Chords for Jeff Beck Group with Rod Stewart - Studio Session For The Beck-Ola album, London 4-14-1969!

Tempo:
118.8 bpm
Chords used:

G

A

C

Gm

E

Tuning:Standard Tuning (EADGBE)Capo:+0fret
Show Tuner
Jeff Beck Group with Rod Stewart - Studio Session For The Beck-Ola album, London 4-14-1969! chords
Start Jamming...
[A]
[G] [G] Oh, louder you want it.
Here we go. Hey guys.
[Gm]
[Bb] [C]
[G]
[C]
[G]
[Dm]
[C] [G] [Gm]
[E] [G]
[G]
[C]
[G]
[C]
[G]
[D] [Gm]
[G] [A]
You [G] can't hear anything through your cans.
[A] Your guitar is too [Am] loud.
Here we go.
[G] Come on, let's hear Jeff.
[Gb]
[Fm] [E]
[F] [G]
So we lose that one?
[A]
We're a great part of that.
There's nothing more we can do other than put guitars on, is there?
What's the 8th tune?
What 8th tune?
The 7th.
We're still trying to bundle everything into one name, aren't we?
No, not really.
You didn't shut last Saturday.
We were supposed to have been [G] doing two [G] Saturdays these days.
You didn't shut up last Saturday.
You went home early Friday.
You didn't shut up Saturday, so you've lost another day.
But today I've lost.
You can't really, can you?
You're coming all into one section.
I know, but you know, people, the rest of the world can't
[B] Can't wait to get back.
[Eb] It's very difficult, you know, just [A] looking at a blank wall [G] trying to get inspiration.
This sort of stuff.
It may sound like a cop-out a bit, isn't it?
[G] I reckon if you do it, I could do the [Abm] whole thing, you know, just to be on the safe side.
[A] No, I don't want it to go out as it's Right.
No, I mean, I'll be playing my best.
We are behind, but it seems we're behind with the cover.
And I'd like to finish the [G] tape, but if it's going to be rubbish for a couple of hours, then forget it.
I ain't gone through, like, weeks.
[Ab] What things make a good producer?
[A] How is he equipped mentally?
[G] I think that he has to be very diplomatic.
He has to play [G] the role
He has to play the role to the artist he's producing.
To certain artists, you pretend to be somebody else.
[Ab] To other artists, you're somebody else.
You [C] have to fit in with [G] their sort of scene.
See, a producer's [G] job is to get the record made, finished, get it out.
You can see, like, from the filming you've done, that it's not [A] easy because
You're dealing with five people in a group, four or five people in a group.
[G] They've all got their own little things they want to do, their own little [Ab] minds.
And when the drummer's listening to the [G] playback, he's only listening to the drums.
And the bass player's listening to the [A] bass, and the singer's just listening to his voice.
They've all got their own little [B] bits going.
So you have to be very diplomatic.
I think when you finish being a record producer, you can become a politician.
Because it's just being diplomatic and getting the job [G] done.
That's the two qualities I think that are necessary.
And not fall in the trap of sitting about with [A] them and becoming like them.
[G] You've got to always be the driver, but you mustn't appear to be driving too hard.
Because they get uptight as well.
You have to be kind of a social worker too.
Well, yeah, a psychiatrist.
Father and mother, I guess.
Yeah, you've got to get them together, that's the thing.
How long do you think one could be active in this [Gb] branch or [B] business?
As long as I think you have the ability to pick a hit song.
[Abm] [G] And [G] get the luck that's needed.
And the patience that's required.
I think the minute you stop hearing the [Eb] music.
I think you [E] make a couple of records that don't sell, and that's when [G] you realise.
[Db] When you really don't understand [Am] what the [G] records that are in the charts are [G] all about.
When they look to you, you just don't.
How could that be number one?
Then you know.
[Eb] And you would be wise then to [F]
not continue making records.
And putting more [G] money into it, trying to chase something that's not there.
And just get out, maybe for a year.
Clear your head [Eb] out, go away somewhere, away from music.
And come back full of energy, batteries [G] recharged.
And listen to it [A] again.
Now I understand it, or now I don't.
[Em] This group called Eamon Corner.
Paradise is half its [G] length.
What are you thinking?
[B] Well it's a very successful record here.
When I first heard [A] it, I felt it wasn't finished.
[E] It
Key:  
G
2131
A
1231
C
3211
Gm
123111113
E
2311
G
2131
A
1231
C
3211
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Chords
NotesBeta

To learn The Jeff Beck Group - (Water Down the Drain) Plynth chords, these are the chords to practise in sequence: C, Gm, G, Gm and C. Start with a comfortable 63 BPM and as you become proficient, aim for the song's BPM of 126. Fine-tune the capo based on your vocal range, ensuring it complements the key of A Major.

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_ _ _ [A] _ _ _ _ _
[G] _ _ _ _ [G] Oh, louder you want it.
Here we go. _ Hey guys. _ _ _ _
_ _ _ _ _ _ _ _
_ [Gm] _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[Bb] _ _ _ _ [C] _ _ _ _
_ _ _ _ [G] _ _ _ _
_ _ _ _ [C] _ _ _ _
_ _ _ _ [G] _ _ _ _
_ _ _ _ [Dm] _ _ _ _
_ [C] _ _ _ [G] _ _ _ [Gm] _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [E] _ _ [G] _ _
_ _ _ _ [G] _ _ _ _
_ [C] _ _ _ _ _ _ _
[G] _ _ _ _ _ _ _ _
_ [C] _ _ _ _ _ _ _
_ _ _ _ [G] _ _ _ _
_ [D] _ _ _ [Gm] _ _ _ _
_ _ _ _ [G] _ _ _ [A] _
_ _ _ _ _ You [G] can't hear anything through your cans.
[A] _ Your guitar is too [Am] loud. _
Here we go.
_ [G] Come on, let's hear Jeff.
_ _ [Gb] _ _ _ _ _ _
_ [Fm] _ _ _ [E] _ _ _ _
_ _ [F] _ _ [G] _ _ _
So we lose that one?
[A] _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ We're a great part of that. _ _ _
_ _ There's nothing more we can do other than put guitars on, is there? _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ What's the 8th tune?
_ What 8th tune?
The 7th. _
We're still trying to bundle everything _ _ _ into one name, aren't we?
No, not really.
You didn't shut last Saturday.
_ _ We were supposed to have been [G] doing two [G] Saturdays these days.
You didn't shut up last Saturday. _ _
_ _ _ You went home early Friday. _
You didn't shut up _ _ _ _ _ _ Saturday, so you've lost another day.
But today I've lost. _ _ _ _ _ _ _
_ You can't really, can you?
You're coming all into one section.
I know, but you know, people, the rest of the world can't_
[B] Can't wait to get back.
_ [Eb] It's very difficult, you know, just [A] looking at a blank wall [G] trying to get inspiration.
_ This sort of stuff.
It may sound like a cop-out a bit, isn't it?
[G] _ I reckon if you do it, I could do the [Abm] whole thing, you know, just to be on the safe side. _ _
[A] No, I don't want it to go out as it's_ Right.
No, I mean, I'll be playing my best.
We are behind, but it seems we're behind with the cover.
And I'd like to finish the [G] tape, but if it's going to be rubbish for a couple of hours, then forget it.
I ain't gone through, like, weeks.
[Ab] What things make a good producer?
[A] How is he equipped mentally?
[G] I think that he has to be _ very diplomatic.
He has to play [G] the role_ _
He has to play the role to the artist he's producing.
To certain artists, you pretend to be somebody else.
[Ab] To other artists, you're somebody else.
You [C] have to fit in with [G] their sort of scene.
See, a producer's [G] job is to get the record made, finished, get it out.
_ _ _ You can see, like, from the filming you've done, that it's not [A] easy because_
You're dealing with five people in a group, four or five people in a group.
[G] They've all got their own little things they want to do, their own little [Ab] minds.
And when the drummer's listening to the [G] playback, he's only listening to the drums.
_ _ And the bass player's listening to the [A] bass, and the singer's just listening to his voice.
They've all got their own little [B] bits going.
So you have to be very diplomatic.
I think when you finish being a record producer, you can become a politician.
_ Because it's just being diplomatic and getting the job [G] done.
That's the two qualities I think that are necessary.
And not fall in the trap of sitting about with [A] them and becoming like them.
[G] You've got to always be the driver, but you mustn't appear to be driving too hard.
Because they get uptight as well.
You have to be kind of a social worker too.
Well, yeah, a psychiatrist.
Father and mother, I guess.
Yeah, you've got to get them together, that's the thing.
How long do you think one could be active in this [Gb] branch or [B] business?
_ _ As long as I think you have the ability to pick a hit song.
_ [Abm] _ _ [G] And [G] _ get the luck that's needed.
And the patience _ _ that's required.
I think the _ minute you stop hearing the [Eb] music.
I think you [E] make a couple of records that don't sell, and that's when [G] you realise.
[Db] When you really don't understand [Am] what the [G] records that are in the charts are [G] all about.
When they look to you, you just don't.
How could that be number one?
_ _ Then you know.
[Eb] _ And you would be wise then to [F]
not continue making records.
And putting more [G] money into it, trying to chase something that's not there.
And just get out, maybe for a year.
_ Clear your head [Eb] out, go away somewhere, away from music.
And come back full of energy, batteries [G] recharged.
And listen to it [A] again.
Now I understand it, or now I don't.
[Em] This group called Eamon Corner. _
Paradise is half its [G] length.
What are you thinking?
[B] Well it's a very successful record here.
_ When I first heard [A] it, I felt it wasn't finished.
[E] _ _ It

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