Chords for Lou Reed - Transformer (Classic Album)
Tempo:
102.7 bpm
Chords used:
C
F
G
E
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Ooh, really good [G] Walk on the Wild side.
You listen to Walk on the Wild Side, there's not much going on in that [F] track.
You have that really great swinging, kind of weird waltz time jazz bass and the sax,
but there's not a lot of guitar, there's not a lot of music crowding Reed's voice.
The bass is probably one of the most famous bass lines around and it consists actually
of two basses.
Herbie Flowers started off playing an upright with the track and he had this very strange
idea which David let him go along with where he wanted to double track it.
There was a [G] crafty little thing [E] that us session musicians used to get up to [E] that the [Dm] recording
rate was I think [D#] £12 for three hours, but if [G] you overdubbed, that meant put another
instrument down, [C] you got double the money.
So he started off playing the acoustic [F] bass.
[C]
[F] [C]
[F] [C]
I put the [A] double bass down first, [C]
like [E] when I say first, with the [C] guitar and the drums.
[F] [C] So I then asked Ken, [F] the engineer, if I could go straight back [C] down and overdub [F] the electric
bass [C] in tenths, just to [F#] give it a little bit [C] more [F] atmosphere or character.
[C]
[F] [C] When we first started this, [F] the [C]
drummer was told kind of what was wanted and he started
off playing it with [D] sticks [F] and I was upstairs in the [D] control room and it [C] sounded like a
I [F] just quickly dashed down and told him to try brushes.
[N]
You listen to Walk on the Wild Side, there's not much going on in that [F] track.
You have that really great swinging, kind of weird waltz time jazz bass and the sax,
but there's not a lot of guitar, there's not a lot of music crowding Reed's voice.
The bass is probably one of the most famous bass lines around and it consists actually
of two basses.
Herbie Flowers started off playing an upright with the track and he had this very strange
idea which David let him go along with where he wanted to double track it.
There was a [G] crafty little thing [E] that us session musicians used to get up to [E] that the [Dm] recording
rate was I think [D#] £12 for three hours, but if [G] you overdubbed, that meant put another
instrument down, [C] you got double the money.
So he started off playing the acoustic [F] bass.
[C]
[F] [C]
[F] [C]
I put the [A] double bass down first, [C]
like [E] when I say first, with the [C] guitar and the drums.
[F] [C] So I then asked Ken, [F] the engineer, if I could go straight back [C] down and overdub [F] the electric
bass [C] in tenths, just to [F#] give it a little bit [C] more [F] atmosphere or character.
[C]
[F] [C] When we first started this, [F] the [C]
drummer was told kind of what was wanted and he started
off playing it with [D] sticks [F] and I was upstairs in the [D] control room and it [C] sounded like a
I [F] just quickly dashed down and told him to try brushes.
[N]
Key:
C
F
G
E
D
C
F
G
_ _ _ _ _ _ _ _
_ Ooh, really good [G] Walk on the Wild side.
You listen to Walk on the Wild Side, there's not much going on in that [F] track.
You have that really great swinging, kind of weird waltz time jazz bass and the sax,
but there's not a lot of _ guitar, there's not a lot of music crowding Reed's voice.
The bass is probably one of the most famous bass lines around and it consists actually
of two basses.
_ Herbie Flowers started off playing an upright with the track and he had this very strange
idea which _ David let him go along with where he wanted to double track it.
There was a [G] crafty little thing [E] that us session musicians used to get up to [E] that the [Dm] recording
rate was I think [D#] £12 for three hours, but if [G] you _ overdubbed, that meant put another
instrument down, [C] _ you got double the money.
So he started off playing the acoustic [F] bass.
_ _ [C] _ _ _
_ _ [F] _ _ _ _ [C] _ _
_ _ [F] _ _ _ [C] _ _
I put the [A] double bass down first, _ [C] _ _
like [E] when I say first, with the [C] guitar and the drums.
_ _ [F] _ _ _ _ [C] So I then asked Ken, [F] the engineer, if I could go straight back [C] down and overdub [F] the electric
bass _ [C] in tenths, just to [F#] give it a little bit [C] more _ _ [F] atmosphere or character.
_ _ [C] _ _
_ _ [F] _ _ _ [C] When we first started this, _ [F] _ the _ [C] _
drummer was told kind of what was wanted and he started
off playing it with [D] sticks [F] and I was upstairs in the [D] control room and it [C] sounded like a
I [F] just quickly dashed down and told him to try brushes.
[N] _ _
_ Ooh, really good [G] Walk on the Wild side.
You listen to Walk on the Wild Side, there's not much going on in that [F] track.
You have that really great swinging, kind of weird waltz time jazz bass and the sax,
but there's not a lot of _ guitar, there's not a lot of music crowding Reed's voice.
The bass is probably one of the most famous bass lines around and it consists actually
of two basses.
_ Herbie Flowers started off playing an upright with the track and he had this very strange
idea which _ David let him go along with where he wanted to double track it.
There was a [G] crafty little thing [E] that us session musicians used to get up to [E] that the [Dm] recording
rate was I think [D#] £12 for three hours, but if [G] you _ overdubbed, that meant put another
instrument down, [C] _ you got double the money.
So he started off playing the acoustic [F] bass.
_ _ [C] _ _ _
_ _ [F] _ _ _ _ [C] _ _
_ _ [F] _ _ _ [C] _ _
I put the [A] double bass down first, _ [C] _ _
like [E] when I say first, with the [C] guitar and the drums.
_ _ [F] _ _ _ _ [C] So I then asked Ken, [F] the engineer, if I could go straight back [C] down and overdub [F] the electric
bass _ [C] in tenths, just to [F#] give it a little bit [C] more _ _ [F] atmosphere or character.
_ _ [C] _ _
_ _ [F] _ _ _ [C] When we first started this, _ [F] _ the _ [C] _
drummer was told kind of what was wanted and he started
off playing it with [D] sticks [F] and I was upstairs in the [D] control room and it [C] sounded like a
I [F] just quickly dashed down and told him to try brushes.
[N] _ _