]
[Am]
[C#] [C]
[D#] [G#]
You know, I mean, they're the choice of the king and everyone in his wake.
But the beautiful thing about them is the [B] tone.
It is the greatest rhythm [E] guitar I think ever made.
And it's good, but also it's got punch.
[A] [E] [E]
So, you've got this, but all equally,
[B] you've got this beautiful picking.
[D] [Dm]
[E] [Am]
[E] So it does a lot of things.
You can pick with it, you can strum it, you can really develop power.
And when it's properly amplified, it could hurt you.
The power you can generate with the J-200.
And it's an inspirational guitar.
It's beautiful under the fingers.
It's beautiful to [F#] feel.
Lovely.
[E] Just a gratifying thing to play.
I never tire of them.
They look beautiful and they are beautiful.
Some are more special than others.
I've got some J-200s which I just can't, I would never sell.
They're just too lovely.
They talk to me.
They say, Greg, you haven't played me for a long time.
You know, are you neglecting me?
And I pick them up and when I play it, so they're grateful.
It's the vibration of them.
You feel it in your chest.
It's such a lovely deep warmth, but it's also got that power.
And it's dramatic guitar.
[B] Ba, [E] ba, [E]
ba, ba.
The curtains open and there's Elvis with his back to the audience.
They're shining a spotlight up and up on the back screen.
There was a silhouette of Elvis.
Must have been 40 feet tall.
And he turned around all of a sudden.
Going to a party in the county jail.
And it was like a wave of spiritualism just hit you.
I mean, people fainted.
I watched two or three women in the front row just fall off their seat onto the ground.
He did 30 seconds of Jailhouse [G#] Rock and then did,
Since my baby left me, ba, ba, I found a new place to dwell.
He did 30 seconds of Heartbreak Hotel.
And then he did, You ain't nothing but a hound dog.
So he'd done three major world hits within one and a half minutes of coming on stage.
And after he finished them, the place looked just like a bomb had hit it.
There were cups, glasses all over the floor.
There were women crying with makeup.
It was just like a bomb had hit the place.
He did about, I suppose it must have been a half an hour show.
Something like that.
Maybe 40 minutes tops.
And I can't remember the last song it was.
And he leaves the stage and the band keep playing.
They keep playing.
They keep playing.
And all of a sudden they stop.
It was as though they just quit.
And they turned on the fluorescent lights in the room.
And over the PA came those famous words,
Ladies and gentlemen, Elvis has left the building.
In the Court of the Crimson King, on soft grey mornings, widows cry.
The wise men tell a joke.
All these lyrics that were really quite off the ball.
[D#] And of course it was in the period of LSD and all these things.
We formed this band and we decided it had to be original.
In those days the currency was originality.
You needed to be original.
These days it's more like you have to be the same to fit into some market concept.
Then the idea was you needed to be different.
And so what we decided to do,
we'd apply, we'd try and apply all new principles to what we did.
And one of the things we immediately decided,
most rock and roll bands at the time based their inspiration,
they drew their inspiration from American music,
from blues, soul music, [C#m] gospel.
So we thought we'll look for something different.
And what we decided was to use European music for the influence.
So we started to [C] really take our [G#] influence more from classical music,
folk music, medieval music, some of it.
I mean, the [E] Crimson stuff, [B] [F#]
[C#] [B] these are strange chords, you know.
And [Em] we were quite good players at the time.
We'd practice hard and we were all taught well.
So we could really play.
And so what we based the band on was more listening.
You know, we would listen rather than focus on what we were playing.
We would focus on listening what other people were playing.
And we would respond to that.
And sometimes you'd find we'd be on stage and somebody wouldn't play at all
until they felt the moment was right.
Then they would play.
And sometimes you'd have long gaps of silence where no one would play.
And we used to have one song that had no time signature and no key.
We counted in one, two, three, four, and it was playing.
There was nothing.
There was not a sound, but it had started.
And so you'd get, you [B] know, [E]
[A] somebody start playing.
And somebody would play as a result of that.
And then it would start.
Some nights it was boring, but other nights it was a madness.
[D] [Am] [A] [D]
[Am] [D]
[A] [A]
[Am]
[C#] [C]
[D#] [G#]
Key:
E
B
A
D
Am
E
B
A
_ _ _ _ _ _ J-200s, well, they are of course iconic in the sense of who played them.
You know, I mean, they're the choice of the king and everyone in his wake.
But the beautiful thing about them is the [B] tone.
It is the greatest rhythm [E] guitar I think ever made.
And it's good, but also it's got punch.
_ _ [A] _ _ [E] _ _ [E]
So, _ _ you've got this, but all equally, _ _
_ [B] _ _ _ _ you've got this beautiful picking.
_ [D] _ _ _ _ _ _ [Dm] _
_ _ _ [E] _ _ [Am] _ _ _
_ [E] So it does a lot of things.
You can pick with it, you can strum it, you can really develop power.
And when it's properly amplified, it could hurt you.
The power you can generate with the J-200.
And it's an inspirational guitar.
It's beautiful under the fingers.
It's beautiful to [F#] feel.
Lovely.
_ [E] _ _ Just a gratifying thing to play.
I never tire of them.
They look beautiful and they are beautiful.
Some are more special than others.
I've got some J-200s which I just can't, I would never sell.
They're just too lovely.
They talk to me.
_ They say, Greg, _ you haven't played me for a long time.
You know, are you neglecting me?
And I pick them up and when I play it, _ so they're grateful.
It's the vibration of them.
You feel it in your chest.
It's such a lovely deep warmth, but it's also got that power. _ _ _
And it's dramatic guitar. _ _ _ _ _
_ _ _ [B] Ba, [E] ba, _ [E]
ba, ba.
The curtains open and there's Elvis with his back to the audience.
They're shining a spotlight up and up on the back screen.
There was a silhouette of Elvis.
Must have been 40 feet tall.
And he turned around all of a sudden.
Going to a party in the county jail.
And it was like a wave of spiritualism just hit you.
I mean, people fainted.
I watched two or three women in the front row just fall off their seat onto the ground.
He did 30 seconds of Jailhouse [G#] Rock and then did,
Since my baby left me, ba, ba, I found a new place to dwell.
He did 30 seconds of Heartbreak Hotel.
And then he did, You ain't nothing but a hound dog.
So he'd done three major world hits within one and a half minutes of coming on stage.
And after he finished them, the place looked just like a bomb had hit it.
There were cups, glasses all over the floor.
There were women crying with makeup.
It was just like a bomb had hit the place.
He did about, I suppose it must have been a half an hour show.
Something like that.
Maybe 40 minutes tops. _
And I can't remember the last song it was. _ _
And he leaves the stage and the band keep playing.
They keep playing.
They keep playing.
And all of a sudden they stop.
It was as though they just quit.
And they turned on the fluorescent lights in the room.
And over the PA came those famous words,
Ladies and gentlemen, Elvis has left the building. _ _ _
_ In the Court of the Crimson King, on soft grey mornings, widows cry.
The wise men tell a joke.
All these lyrics that were really quite off the ball.
[D#] And of course it was in the period of LSD and all these things.
We formed this band _ and we decided it had to be original.
In those days the currency was originality.
You needed to be original.
These days it's more like you have to be the same to fit into some market concept.
Then the idea was you needed to be different.
And so what we decided to do,
we'd apply, we'd try and apply all new principles to what we did.
And one of the things we immediately decided,
most rock and roll bands at the time based their inspiration,
they drew their inspiration from American music,
from blues, soul music, [C#m] gospel.
So we thought we'll look for something different.
And what we decided was to use European music for the influence.
So we started to [C] really take our [G#] influence more from classical music,
folk music, medieval music, some of it.
I mean, the [E] Crimson stuff, _ _ [B] _ _ [F#] _
_ [C#] _ _ _ [B] these are strange chords, you know.
And _ [Em] we were quite good players at the time.
_ We'd practice hard and we were all taught well.
So we could really play.
And so what we based the band on was more listening.
You know, we would listen rather than focus on what we were playing.
We would focus on listening what other people were playing.
And we would respond to that.
And sometimes you'd find we'd be on stage and somebody wouldn't play at all
until they felt the moment was right.
Then they would play.
And sometimes you'd have long gaps of silence where no one would play.
And we used to have one song that had no time signature and no key.
_ We counted in one, two, three, four, _ and it was playing.
There was nothing.
There was not a sound, but it had started.
And so you'd get, you [B] know, _ [E] _
_ [A] somebody start playing.
And somebody would play as a result of that.
And then it would start.
Some nights it was boring, but other nights it was a madness. _ _
[D] _ _ _ [Am] _ _ [A] _ [D] _ _
_ [Am] _ _ [D] _ _ _ _ _
_ _ _ [A] _ _ [A] _ _ _
_ [Am] _ _ _ _ _ _ _
_ _ _ [C#] _ _ [C] _ _ _
_ [D#] _ _ _ _ _ _ [G#] _
You know, I mean, they're the choice of the king and everyone in his wake.
But the beautiful thing about them is the [B] tone.
It is the greatest rhythm [E] guitar I think ever made.
And it's good, but also it's got punch.
_ _ [A] _ _ [E] _ _ [E]
So, _ _ you've got this, but all equally, _ _
_ [B] _ _ _ _ you've got this beautiful picking.
_ [D] _ _ _ _ _ _ [Dm] _
_ _ _ [E] _ _ [Am] _ _ _
_ [E] So it does a lot of things.
You can pick with it, you can strum it, you can really develop power.
And when it's properly amplified, it could hurt you.
The power you can generate with the J-200.
And it's an inspirational guitar.
It's beautiful under the fingers.
It's beautiful to [F#] feel.
Lovely.
_ [E] _ _ Just a gratifying thing to play.
I never tire of them.
They look beautiful and they are beautiful.
Some are more special than others.
I've got some J-200s which I just can't, I would never sell.
They're just too lovely.
They talk to me.
_ They say, Greg, _ you haven't played me for a long time.
You know, are you neglecting me?
And I pick them up and when I play it, _ so they're grateful.
It's the vibration of them.
You feel it in your chest.
It's such a lovely deep warmth, but it's also got that power. _ _ _
And it's dramatic guitar. _ _ _ _ _
_ _ _ [B] Ba, [E] ba, _ [E]
ba, ba.
The curtains open and there's Elvis with his back to the audience.
They're shining a spotlight up and up on the back screen.
There was a silhouette of Elvis.
Must have been 40 feet tall.
And he turned around all of a sudden.
Going to a party in the county jail.
And it was like a wave of spiritualism just hit you.
I mean, people fainted.
I watched two or three women in the front row just fall off their seat onto the ground.
He did 30 seconds of Jailhouse [G#] Rock and then did,
Since my baby left me, ba, ba, I found a new place to dwell.
He did 30 seconds of Heartbreak Hotel.
And then he did, You ain't nothing but a hound dog.
So he'd done three major world hits within one and a half minutes of coming on stage.
And after he finished them, the place looked just like a bomb had hit it.
There were cups, glasses all over the floor.
There were women crying with makeup.
It was just like a bomb had hit the place.
He did about, I suppose it must have been a half an hour show.
Something like that.
Maybe 40 minutes tops. _
And I can't remember the last song it was. _ _
And he leaves the stage and the band keep playing.
They keep playing.
They keep playing.
And all of a sudden they stop.
It was as though they just quit.
And they turned on the fluorescent lights in the room.
And over the PA came those famous words,
Ladies and gentlemen, Elvis has left the building. _ _ _
_ In the Court of the Crimson King, on soft grey mornings, widows cry.
The wise men tell a joke.
All these lyrics that were really quite off the ball.
[D#] And of course it was in the period of LSD and all these things.
We formed this band _ and we decided it had to be original.
In those days the currency was originality.
You needed to be original.
These days it's more like you have to be the same to fit into some market concept.
Then the idea was you needed to be different.
And so what we decided to do,
we'd apply, we'd try and apply all new principles to what we did.
And one of the things we immediately decided,
most rock and roll bands at the time based their inspiration,
they drew their inspiration from American music,
from blues, soul music, [C#m] gospel.
So we thought we'll look for something different.
And what we decided was to use European music for the influence.
So we started to [C] really take our [G#] influence more from classical music,
folk music, medieval music, some of it.
I mean, the [E] Crimson stuff, _ _ [B] _ _ [F#] _
_ [C#] _ _ _ [B] these are strange chords, you know.
And _ [Em] we were quite good players at the time.
_ We'd practice hard and we were all taught well.
So we could really play.
And so what we based the band on was more listening.
You know, we would listen rather than focus on what we were playing.
We would focus on listening what other people were playing.
And we would respond to that.
And sometimes you'd find we'd be on stage and somebody wouldn't play at all
until they felt the moment was right.
Then they would play.
And sometimes you'd have long gaps of silence where no one would play.
And we used to have one song that had no time signature and no key.
_ We counted in one, two, three, four, _ and it was playing.
There was nothing.
There was not a sound, but it had started.
And so you'd get, you [B] know, _ [E] _
_ [A] somebody start playing.
And somebody would play as a result of that.
And then it would start.
Some nights it was boring, but other nights it was a madness. _ _
[D] _ _ _ [Am] _ _ [A] _ [D] _ _
_ [Am] _ _ [D] _ _ _ _ _
_ _ _ [A] _ _ [A] _ _ _
_ [Am] _ _ _ _ _ _ _
_ _ _ [C#] _ _ [C] _ _ _
_ [D#] _ _ _ _ _ _ [G#] _