Chords for Hey Joe! Satriani chooses his three favourite Hendrix moments (TG239)

[N] _ _ _ _ _ _ _ _
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_ _ _ [Gb] Well, _ _ [B] _
_ _ [Ab] it's not really a riff.
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[Db] _ _ _ [Bbm] _ _ _ _ [Db] _
_ [D] _ _ [Ab] _ _ _ [B] _ _
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_ [B] _ _ _ _ _ [Db] _ _
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_ [C] It's hard to imagine something more beautiful than that.
_ [Bb] _ It's so [Gb] great. _ _ _
_ Played a little [C] distorted, however, _
_ [Gb] and with [C] cold [Gb] fingers in the _ garage here,
but [C] it's so melodic and [E] _
[Db] it's like some sort of [C] futuristic R&B guitar style.
It's so beautiful [Bb] and it [C] never needs to be played the same way twice.
_ _ It's got some cornerstones [B] to it that are important, but _ [Eb] it's [Gb] _ _ [Abm] basically_
_ [Ebm] _ _ [Bbm] _
_ _ _ [Abm] _ which [Gb] is really amazing when you think about [B] it.
_ _ [Db] _ _ _
It's very 60s sounding, [F] the chord progression, [G] but somehow he transcends it.
And [B] that was his _ thing, is he [Bb] transcended _ [C] the guitar playing, the convention of guitar playing.
He always sounded like he never practiced a thing in his life,
[Db] because he couldn't hear an exercise in anything he did.
He didn't hear [A] arpeggios or two hand [B] tapping. _
But everything he [C] played was like something you couldn't copy.
It's really, really [Gb] amazing.
_ _ _ [C] _
[Db] I think, you [Bbm] know_
[Gb] _ _ [Eb] _
_ _ _ _ [Ebm] [Bb] Imagine the wah-wah. _
[Ab] _ [Bbm] _ [Gb] _ _ [Ab] I'm not going to move my mouth [D] like [Bb] every other guitar [Gb] player.
_ [Eb] _ _ _
_ [Ebm] _ _ That whole [C] performance is so amazing.
_ _ [Bb] _ It's_
wow!
_ _ _ [Cm] It's just so great when I think about it.
_ _ But just the fact [Bb] that he thought he could start a song like that.
I don't know if he [C] _ realized, like coming over [Bb] a car radio [C] or a stereo [Ab] system,
_ _ back in the late [Eb] 60s, the [G] impact that would have in somebody's living room
[Bb] that suddenly there would be this wah-wah guitar, like [Cm] it was right in front of [Bb] your face.
It's just amazing.
It's just great.
I love that. _ _
_ [Bm] _ All right, so the last one.
[Eb] So many to [C] choose from. _ _ _ _ _
You know, _ [Eb] _ _ probably_
[A] _
_ [Gb] _ _ [Eb] _ _ _ _ _
[C] _ _ [Gb] _ _ [A] Now, it's a funny thing, [D] you know.
You look at that period, there's Sunshine [G] of Your Love and [Cm] there's, you know, and this.
And [C] they're very close.
One of them is [B] so laid [D] back [Bb] and groovy.
And [C] when it _ starts the song, it has [G] this structure to it.
[D] But then, bam!
The [Db] song just opens up into this [B] thing
that's the bible of all electric guitar playing.
It's just [D] like, if you want to deal with a [A] Stratocaster,
you have to see everything that he did [Bbm] in this one [G] live performance, one night.
[Gb] And that's what we're all [Bb] working on.
[Eb] _ [A] Sunshine of Your Love is a [G] nice song, but that's [A] it.
It's just a _ blues riff, you [Am] know.
Nice, tidy little [C] song, you know.
But _ _ Machine Gun is like, [D] wow. _ _ _
That's something about a riff, I think.
A really [Bb] great riff [Bbm] _
should always leave [Gb] room for possibilities, I think.
It [A] shouldn't cover all _ ground.
And [C] a lot of Hendrix's stuff, you know, he didn't cop the bass [A] part.
He wasn't playing all the [Dbm] accents the drummer was playing, you know.
_ [D] _ _ _ _
Sometimes, through the years, _ you'll find different instruments
start to [A] get a little crazy, like singing was a couple years ago,
where a [D] lot of the singers would sing every possible scatological [Db] thing
you [Bb] could think of in one [B] song, and you go, [G] well, that's it.
What's the point of listening to the rest [C] of the album, right?
_ And guitar players would do the same thing.
[Ab] The riff, they do the riff.
The rhythm, they're copying the bass [C] part.
The bass part's copied with the kick drum.
So it's a great unifying [Eb] sound, but it's actually a [Am] smaller sound.
[C] And I think it leaves no room [G] for the imagination, you know,
when it comes [E] to the musical part.
Of course, if it's a bit [G] for lyrics, it's another thing.
[Cm] But that riff, for me, _ after he _ [C] sort of sneaks [Am] into it,
and the [C] band comes in, you realize, [A] wow, this is,
you're just opening this page of this book, [Ab] you know.
This is like [G] the opening of a film [D] that's going to be a wild ride, you know.
And [C] I think that riff should get the credit for that. _
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