Chords for Mark Ronson - A Day In The Life
Tempo:
118.75 bpm
Chords used:
A
Cm
Eb
E
B
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
He named the record company, he's gonna put some sticker on it that says like,
If you like Lily Allen and Amy Winehouse, you'll like the Mark Ronson album or something.
[E] With this album, there's so many things that I could be pulled,
[A] there's so many questions that all go back to the same answer, like,
weren't you [Em] afraid doing covers by The Smiths and The Radio?
Those things are like, go back to the fact that I just made this record because [A] I actually wanted to.
There's no money, there was nothing, [Em] it's just like, here's some songs I like,
and I didn't even [E] realise I was making an album until about five or six songs in.
And I guess, [A] you know, some DJs would make a mash-up [E] or a remix or different things to kind of,
you always kind of like bending and shaking [A] songs that you like to be able to play it with your audience
or whatever your crowd is, and this is just kind of [E] the most hyper-involved version of that for [G] me.
[Gb] It's just below a three million [Ab] dollar deal, man.
It's just [N] fucking, you know.
So Daniel, I met, [Bb] it's the first record that I ever produced,
like the full length, which is called Nico Costa on Virgin.
And her [B] husband, my co-producer with Justin, he's an Australian,
danced for Melbourne, and it was just like, I remember [A] him going like,
hey, there's this kid with this incredible voice I've heard about,
[Gb] and basically the next day he was going to sign
[B] some record deal that [Gbm] he'd been negotiating for like four months,
was like all [B] excited to sign, and I just called him, I was like,
listen, you don't know me from a hole [Gb] in the wall,
but all I can say is don't sign [Bb] for the whole world, just sign for Australia, New Zealand, where [A] you live,
and come here and meet us, [E] and let's [B] try and, let's see what happens, because I think you're [F] amazing.
[Cm] I put Daniel on my first single, and [G] it couldn't be a better thing [Eb] for the world to be introduced to a great soul [F] singer
who's singing, you know, a Morrissey [Cm] Mars song.
It's just like, it's kind of like [G] you can go anywhere from there.
There are no [Eb] preconceived notions about what he [Dm] could do at this [Cm] point.
Oh, they got a burn, look!
This is Authentic Shit Radio.
If it wasn't enough that we would have premiered a brand new fucking Kanye West song
that nobody in their mother had, maybe 8-track, maybe 8 [Eb]-track.
It was fun to just start playing good [G] music again, very unpretentiously, and people would come out [Cm] and dance.
So listen, you know it's a bit weird to play demos first when I truly think something's special on a show.
[C] It's more about the fact that people still get excited about records.
There's that [D] thing, like you go into a record store and it's like, have you heard this?
[Eb] For those of you who know, long time listeners, [B] you have rehab here, [Eb] you have Lil Uzi Vert here, months, years, decades before these songs even drop.
I just like the idea [N] of East Village Radio because I can kind of play anything that I like.
I'm not really a slave to this sort [Gb] of genre.
[Eb] We have killed the necessary time of bullshit so I can tell you what [N] we've been meaning to do here.
[Ab] I think I'm definitely [F] a much, probably a [Cm] better producer and arranger now from the [F] experience of working with people like
Lily [Cm] and Amy and Robbie Williams and Ghostface and Ryan Fess and these people in the past year and a half that have taught me a lot of things
and I've learned a lot just from [D] working on their records.
[D] [Bb]
If you like Lily Allen and Amy Winehouse, you'll like the Mark Ronson album or something.
[E] With this album, there's so many things that I could be pulled,
[A] there's so many questions that all go back to the same answer, like,
weren't you [Em] afraid doing covers by The Smiths and The Radio?
Those things are like, go back to the fact that I just made this record because [A] I actually wanted to.
There's no money, there was nothing, [Em] it's just like, here's some songs I like,
and I didn't even [E] realise I was making an album until about five or six songs in.
And I guess, [A] you know, some DJs would make a mash-up [E] or a remix or different things to kind of,
you always kind of like bending and shaking [A] songs that you like to be able to play it with your audience
or whatever your crowd is, and this is just kind of [E] the most hyper-involved version of that for [G] me.
[Gb] It's just below a three million [Ab] dollar deal, man.
It's just [N] fucking, you know.
So Daniel, I met, [Bb] it's the first record that I ever produced,
like the full length, which is called Nico Costa on Virgin.
And her [B] husband, my co-producer with Justin, he's an Australian,
danced for Melbourne, and it was just like, I remember [A] him going like,
hey, there's this kid with this incredible voice I've heard about,
[Gb] and basically the next day he was going to sign
[B] some record deal that [Gbm] he'd been negotiating for like four months,
was like all [B] excited to sign, and I just called him, I was like,
listen, you don't know me from a hole [Gb] in the wall,
but all I can say is don't sign [Bb] for the whole world, just sign for Australia, New Zealand, where [A] you live,
and come here and meet us, [E] and let's [B] try and, let's see what happens, because I think you're [F] amazing.
[Cm] I put Daniel on my first single, and [G] it couldn't be a better thing [Eb] for the world to be introduced to a great soul [F] singer
who's singing, you know, a Morrissey [Cm] Mars song.
It's just like, it's kind of like [G] you can go anywhere from there.
There are no [Eb] preconceived notions about what he [Dm] could do at this [Cm] point.
Oh, they got a burn, look!
This is Authentic Shit Radio.
If it wasn't enough that we would have premiered a brand new fucking Kanye West song
that nobody in their mother had, maybe 8-track, maybe 8 [Eb]-track.
It was fun to just start playing good [G] music again, very unpretentiously, and people would come out [Cm] and dance.
So listen, you know it's a bit weird to play demos first when I truly think something's special on a show.
[C] It's more about the fact that people still get excited about records.
There's that [D] thing, like you go into a record store and it's like, have you heard this?
[Eb] For those of you who know, long time listeners, [B] you have rehab here, [Eb] you have Lil Uzi Vert here, months, years, decades before these songs even drop.
I just like the idea [N] of East Village Radio because I can kind of play anything that I like.
I'm not really a slave to this sort [Gb] of genre.
[Eb] We have killed the necessary time of bullshit so I can tell you what [N] we've been meaning to do here.
[Ab] I think I'm definitely [F] a much, probably a [Cm] better producer and arranger now from the [F] experience of working with people like
Lily [Cm] and Amy and Robbie Williams and Ghostface and Ryan Fess and these people in the past year and a half that have taught me a lot of things
and I've learned a lot just from [D] working on their records.
[D] [Bb]
Key:
A
Cm
Eb
E
B
A
Cm
Eb
He named the record company, he's gonna put some sticker on it that says like,
If you like Lily Allen and Amy Winehouse, you'll like the Mark Ronson album or something. _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [E] _ With this album, there's so many things that I could be pulled,
[A] there's so many questions that all go back to the same answer, like,
weren't you [Em] afraid doing covers by The Smiths and The Radio?
Those things are like, go back to the fact that I just made this record because [A] I actually wanted to.
There's no money, there was nothing, [Em] it's just like, here's some songs I like,
and I didn't even [E] realise I was making an album until about five or six songs in.
And I guess, [A] you know, some DJs would _ _ make a mash-up [E] or a remix or different things to kind of,
you always kind of like bending and shaking [A] songs that you like to be able to play it with your audience
or whatever your crowd is, and this is just kind of [E] the most hyper-involved version of that for [G] me.
_ [Gb] _ It's just below a three million [Ab] dollar deal, man.
It's just [N] fucking, you know.
So Daniel, _ _ _ I met, [Bb] it's the first record that I ever produced,
like the full length, which is called Nico Costa on Virgin.
And her [B] husband, my co-producer with Justin, he's an Australian,
danced for Melbourne, and it was just like, I remember [A] him going like,
hey, there's this kid with this incredible voice I've heard about,
[Gb] and basically the next day he was going to sign _
[B] _ some record deal that [Gbm] he'd been negotiating for like four months,
was like all [B] excited to sign, and I just called him, I was like,
listen, you don't know me from a hole [Gb] in the wall,
_ but all I can say is don't sign [Bb] for the whole world, just sign for Australia, New Zealand, where [A] you live,
and come here and meet us, [E] and let's [B] try and, _ _ let's see what happens, because I think you're [F] amazing.
_ [Cm] I put Daniel on my first single, and [G] it couldn't be a better thing [Eb] for the world to be introduced to a great soul [F] singer
who's singing, you know, a Morrissey [Cm] Mars song.
It's just like, it's kind of like [G] you can go anywhere from there.
There are no [Eb] preconceived notions about what he [Dm] could do at this [Cm] point.
_ Oh, they got a burn, look!
This is Authentic Shit Radio.
If it wasn't enough that we would have premiered a brand new fucking Kanye West song
that nobody in their mother had, maybe 8-track, maybe 8 [Eb]-track.
It was fun to just start playing good [G] music again, very unpretentiously, and people would come out [Cm] and dance.
So listen, you know it's a bit weird to play demos first when I truly think something's special on a show.
[C] It's more about the fact that people still get excited about records.
There's that [D] thing, like you go into a record store and it's like, have you heard this?
[Eb] For those of you who know, long time listeners, [B] you have rehab here, [Eb] you have Lil Uzi Vert here, months, years, decades before these songs even drop.
I just like the idea [N] of East Village Radio because I can kind of play anything that I like.
I'm not really a slave to this sort [Gb] of genre.
[Eb] We have killed the necessary time of bullshit so I can tell you what [N] we've been meaning to do here.
[Ab] _ I think I'm definitely [F] a much, probably a [Cm] better producer and arranger now from the [F] experience of working with people like
Lily [Cm] and Amy and Robbie Williams and Ghostface and Ryan Fess and these people in the past year and a half that have taught me a lot of things
and I've learned a lot just from [D] working on their records.
[D] _ _ _ _ [Bb] _ _ _
If you like Lily Allen and Amy Winehouse, you'll like the Mark Ronson album or something. _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [E] _ With this album, there's so many things that I could be pulled,
[A] there's so many questions that all go back to the same answer, like,
weren't you [Em] afraid doing covers by The Smiths and The Radio?
Those things are like, go back to the fact that I just made this record because [A] I actually wanted to.
There's no money, there was nothing, [Em] it's just like, here's some songs I like,
and I didn't even [E] realise I was making an album until about five or six songs in.
And I guess, [A] you know, some DJs would _ _ make a mash-up [E] or a remix or different things to kind of,
you always kind of like bending and shaking [A] songs that you like to be able to play it with your audience
or whatever your crowd is, and this is just kind of [E] the most hyper-involved version of that for [G] me.
_ [Gb] _ It's just below a three million [Ab] dollar deal, man.
It's just [N] fucking, you know.
So Daniel, _ _ _ I met, [Bb] it's the first record that I ever produced,
like the full length, which is called Nico Costa on Virgin.
And her [B] husband, my co-producer with Justin, he's an Australian,
danced for Melbourne, and it was just like, I remember [A] him going like,
hey, there's this kid with this incredible voice I've heard about,
[Gb] and basically the next day he was going to sign _
[B] _ some record deal that [Gbm] he'd been negotiating for like four months,
was like all [B] excited to sign, and I just called him, I was like,
listen, you don't know me from a hole [Gb] in the wall,
_ but all I can say is don't sign [Bb] for the whole world, just sign for Australia, New Zealand, where [A] you live,
and come here and meet us, [E] and let's [B] try and, _ _ let's see what happens, because I think you're [F] amazing.
_ [Cm] I put Daniel on my first single, and [G] it couldn't be a better thing [Eb] for the world to be introduced to a great soul [F] singer
who's singing, you know, a Morrissey [Cm] Mars song.
It's just like, it's kind of like [G] you can go anywhere from there.
There are no [Eb] preconceived notions about what he [Dm] could do at this [Cm] point.
_ Oh, they got a burn, look!
This is Authentic Shit Radio.
If it wasn't enough that we would have premiered a brand new fucking Kanye West song
that nobody in their mother had, maybe 8-track, maybe 8 [Eb]-track.
It was fun to just start playing good [G] music again, very unpretentiously, and people would come out [Cm] and dance.
So listen, you know it's a bit weird to play demos first when I truly think something's special on a show.
[C] It's more about the fact that people still get excited about records.
There's that [D] thing, like you go into a record store and it's like, have you heard this?
[Eb] For those of you who know, long time listeners, [B] you have rehab here, [Eb] you have Lil Uzi Vert here, months, years, decades before these songs even drop.
I just like the idea [N] of East Village Radio because I can kind of play anything that I like.
I'm not really a slave to this sort [Gb] of genre.
[Eb] We have killed the necessary time of bullshit so I can tell you what [N] we've been meaning to do here.
[Ab] _ I think I'm definitely [F] a much, probably a [Cm] better producer and arranger now from the [F] experience of working with people like
Lily [Cm] and Amy and Robbie Williams and Ghostface and Ryan Fess and these people in the past year and a half that have taught me a lot of things
and I've learned a lot just from [D] working on their records.
[D] _ _ _ _ [Bb] _ _ _