Chords for Kenny Aronoff on Neil Peart
Tempo:
139.05 bpm
Chords used:
C
A
Bm
D
Am
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[C] [A]
Let's switch [D] gears a little bit.
I read more of your book, if you haven't picked it [N] up,
Sex, Drums, and Rock and Roll,
The Hardest Hitting Man in Show Business.
Your forward, by the way,
is no slouch in the music community.
Neil Peer did your forward, Kenny.
Talk a little bit about Neil Peer
and your relationship with him
and what he's meant to you as a drummer.
Well, Neil, I met him when I was doing the recording
with the Buddy Rich Big Band for a tribute to Buddy
in the early 90s.
And I was the last guy last day
because I was so busy recording all over the place.
I was in Nashville.
That was the week I was doing Philadelphia
with the Cinderella.
I was in Nashville with Hank Jr.
I think I was in Memphis and I was in Canada.
And I barely, I was scared I wasn't gonna make it
to the session.
I was the last guy last day.
Walking Neil is very, very nice, very kind.
And then we didn't get to hang too much.
But what happened was I was recording later that year
in Montreal, outside of Montreal,
very famous studio which sadly is now gone
called Moran Heights where Rush would do records up there.
I did a lot of records with different artists up there,
mostly Canadian.
And Bon Jovi produced Aldo Nova,
which was a big Canadian artist.
So we did it there.
I did Corey Hart who grew up in Montreal up there.
Anyway, I'm up there doing something with Corey Hart.
He's producing an artist, a female artist.
And all of a sudden Neil Pertpop says, head in.
He says, oh, Kenny, can I talk to you?
And he says, listen, I'm mixing the Buddy Rich tracks,
but there's this one song called Pick Up the Pieces
by Average White Band.
And what's his name?
Didn't want to take a drum solo on it.
And I'm spacing out for some reason.
Steve Ferroni didn't want to take a drum solo.
He's just like, the groove, I feel like it needs something.
So you want to overdub percussion.
Well, I've had a lot of experience playing percussion
because in Mellow Camp Band, I had to do a lot of percussion,
a lot of weird building tracks up from the bottom up,
sometimes doing percussion first, then drums.
So Neil and I started with low tones
and then moved up to middle tones,
then the medium tones, then the medium high tones,
then the high tones.
And we spent a long time jamming together,
playing, we called ourselves the Bald Bongo Brothers or something.
It was something crazy.
And afterwards, I got into one of his sports cars,
drove to his house, and we drank some scotch
and listened to the mixes of the Buddy Rich Big Band,
hung out, and he showed me where he,
it was an island.
I could, we were up on a hill in the woods.
It was beautiful.
It's an island down there.
He said he'd go over there by himself or with his daughter or something.
His wife was in the house.
They would do like Morse code or signals back to each other.
So we became real close ever since then.
And sometimes I'd be in his bus driver,
or Rush's bus driver became Melissa Etheridge's bus driver.
And we were on tour at one time in Toronto
and I had dinner with all the guys in Rush.
It was really cool.
And of course, [Bm] Neil's like extraordinary,
extraordinary drummer and incredible writer too.
[C] [Bm] [A] [Am] [C]
[A] [F#]
Let's switch [D] gears a little bit.
I read more of your book, if you haven't picked it [N] up,
Sex, Drums, and Rock and Roll,
The Hardest Hitting Man in Show Business.
Your forward, by the way,
is no slouch in the music community.
Neil Peer did your forward, Kenny.
Talk a little bit about Neil Peer
and your relationship with him
and what he's meant to you as a drummer.
Well, Neil, I met him when I was doing the recording
with the Buddy Rich Big Band for a tribute to Buddy
in the early 90s.
And I was the last guy last day
because I was so busy recording all over the place.
I was in Nashville.
That was the week I was doing Philadelphia
with the Cinderella.
I was in Nashville with Hank Jr.
I think I was in Memphis and I was in Canada.
And I barely, I was scared I wasn't gonna make it
to the session.
I was the last guy last day.
Walking Neil is very, very nice, very kind.
And then we didn't get to hang too much.
But what happened was I was recording later that year
in Montreal, outside of Montreal,
very famous studio which sadly is now gone
called Moran Heights where Rush would do records up there.
I did a lot of records with different artists up there,
mostly Canadian.
And Bon Jovi produced Aldo Nova,
which was a big Canadian artist.
So we did it there.
I did Corey Hart who grew up in Montreal up there.
Anyway, I'm up there doing something with Corey Hart.
He's producing an artist, a female artist.
And all of a sudden Neil Pertpop says, head in.
He says, oh, Kenny, can I talk to you?
And he says, listen, I'm mixing the Buddy Rich tracks,
but there's this one song called Pick Up the Pieces
by Average White Band.
And what's his name?
Didn't want to take a drum solo on it.
And I'm spacing out for some reason.
Steve Ferroni didn't want to take a drum solo.
He's just like, the groove, I feel like it needs something.
So you want to overdub percussion.
Well, I've had a lot of experience playing percussion
because in Mellow Camp Band, I had to do a lot of percussion,
a lot of weird building tracks up from the bottom up,
sometimes doing percussion first, then drums.
So Neil and I started with low tones
and then moved up to middle tones,
then the medium tones, then the medium high tones,
then the high tones.
And we spent a long time jamming together,
playing, we called ourselves the Bald Bongo Brothers or something.
It was something crazy.
And afterwards, I got into one of his sports cars,
drove to his house, and we drank some scotch
and listened to the mixes of the Buddy Rich Big Band,
hung out, and he showed me where he,
it was an island.
I could, we were up on a hill in the woods.
It was beautiful.
It's an island down there.
He said he'd go over there by himself or with his daughter or something.
His wife was in the house.
They would do like Morse code or signals back to each other.
So we became real close ever since then.
And sometimes I'd be in his bus driver,
or Rush's bus driver became Melissa Etheridge's bus driver.
And we were on tour at one time in Toronto
and I had dinner with all the guys in Rush.
It was really cool.
And of course, [Bm] Neil's like extraordinary,
extraordinary drummer and incredible writer too.
[C] [Bm] [A] [Am] [C]
[A] [F#]
Key:
C
A
Bm
D
Am
C
A
Bm
[C] _ [A] _ _ _ _ _ _ _
_ Let's switch [D] gears a little bit.
I read more of your book, if you haven't picked it [N] up,
Sex, Drums, and Rock and Roll,
The Hardest Hitting Man in Show Business.
Your forward, by the way,
is no slouch in the music community.
Neil Peer did your forward, Kenny.
Talk a little bit about Neil Peer
and your relationship with him
and what he's meant to you as a drummer.
_ _ Well, Neil, I met him when I was doing the recording
with the Buddy Rich Big Band for a tribute to Buddy
in the early 90s.
And I was the last guy last day
because I was so busy recording all over the place.
I was in Nashville.
That was the week I was doing Philadelphia
with _ the Cinderella.
I was in Nashville with Hank Jr.
I think I was in Memphis and I was in Canada.
And I barely, I was scared I wasn't gonna make it
to the session.
I was the last guy last day.
Walking Neil is very, very nice, very kind.
_ _ _ And then we didn't get to hang too much.
But what happened was I was _ recording later that year
in Montreal, _ _ outside of Montreal,
very famous studio which sadly is now gone
called Moran Heights where Rush would do records up there.
I did a lot of records with different artists up there,
mostly Canadian.
And _ _ Bon Jovi produced Aldo Nova,
which was a big _ Canadian artist.
So we did it there.
I did Corey Hart who grew up in Montreal up there.
_ Anyway, I'm up there doing something with Corey Hart.
He's producing an artist, a female artist.
And all of a sudden Neil Pertpop says, head in.
He says, oh, Kenny, can I talk to you?
And he says, listen, I'm _ mixing the Buddy Rich tracks,
but there's this one song called Pick Up the Pieces
by Average White Band.
And _ _ _ _ what's _ his name?
Didn't want to take a drum solo on it.
And I'm spacing out for some reason.
_ Steve Ferroni didn't want to take a drum solo.
He's just like, the groove, I feel like it needs something.
So you want to overdub percussion.
Well, I've had a lot of experience playing percussion
because in Mellow Camp Band, I had to do a lot of percussion,
a lot of weird building tracks up from the bottom up,
sometimes doing percussion first, then drums.
So Neil and I started with low tones
and then moved up to middle tones,
then the medium tones, then the medium high tones,
then the high tones.
And we spent a long time jamming together,
playing, we called ourselves the Bald _ _ _ _ Bongo Brothers or something. _ _
_ It was something crazy.
And afterwards, I got into one of his sports cars,
drove to his house, _ and we drank some scotch
_ and listened to the mixes of the Buddy Rich Big Band,
hung out, and he showed me where he,
it was an island.
I could, we were up on a hill in the woods.
It was beautiful.
It's an island down there. _
He said he'd go over there _ _ _ by himself or with his daughter or something.
His _ wife was in the house.
They would do like Morse code or signals back to each other.
So we became real close ever since then.
And sometimes I'd be in his bus driver,
or Rush's bus driver became Melissa Etheridge's bus driver.
And we were on tour at one time in Toronto
and I had dinner with _ all the guys in Rush.
It was really cool.
And of course, [Bm] Neil's like extraordinary,
_ _ _ extraordinary drummer and incredible writer too.
_ _ _ _ [C] _ _ [Bm] _ _ [A] _ [Am] _ _ _ [C] _ _
_ [A] _ _ _ _ _ [F#] _ _
_ Let's switch [D] gears a little bit.
I read more of your book, if you haven't picked it [N] up,
Sex, Drums, and Rock and Roll,
The Hardest Hitting Man in Show Business.
Your forward, by the way,
is no slouch in the music community.
Neil Peer did your forward, Kenny.
Talk a little bit about Neil Peer
and your relationship with him
and what he's meant to you as a drummer.
_ _ Well, Neil, I met him when I was doing the recording
with the Buddy Rich Big Band for a tribute to Buddy
in the early 90s.
And I was the last guy last day
because I was so busy recording all over the place.
I was in Nashville.
That was the week I was doing Philadelphia
with _ the Cinderella.
I was in Nashville with Hank Jr.
I think I was in Memphis and I was in Canada.
And I barely, I was scared I wasn't gonna make it
to the session.
I was the last guy last day.
Walking Neil is very, very nice, very kind.
_ _ _ And then we didn't get to hang too much.
But what happened was I was _ recording later that year
in Montreal, _ _ outside of Montreal,
very famous studio which sadly is now gone
called Moran Heights where Rush would do records up there.
I did a lot of records with different artists up there,
mostly Canadian.
And _ _ Bon Jovi produced Aldo Nova,
which was a big _ Canadian artist.
So we did it there.
I did Corey Hart who grew up in Montreal up there.
_ Anyway, I'm up there doing something with Corey Hart.
He's producing an artist, a female artist.
And all of a sudden Neil Pertpop says, head in.
He says, oh, Kenny, can I talk to you?
And he says, listen, I'm _ mixing the Buddy Rich tracks,
but there's this one song called Pick Up the Pieces
by Average White Band.
And _ _ _ _ what's _ his name?
Didn't want to take a drum solo on it.
And I'm spacing out for some reason.
_ Steve Ferroni didn't want to take a drum solo.
He's just like, the groove, I feel like it needs something.
So you want to overdub percussion.
Well, I've had a lot of experience playing percussion
because in Mellow Camp Band, I had to do a lot of percussion,
a lot of weird building tracks up from the bottom up,
sometimes doing percussion first, then drums.
So Neil and I started with low tones
and then moved up to middle tones,
then the medium tones, then the medium high tones,
then the high tones.
And we spent a long time jamming together,
playing, we called ourselves the Bald _ _ _ _ Bongo Brothers or something. _ _
_ It was something crazy.
And afterwards, I got into one of his sports cars,
drove to his house, _ and we drank some scotch
_ and listened to the mixes of the Buddy Rich Big Band,
hung out, and he showed me where he,
it was an island.
I could, we were up on a hill in the woods.
It was beautiful.
It's an island down there. _
He said he'd go over there _ _ _ by himself or with his daughter or something.
His _ wife was in the house.
They would do like Morse code or signals back to each other.
So we became real close ever since then.
And sometimes I'd be in his bus driver,
or Rush's bus driver became Melissa Etheridge's bus driver.
And we were on tour at one time in Toronto
and I had dinner with _ all the guys in Rush.
It was really cool.
And of course, [Bm] Neil's like extraordinary,
_ _ _ extraordinary drummer and incredible writer too.
_ _ _ _ [C] _ _ [Bm] _ _ [A] _ [Am] _ _ _ [C] _ _
_ [A] _ _ _ _ _ [F#] _ _