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
Jam Along & Learn...
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]
100% ➙ 119BPM
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] _ _ _