Chords for Leslie West New Album "Soundcheck" - Trailer
Tempo:
120.25 bpm
Chords used:
Eb
D
G
Ab
C
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Eb] I've been left by the roadside to die.
I can't tell you why.
I've been left by the roadside to die.
Soundcheck.
Why do I call this album Soundcheck?
The reason I call this album Soundcheck, I used to hate Soundcheck.
It was the most painful part of my day.
My partner, Felix Papalari, [Bbm] he didn't just do a soundcheck.
We had to [Ab] do half a [Eb] show.
We had to do one of mine, one of his, that we both sang.
And I got so pissed off one day, I just knocked the monitors off the stage.
I've been left by the roadside to die.
I said, you know what?
I like doing soundchecks now, because he's not around to bust my balls, and I can just
play and I can get into my sound.
I just basically want this guitar to sound good.
Between Mike Goldberg, my co-producer, and myself, we get a pretty good sound.
I'm really happy with the way the guitar sounds on this album.
And it's basically just a meter.
You know, just like on a board, but it's one meter on the cover, and it's pinned.
You know?
[C] Not that I play loud, but sometimes it's a little fuller, and it gets into that dark,
you know, [Db] that All right.
[Ab] [Eb]
[D]
[C]
[G] [D] One day, the phone rings, and it's Leslie, and he's like, you ready to do another record?
I'm like, I'm always ready.
[G] When Leslie West calls, you're ready.
Hey [Db] boss, you double-billion son [D] of a gun!
I think a lot of what makes this album special is that it spans the gamut.
There's a lot of different types of music here.
There's some heavy stuff, there's some mid-tempo stuff, there's some blues stuff, there's some
ballads, [G] there's really balls-to-the-wall stuff.
It really spans a lot of different emotions, [Eb] and it's a little bit different for Leslie.
I got to play with a couple of people that
Like Peter Frampton playing with Peter, finally, on a cut in an album together.
Brian May, and Bonnie Bramlett from Delaney & Bonnie.
[Bb] Playing with people that I've [Ebm] never played with is
[Eb] That's a thrill.
I can't tell you why.
I've been left by the roadside to die.
Soundcheck.
Why do I call this album Soundcheck?
The reason I call this album Soundcheck, I used to hate Soundcheck.
It was the most painful part of my day.
My partner, Felix Papalari, [Bbm] he didn't just do a soundcheck.
We had to [Ab] do half a [Eb] show.
We had to do one of mine, one of his, that we both sang.
And I got so pissed off one day, I just knocked the monitors off the stage.
I've been left by the roadside to die.
I said, you know what?
I like doing soundchecks now, because he's not around to bust my balls, and I can just
play and I can get into my sound.
I just basically want this guitar to sound good.
Between Mike Goldberg, my co-producer, and myself, we get a pretty good sound.
I'm really happy with the way the guitar sounds on this album.
And it's basically just a meter.
You know, just like on a board, but it's one meter on the cover, and it's pinned.
You know?
[C] Not that I play loud, but sometimes it's a little fuller, and it gets into that dark,
you know, [Db] that All right.
[Ab] [Eb]
[D]
[C]
[G] [D] One day, the phone rings, and it's Leslie, and he's like, you ready to do another record?
I'm like, I'm always ready.
[G] When Leslie West calls, you're ready.
Hey [Db] boss, you double-billion son [D] of a gun!
I think a lot of what makes this album special is that it spans the gamut.
There's a lot of different types of music here.
There's some heavy stuff, there's some mid-tempo stuff, there's some blues stuff, there's some
ballads, [G] there's really balls-to-the-wall stuff.
It really spans a lot of different emotions, [Eb] and it's a little bit different for Leslie.
I got to play with a couple of people that
Like Peter Frampton playing with Peter, finally, on a cut in an album together.
Brian May, and Bonnie Bramlett from Delaney & Bonnie.
[Bb] Playing with people that I've [Ebm] never played with is
[Eb] That's a thrill.
Key:
Eb
D
G
Ab
C
Eb
D
G
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[Eb] I've been left by the roadside to die.
I _ _ _ _ _ can't tell you why. _ _
_ I've been left by the roadside to die.
_ _ Soundcheck. _
_ Why do I call this album Soundcheck? _
The reason I call this album Soundcheck, I used to hate Soundcheck. _
It was the most painful part of my day.
My partner, Felix Papalari, [Bbm] he didn't just do a soundcheck.
We had to [Ab] do half a [Eb] show.
We had to do one of mine, one of his, that we both sang.
And I got so pissed off one day, I just knocked the monitors off the stage.
I've been left by the roadside to die.
I said, you know what?
I like doing soundchecks now, because he's not around to bust my balls, and I can just
play and I can get into _ my sound.
I just basically want this guitar to sound good.
Between Mike Goldberg, my co-producer, and myself, we get a pretty good sound.
I'm really happy with the way the guitar sounds on this album.
And it's basically just a meter.
You know, just like on a board, but it's one meter on the cover, and it's pinned.
You know?
_ [C] Not that I play loud, but sometimes it's a little fuller, and _ it gets into that dark,
you know, [Db] that_ All right. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [Ab] _ _ [Eb] _ _
_ _ _ [D] _ _ _ _ _
_ _ _ _ [C] _ _ _ _
[G] _ [D] _ One day, the phone rings, and it's Leslie, and he's like, you ready to do another record?
I'm like, I'm always ready.
[G] When Leslie West calls, you're ready.
Hey [Db] boss, you double-billion son [D] of a gun!
I think a lot of what makes this album special is that it spans the gamut.
There's a lot of different types of music here.
There's some heavy stuff, there's some mid-tempo stuff, there's some blues stuff, there's some
ballads, [G] there's really balls-to-the-wall stuff.
It really spans a lot of different emotions, [Eb] and it's a little bit different for Leslie. _ _ _ _
_ _ _ _ _ _ _ _
_ _ I got to play with a couple of people that_
Like Peter Frampton playing with Peter, finally, on a cut in an album together.
Brian May, and Bonnie Bramlett from Delaney & Bonnie.
[Bb] Playing with people that I've [Ebm] never played with is_
[Eb] That's a thrill. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[Eb] I've been left by the roadside to die.
I _ _ _ _ _ can't tell you why. _ _
_ I've been left by the roadside to die.
_ _ Soundcheck. _
_ Why do I call this album Soundcheck? _
The reason I call this album Soundcheck, I used to hate Soundcheck. _
It was the most painful part of my day.
My partner, Felix Papalari, [Bbm] he didn't just do a soundcheck.
We had to [Ab] do half a [Eb] show.
We had to do one of mine, one of his, that we both sang.
And I got so pissed off one day, I just knocked the monitors off the stage.
I've been left by the roadside to die.
I said, you know what?
I like doing soundchecks now, because he's not around to bust my balls, and I can just
play and I can get into _ my sound.
I just basically want this guitar to sound good.
Between Mike Goldberg, my co-producer, and myself, we get a pretty good sound.
I'm really happy with the way the guitar sounds on this album.
And it's basically just a meter.
You know, just like on a board, but it's one meter on the cover, and it's pinned.
You know?
_ [C] Not that I play loud, but sometimes it's a little fuller, and _ it gets into that dark,
you know, [Db] that_ All right. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [Ab] _ _ [Eb] _ _
_ _ _ [D] _ _ _ _ _
_ _ _ _ [C] _ _ _ _
[G] _ [D] _ One day, the phone rings, and it's Leslie, and he's like, you ready to do another record?
I'm like, I'm always ready.
[G] When Leslie West calls, you're ready.
Hey [Db] boss, you double-billion son [D] of a gun!
I think a lot of what makes this album special is that it spans the gamut.
There's a lot of different types of music here.
There's some heavy stuff, there's some mid-tempo stuff, there's some blues stuff, there's some
ballads, [G] there's really balls-to-the-wall stuff.
It really spans a lot of different emotions, [Eb] and it's a little bit different for Leslie. _ _ _ _
_ _ _ _ _ _ _ _
_ _ I got to play with a couple of people that_
Like Peter Frampton playing with Peter, finally, on a cut in an album together.
Brian May, and Bonnie Bramlett from Delaney & Bonnie.
[Bb] Playing with people that I've [Ebm] never played with is_
[Eb] That's a thrill. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _