Chords for Rachael Lampa- Blessed
Tempo:
98.2 bpm
Chords used:
G
A
B
E
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
I'm [G] a mountain, so I can see [Em] the world from there.
I think one of the coolest things that Brent [G] did was to actually, he actually pulled together
a consortium of great writers that we've all worked with through the years.
We decided to go looking for songs [F#] and then Brent came up with this awesome idea.
Talked to [G] publishing, got them to [F] rent a house.
[A] A bunch of writers [Bm] like Cindy Morgan, Chris Eaton, Chris Rodriguez, [Em] Brent Rowe, Michelle
[F] Timms, Jenny Owens, there's just tons of [Em] people over there.
And [G] they all wrote for me.
Wrote the whole record in about five [E] weeks.
I think all but one song [B] came out of that.
[G#] [F#m]
[B] [A] When I was putting together the [D] outline of how to do this record, [A] the first person I
thought of was [B] Brown.
I thought that Brown would have [C#m] exactly the [D] elements that we needed to [C#] bring these songs
to the place they needed to [F#] go.
Woohoo!
[Bm] Three of [D] us went to London to put [C] the London Symphony Orchestra for my [E] record.
That's a big event.
That's a [C] big, big event.
[A] We went everywhere you could possibly [F#] go.
Tell me where the castle is.
[C] Somewhere around here?
Windsor Castle, Kensington Palace.
Anybody know where the castle is?
You know where [A] the castle is?
Buckingham [E] Palace.
[F#m]
[G] You think [Am] they might know where the castle is?
[E] In some other place.
[G] Excuse me, do you know where the castle is?
Do you [B] know where the castle is?
They don't see [G] it.
They don't know where the castle is.
The decision to go to London and do the strings for a record that we feel is this [A] important,
there is no better players than the London Symphony Orchestra.
There's no better place to do it than Abbey Road.
Within a first violin section, you have like [G] three, four, maybe five guys that are playing
first [G] violin, that are first chairs in different symphonies and orchestras.
And they'll be playing, you know, [D] three million [C] Stradivarius instrument.
You know, it's like the quality of those instruments.
And then recording in Abbey [Dm] Road is just amazing.
Where we [B] recorded the strings was on Abbey Road, where the [G] Beatles recorded and stuff.
For Rachel, it's like
It's like the guy that was, [F] you know, in that
I think one of the coolest things that Brent [G] did was to actually, he actually pulled together
a consortium of great writers that we've all worked with through the years.
We decided to go looking for songs [F#] and then Brent came up with this awesome idea.
Talked to [G] publishing, got them to [F] rent a house.
[A] A bunch of writers [Bm] like Cindy Morgan, Chris Eaton, Chris Rodriguez, [Em] Brent Rowe, Michelle
[F] Timms, Jenny Owens, there's just tons of [Em] people over there.
And [G] they all wrote for me.
Wrote the whole record in about five [E] weeks.
I think all but one song [B] came out of that.
[G#] [F#m]
[B] [A] When I was putting together the [D] outline of how to do this record, [A] the first person I
thought of was [B] Brown.
I thought that Brown would have [C#m] exactly the [D] elements that we needed to [C#] bring these songs
to the place they needed to [F#] go.
Woohoo!
[Bm] Three of [D] us went to London to put [C] the London Symphony Orchestra for my [E] record.
That's a big event.
That's a [C] big, big event.
[A] We went everywhere you could possibly [F#] go.
Tell me where the castle is.
[C] Somewhere around here?
Windsor Castle, Kensington Palace.
Anybody know where the castle is?
You know where [A] the castle is?
Buckingham [E] Palace.
[F#m]
[G] You think [Am] they might know where the castle is?
[E] In some other place.
[G] Excuse me, do you know where the castle is?
Do you [B] know where the castle is?
They don't see [G] it.
They don't know where the castle is.
The decision to go to London and do the strings for a record that we feel is this [A] important,
there is no better players than the London Symphony Orchestra.
There's no better place to do it than Abbey Road.
Within a first violin section, you have like [G] three, four, maybe five guys that are playing
first [G] violin, that are first chairs in different symphonies and orchestras.
And they'll be playing, you know, [D] three million [C] Stradivarius instrument.
You know, it's like the quality of those instruments.
And then recording in Abbey [Dm] Road is just amazing.
Where we [B] recorded the strings was on Abbey Road, where the [G] Beatles recorded and stuff.
For Rachel, it's like
It's like the guy that was, [F] you know, in that
Key:
G
A
B
E
D
G
A
B
I'm [G] a mountain, so I can see [Em] the world from there.
I think one of the coolest things that Brent [G] did was to actually, he actually pulled together
a consortium of great writers that we've all worked with through the years.
We decided to _ go looking for songs [F#] and then Brent came up with this awesome idea.
Talked to [G] publishing, got them to [F] rent a house.
[A] A bunch of writers [Bm] like Cindy Morgan, Chris Eaton, Chris Rodriguez, _ [Em] Brent Rowe, Michelle
[F] Timms, Jenny Owens, there's just tons of [Em] people over there.
And [G] they all wrote for me.
Wrote the whole record in about five [E] weeks.
I think all but one song [B] came out of that. _ _ _
_ _ _ [G#] _ _ _ [F#m] _ _
_ [B] _ [A] When I was putting together the [D] outline of how to do this record, [A] the first person I
thought of was [B] Brown.
I thought that Brown would have [C#m] exactly the [D] elements that we needed to [C#] bring these songs
to the place they needed to [F#] go.
Woohoo!
[Bm] Three of [D] us went to London to put [C] the London Symphony Orchestra for my [E] record.
That's a big event.
That's a [C] big, big event.
[A] We went everywhere you could possibly [F#] go.
Tell me where the castle is.
[C] Somewhere around here?
Windsor Castle, Kensington Palace.
Anybody know where the castle is?
You know where [A] the castle is?
Buckingham [E] Palace.
[F#m] _ _ _ _
_ _ [G] _ _ You think [Am] they might know where the castle is?
_ _ [E] In some other place.
_ [G] Excuse me, do you know where the castle is?
Do you [B] know where the castle is?
They don't see [G] it.
They don't know where the castle is.
The decision to go to London and do the strings _ for a record that we feel is this [A] important,
there is no better players than the London Symphony Orchestra.
There's no better place to do it than Abbey Road.
Within a first violin section, you have like [G] three, four, maybe five guys that are playing
first [G] violin, that are first chairs in different symphonies and orchestras.
And they'll be playing, you know, [D] three million [C] Stradivarius instrument.
You know, it's like the quality of those instruments.
And then recording in Abbey [Dm] Road is just amazing.
Where we [B] recorded the strings was on Abbey Road, where the [G] Beatles recorded and stuff.
For Rachel, it's like_
It's like the guy that was, [F] you know, in that
I think one of the coolest things that Brent [G] did was to actually, he actually pulled together
a consortium of great writers that we've all worked with through the years.
We decided to _ go looking for songs [F#] and then Brent came up with this awesome idea.
Talked to [G] publishing, got them to [F] rent a house.
[A] A bunch of writers [Bm] like Cindy Morgan, Chris Eaton, Chris Rodriguez, _ [Em] Brent Rowe, Michelle
[F] Timms, Jenny Owens, there's just tons of [Em] people over there.
And [G] they all wrote for me.
Wrote the whole record in about five [E] weeks.
I think all but one song [B] came out of that. _ _ _
_ _ _ [G#] _ _ _ [F#m] _ _
_ [B] _ [A] When I was putting together the [D] outline of how to do this record, [A] the first person I
thought of was [B] Brown.
I thought that Brown would have [C#m] exactly the [D] elements that we needed to [C#] bring these songs
to the place they needed to [F#] go.
Woohoo!
[Bm] Three of [D] us went to London to put [C] the London Symphony Orchestra for my [E] record.
That's a big event.
That's a [C] big, big event.
[A] We went everywhere you could possibly [F#] go.
Tell me where the castle is.
[C] Somewhere around here?
Windsor Castle, Kensington Palace.
Anybody know where the castle is?
You know where [A] the castle is?
Buckingham [E] Palace.
[F#m] _ _ _ _
_ _ [G] _ _ You think [Am] they might know where the castle is?
_ _ [E] In some other place.
_ [G] Excuse me, do you know where the castle is?
Do you [B] know where the castle is?
They don't see [G] it.
They don't know where the castle is.
The decision to go to London and do the strings _ for a record that we feel is this [A] important,
there is no better players than the London Symphony Orchestra.
There's no better place to do it than Abbey Road.
Within a first violin section, you have like [G] three, four, maybe five guys that are playing
first [G] violin, that are first chairs in different symphonies and orchestras.
And they'll be playing, you know, [D] three million [C] Stradivarius instrument.
You know, it's like the quality of those instruments.
And then recording in Abbey [Dm] Road is just amazing.
Where we [B] recorded the strings was on Abbey Road, where the [G] Beatles recorded and stuff.
For Rachel, it's like_
It's like the guy that was, [F] you know, in that