Chords for Mr Big - "Defying Gravity" Making Of (Official)
Tempo:
128.6 bpm
Chords used:
C#
B
E
F#
G#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
All right, yeah, the new record we're working on right [G] now,
actually we're not working on it anymore, [D] we're almost done.
[C#] Can I say that?
This album was kind of a [A] surprise attack.
It took about exactly six days to make.
[E]
[B] [C#] [A] [E]
[G#] We only have a certain [Am] amount of time.
[F#] So we could have said, well, let's do the album [C#] another time.
But instead [A] we said, [G#m] six days.
I've done records in one day, sometimes two days.
Six days, we can do it.
We got songs, we [F#] work together, we know each other [G#] well.
And when you have that pressure, that time [C#] crunch,
[E] it always gets a better result.
It was great to get everybody together, Kevin Elson in the studio,
[F] and all of a sudden new Mr.
Big music is alive.
[Bm] My first impressions were, it's [G] great to be recording again
because it's always a new [Dm] adventure.
It's not like playing live, it's a whole different animal.
Somebody comes up with an idea and it goes through the Mr.
Big machine
and it kind of comes out [D] sounding like Mr.
Big,
even though we're not really trying to sound like Mr.
Big,
we just do because it's us.
It's like it's in our DNA.
Working with Mr.
Big has been a really beautiful experience.
[B] And Pat and I get along [C#] really well.
It's just been [Dm] really, really [D] incredible.
Plus we're all in a room, we're playing [B] together.
For me, the [E] most successful records are the best [Am] records I've ever played on.
First Mr.
Big album, leaned [D] into it, bump ahead, hey man,
we're all done like that.
So we wanted to be all together in a room, playing for [Em] real,
actually singing and playing.
Eric's singing in the other room while we're tracking,
so [A#] we get an idea of what he's doing.
And there's actually interaction, we can see each other,
and it's like a real band playing.
Now a lot of people may not know, if you're not familiar with how studios work,
you can go in one guy at a time, and a piece at a time, and a day at a time,
and put a little piece together, [B] piece, another piece,
and build a record up by little pieces.
And so for me, when I hear a band [G] really playing,
it's just a different thing than piecing together little parts
until you've got a song.
It's incredible to be thrown in the lion's cage like this.
We're not young men anymore, well, I'm not a young man anymore,
and it was a little difficult to just kind of be called one day
and just go, hey man, we're going to make a record in a couple weeks, you ready?
[C#] And I'm like, what?
I've got to write some stuff.
So I just kind of crammed like I was cramming for finals, for a big test.
We just came into the studio, we said hello for the first time,
and about six months, six, seven months, and said,
all right, what have each [B] of us got?
We kind of reached into our little bag of tricks,
and everybody pulled [G#m] out [A] their CD or MP3.
In my case, I didn't have time to make any demos,
so I kind of did my shit live, [E] put on the acoustic guitar,
and [E] just kind of strummed it away for [B] these guys.
[C#] It's always pretty [B] intimidating when you do that,
[D#] because my guitar playing is a lot [C#] better than it used to [F#] be
26 years ago [E] when we first got in this band.
[D#m] [G#m]
[A#] [F#] But playing in front of Billy [C#m] Sheehan and Paul Gilbert is [G#] super intimidating,
[B] because they're all looking at me going,
[E] okay, we're seeing what you're trying to do [G#m] here.
Because most of the shit that I write, they're really simple,
[C#] and I just give it to them, and then they turn [C#m] it into
[C#] [E] [F#]
[C#]
[F#]
[G#]
[B] [F#]
[C#m]
[F#]
[G#]
[A]
[E] Pretty cool.
[D#m] Happy [B] birthday to you
[F#] Happy [N] birthday to you
[C#] Happy birthday dear
[C#] Billy
Happy birthday [B] to you
[N]
[G#]
actually we're not working on it anymore, [D] we're almost done.
[C#] Can I say that?
This album was kind of a [A] surprise attack.
It took about exactly six days to make.
[E]
[B] [C#] [A] [E]
[G#] We only have a certain [Am] amount of time.
[F#] So we could have said, well, let's do the album [C#] another time.
But instead [A] we said, [G#m] six days.
I've done records in one day, sometimes two days.
Six days, we can do it.
We got songs, we [F#] work together, we know each other [G#] well.
And when you have that pressure, that time [C#] crunch,
[E] it always gets a better result.
It was great to get everybody together, Kevin Elson in the studio,
[F] and all of a sudden new Mr.
Big music is alive.
[Bm] My first impressions were, it's [G] great to be recording again
because it's always a new [Dm] adventure.
It's not like playing live, it's a whole different animal.
Somebody comes up with an idea and it goes through the Mr.
Big machine
and it kind of comes out [D] sounding like Mr.
Big,
even though we're not really trying to sound like Mr.
Big,
we just do because it's us.
It's like it's in our DNA.
Working with Mr.
Big has been a really beautiful experience.
[B] And Pat and I get along [C#] really well.
It's just been [Dm] really, really [D] incredible.
Plus we're all in a room, we're playing [B] together.
For me, the [E] most successful records are the best [Am] records I've ever played on.
First Mr.
Big album, leaned [D] into it, bump ahead, hey man,
we're all done like that.
So we wanted to be all together in a room, playing for [Em] real,
actually singing and playing.
Eric's singing in the other room while we're tracking,
so [A#] we get an idea of what he's doing.
And there's actually interaction, we can see each other,
and it's like a real band playing.
Now a lot of people may not know, if you're not familiar with how studios work,
you can go in one guy at a time, and a piece at a time, and a day at a time,
and put a little piece together, [B] piece, another piece,
and build a record up by little pieces.
And so for me, when I hear a band [G] really playing,
it's just a different thing than piecing together little parts
until you've got a song.
It's incredible to be thrown in the lion's cage like this.
We're not young men anymore, well, I'm not a young man anymore,
and it was a little difficult to just kind of be called one day
and just go, hey man, we're going to make a record in a couple weeks, you ready?
[C#] And I'm like, what?
I've got to write some stuff.
So I just kind of crammed like I was cramming for finals, for a big test.
We just came into the studio, we said hello for the first time,
and about six months, six, seven months, and said,
all right, what have each [B] of us got?
We kind of reached into our little bag of tricks,
and everybody pulled [G#m] out [A] their CD or MP3.
In my case, I didn't have time to make any demos,
so I kind of did my shit live, [E] put on the acoustic guitar,
and [E] just kind of strummed it away for [B] these guys.
[C#] It's always pretty [B] intimidating when you do that,
[D#] because my guitar playing is a lot [C#] better than it used to [F#] be
26 years ago [E] when we first got in this band.
[D#m] [G#m]
[A#] [F#] But playing in front of Billy [C#m] Sheehan and Paul Gilbert is [G#] super intimidating,
[B] because they're all looking at me going,
[E] okay, we're seeing what you're trying to do [G#m] here.
Because most of the shit that I write, they're really simple,
[C#] and I just give it to them, and then they turn [C#m] it into
[C#] [E] [F#]
[C#]
[F#]
[G#]
[B] [F#]
[C#m]
[F#]
[G#]
[A]
[E] Pretty cool.
[D#m] Happy [B] birthday to you
[F#] Happy [N] birthday to you
[C#] Happy birthday dear
[C#] Billy
Happy birthday [B] to you
[N]
[G#]
Key:
C#
B
E
F#
G#
C#
B
E
All right, yeah, the new record we're working on right [G] now,
actually we're not working on it anymore, [D] we're almost done.
[C#] Can I say that?
This album was kind of a [A] surprise attack.
It took about _ _ exactly six days to make.
[E] _ _
[B] _ _ [C#] _ _ [A] _ _ [E] _ _
[G#] We only have a certain [Am] amount of time.
[F#] So we could have said, well, let's do the album [C#] another time.
But instead [A] we said, [G#m] six days.
I've done records in one day, sometimes two days.
Six days, we can do it.
We got songs, we [F#] work together, we know each other [G#] well.
And when you have that pressure, that time [C#] crunch,
[E] it always gets a better result.
It was great to get everybody together, Kevin Elson in the studio,
[F] and all of a sudden new Mr.
Big music is alive.
_ [Bm] My first impressions were, it's [G] great to be recording again
because it's always a new [Dm] adventure.
It's not like playing live, it's a whole different animal.
Somebody comes up with an idea and it goes through the Mr.
Big machine
and it kind of comes out [D] sounding like Mr.
Big,
even though we're not really trying to sound like Mr.
Big,
we just do because it's us.
It's like it's in our DNA.
Working with Mr.
Big has been a really beautiful experience.
_ [B] And Pat and I get along [C#] really well.
It's just been [Dm] really, really [D] incredible.
Plus we're all in a room, we're playing [B] together.
For me, the [E] most successful records are the best [Am] records I've ever played on.
First Mr.
Big album, leaned [D] into it, bump ahead, hey man,
we're all done like that.
So we wanted to be all together in a room, playing for [Em] real,
actually singing and playing.
Eric's singing in the other room while we're tracking,
so [A#] we get an idea of what he's doing.
And there's actually interaction, we can see each other,
and it's like a real band playing.
Now a lot of people may not know, if you're not familiar with how studios work,
you can go in one guy at a time, and a piece at a time, and a day at a time,
and put a little piece together, [B] piece, another piece,
and build a record up by little pieces.
And so for me, when I hear a band [G] really playing,
it's just a different thing than piecing together little parts
until you've got a song.
It's incredible to be thrown in the lion's cage like this.
We're not young men anymore, well, I'm not a young man anymore,
and it was a little difficult to just kind of be _ called one day
and just go, hey man, we're going to make a record in a couple weeks, you ready?
[C#] And I'm like, what?
I've got to write some stuff.
So I just kind of crammed like I was cramming for finals, for a big test.
We just came into the studio, we said hello for the first time,
and about six months, six, seven months, and said, _
all right, what have each [B] of us got?
We kind of reached into our little bag of tricks,
and everybody pulled [G#m] out [A] their _ CD or _ _ MP3.
In my case, I didn't have time to make any demos,
so I kind of did my shit live, [E] put on the acoustic guitar,
and [E] just kind of strummed it away for [B] these guys.
[C#] It's always pretty [B] intimidating when you do that,
[D#] because _ _ _ my guitar playing is a lot [C#] better than it used to [F#] be
26 years ago [E] when we first got in this band.
[D#m] _ _ [G#m] _ _
_ _ [A#] _ _ [F#] But playing in front of Billy [C#m] Sheehan and Paul Gilbert is [G#] super intimidating,
[B] because they're all looking at me going,
[E] _ okay, we're seeing what you're trying to do [G#m] here.
Because most of the shit that I write, they're really simple,
[C#] and I just give it to them, and then they turn [C#m] it into_
_ _ _ _ _ _ _ _
_ [C#] _ _ [E] _ _ [F#] _ _ _
_ _ _ [C#] _ _ _ _ _
_ _ _ _ _ _ [F#] _
_ _ _ _ _ _ [G#] _ _
_ _ _ _ _ [B] _ _ [F#] _
_ _ _ _ _ _ [C#m] _ _
_ _ _ _ _ _ [F#] _ _
_ _ _ _ _ _ [G#] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [A] _ _
_ _ _ [E] _ Pretty cool. _
_ _ [D#m] Happy _ _ [B] birthday to you
_ [F#] Happy _ [N] birthday _ to you _
[C#] Happy birthday _ dear _
[C#] Billy
_ _ Happy _ birthday _ [B] to you _ _
[N] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [G#] _ _
actually we're not working on it anymore, [D] we're almost done.
[C#] Can I say that?
This album was kind of a [A] surprise attack.
It took about _ _ exactly six days to make.
[E] _ _
[B] _ _ [C#] _ _ [A] _ _ [E] _ _
[G#] We only have a certain [Am] amount of time.
[F#] So we could have said, well, let's do the album [C#] another time.
But instead [A] we said, [G#m] six days.
I've done records in one day, sometimes two days.
Six days, we can do it.
We got songs, we [F#] work together, we know each other [G#] well.
And when you have that pressure, that time [C#] crunch,
[E] it always gets a better result.
It was great to get everybody together, Kevin Elson in the studio,
[F] and all of a sudden new Mr.
Big music is alive.
_ [Bm] My first impressions were, it's [G] great to be recording again
because it's always a new [Dm] adventure.
It's not like playing live, it's a whole different animal.
Somebody comes up with an idea and it goes through the Mr.
Big machine
and it kind of comes out [D] sounding like Mr.
Big,
even though we're not really trying to sound like Mr.
Big,
we just do because it's us.
It's like it's in our DNA.
Working with Mr.
Big has been a really beautiful experience.
_ [B] And Pat and I get along [C#] really well.
It's just been [Dm] really, really [D] incredible.
Plus we're all in a room, we're playing [B] together.
For me, the [E] most successful records are the best [Am] records I've ever played on.
First Mr.
Big album, leaned [D] into it, bump ahead, hey man,
we're all done like that.
So we wanted to be all together in a room, playing for [Em] real,
actually singing and playing.
Eric's singing in the other room while we're tracking,
so [A#] we get an idea of what he's doing.
And there's actually interaction, we can see each other,
and it's like a real band playing.
Now a lot of people may not know, if you're not familiar with how studios work,
you can go in one guy at a time, and a piece at a time, and a day at a time,
and put a little piece together, [B] piece, another piece,
and build a record up by little pieces.
And so for me, when I hear a band [G] really playing,
it's just a different thing than piecing together little parts
until you've got a song.
It's incredible to be thrown in the lion's cage like this.
We're not young men anymore, well, I'm not a young man anymore,
and it was a little difficult to just kind of be _ called one day
and just go, hey man, we're going to make a record in a couple weeks, you ready?
[C#] And I'm like, what?
I've got to write some stuff.
So I just kind of crammed like I was cramming for finals, for a big test.
We just came into the studio, we said hello for the first time,
and about six months, six, seven months, and said, _
all right, what have each [B] of us got?
We kind of reached into our little bag of tricks,
and everybody pulled [G#m] out [A] their _ CD or _ _ MP3.
In my case, I didn't have time to make any demos,
so I kind of did my shit live, [E] put on the acoustic guitar,
and [E] just kind of strummed it away for [B] these guys.
[C#] It's always pretty [B] intimidating when you do that,
[D#] because _ _ _ my guitar playing is a lot [C#] better than it used to [F#] be
26 years ago [E] when we first got in this band.
[D#m] _ _ [G#m] _ _
_ _ [A#] _ _ [F#] But playing in front of Billy [C#m] Sheehan and Paul Gilbert is [G#] super intimidating,
[B] because they're all looking at me going,
[E] _ okay, we're seeing what you're trying to do [G#m] here.
Because most of the shit that I write, they're really simple,
[C#] and I just give it to them, and then they turn [C#m] it into_
_ _ _ _ _ _ _ _
_ [C#] _ _ [E] _ _ [F#] _ _ _
_ _ _ [C#] _ _ _ _ _
_ _ _ _ _ _ [F#] _
_ _ _ _ _ _ [G#] _ _
_ _ _ _ _ [B] _ _ [F#] _
_ _ _ _ _ _ [C#m] _ _
_ _ _ _ _ _ [F#] _ _
_ _ _ _ _ _ [G#] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [A] _ _
_ _ _ [E] _ Pretty cool. _
_ _ [D#m] Happy _ _ [B] birthday to you
_ [F#] Happy _ [N] birthday _ to you _
[C#] Happy birthday _ dear _
[C#] Billy
_ _ Happy _ birthday _ [B] to you _ _
[N] _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [G#] _ _