Chords for Recording Nirvana: Something In The Way. (Recording Studio)
Tempo:
104.2 bpm
Chords used:
C
E
G
B
Em
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[C]
[E] [C]
[E] [C] Something in the way was definitely the [E] hardest track to record in Nevermind.
[Cm] After three or four takes of trying to cut it live in [E] the main room, it [G] just wasn't happening.
Kurt came into the control room.
[E] Out of frustration, he sat on the couch and [Cm] he basically said, it needs to sound like this.
[G] He laid on his back and he started playing the guitar [C] and he was barely singing.
[E] It was coming out almost a whisper.
[F#] I was like, okay, stop, stop, stop.
And I quick grabbed a couple of mics and plugged them in.
I unplugged the phone, I turned the fans off in the tape machine [F] and said, this is it.
Just do what you think you need to do [E] right now.
[F] And I literally held my breath for three [E] minutes while he sang.
I mean, it was so [F] quiet and yet it was [G] so powerful.
And that was the core of [F#] the track.
[E]
[C] [E] It's [C] very mournful, very quiet.
[E]
[C] [E]
[C] Coming up on the second [E] verse again, gets very, very quiet.
[C]
[E] [C] I'll bring in some of the instrumentation [E] here.
[C] As we went back and [E] overdubbed, it was very difficult [C] for both Chris [E] and Dave to do the
[C] drums and bass because with no click track, the timing was [E] kind of all over the place.
And I [C] think I tortured him on it.
Literally at some points we punched [B] bar by bars to make [B] sure it was really [C] languid.
When Dave was doing the drums, [E] Kurt was in the back of the control room [C] saying quieter,
quieter, quieter.
And I think it's in his [B] nature to hit hard.
[C]
[E] [Em] [G] But he played it very mellow, very [Em] understated.
[C] And they were recorded in Studio B at Sound [Em] City, which is a dead, dry room compared to
the big live [C] room.
[E] [C] Add the high [Em] harmonies on the chorus.
[G]
[A#] [C]
[E] Last, we [C] brought in Kurt Canning to do a cello.
[E] [C]
[B] And he [G] had the same problem that Chris did [B] trying to get the track in tune to Kurt's
[C] funky five-string acoustic.
[Em] So the track is a little out of tune, [C] but that gives it kind of the [B] eeriness.
[C] It helps with it.
It gives it a lot [B] of character.
[G]
[B] [E]
[B] Very mournful cello sound.
[G] [G] [C]
[A#]
[E] [C]
[E] [C] Something in the way was definitely the [E] hardest track to record in Nevermind.
[Cm] After three or four takes of trying to cut it live in [E] the main room, it [G] just wasn't happening.
Kurt came into the control room.
[E] Out of frustration, he sat on the couch and [Cm] he basically said, it needs to sound like this.
[G] He laid on his back and he started playing the guitar [C] and he was barely singing.
[E] It was coming out almost a whisper.
[F#] I was like, okay, stop, stop, stop.
And I quick grabbed a couple of mics and plugged them in.
I unplugged the phone, I turned the fans off in the tape machine [F] and said, this is it.
Just do what you think you need to do [E] right now.
[F] And I literally held my breath for three [E] minutes while he sang.
I mean, it was so [F] quiet and yet it was [G] so powerful.
And that was the core of [F#] the track.
[E]
[C] [E] It's [C] very mournful, very quiet.
[E]
[C] [E]
[C] Coming up on the second [E] verse again, gets very, very quiet.
[C]
[E] [C] I'll bring in some of the instrumentation [E] here.
[C] As we went back and [E] overdubbed, it was very difficult [C] for both Chris [E] and Dave to do the
[C] drums and bass because with no click track, the timing was [E] kind of all over the place.
And I [C] think I tortured him on it.
Literally at some points we punched [B] bar by bars to make [B] sure it was really [C] languid.
When Dave was doing the drums, [E] Kurt was in the back of the control room [C] saying quieter,
quieter, quieter.
And I think it's in his [B] nature to hit hard.
[C]
[E] [Em] [G] But he played it very mellow, very [Em] understated.
[C] And they were recorded in Studio B at Sound [Em] City, which is a dead, dry room compared to
the big live [C] room.
[E] [C] Add the high [Em] harmonies on the chorus.
[G]
[A#] [C]
[E] Last, we [C] brought in Kurt Canning to do a cello.
[E] [C]
[B] And he [G] had the same problem that Chris did [B] trying to get the track in tune to Kurt's
[C] funky five-string acoustic.
[Em] So the track is a little out of tune, [C] but that gives it kind of the [B] eeriness.
[C] It helps with it.
It gives it a lot [B] of character.
[G]
[B] [E]
[B] Very mournful cello sound.
[G] [G] [C]
[A#]
Key:
C
E
G
B
Em
C
E
G
_ _ _ _ [C] _ _ _ _
_ [E] _ _ _ [C] _ _ _ _
_ [E] _ _ _ _ [C] Something in the way was definitely the [E] hardest track to record in Nevermind.
[Cm] After three or four takes of trying to cut it live in [E] the main room, _ it [G] just wasn't happening.
Kurt came into the control room.
[E] Out of frustration, he sat on the couch and [Cm] he basically said, it needs to sound like this.
[G] He laid on his back and he started playing the guitar [C] and he was barely singing.
[E] It was coming out almost a whisper.
[F#] I was like, okay, stop, stop, stop.
And I quick grabbed a couple of mics and plugged them in.
I unplugged the phone, I turned the fans off in the tape machine _ [F] and said, this is it.
Just do what you think you need to do [E] right now.
[F] And I literally held my breath for three [E] minutes while he sang.
I mean, it was so [F] quiet and yet it was [G] so powerful.
_ And that was the core of [F#] the track.
_ _ [E] _ _ _ _
[C] _ _ _ _ [E] _ _ It's [C] very mournful, very quiet.
_ [E] _ _ _ _
[C] _ _ _ _ [E] _ _ _ _
_ [C] _ _ _ _ Coming up on the second [E] verse again, gets very, very quiet.
_ [C] _ _ _ _
[E] _ _ _ _ [C] _ I'll bring in some of the instrumentation [E] here.
_ _ _ [C] _ As we went back and [E] overdubbed, it was very difficult [C] _ for both Chris [E] and Dave to do the
[C] drums and bass because with no click track, the timing was [E] kind of all over the place.
And I [C] think I tortured him on it.
Literally at some points we punched [B] bar by bars to make [B] sure it was really [C] languid.
When Dave was doing the drums, [E] Kurt was in the back of the control room [C] saying quieter,
quieter, quieter.
And I think it's in his [B] nature to hit hard.
_ [C] _ _ _
_ _ [E] _ _ [Em] _ [G] But he played it very mellow, very [Em] understated.
_ [C] And they were recorded in Studio B at Sound [Em] City, which is a dead, dry room compared to
the big live [C] room. _ _
_ [E] _ _ _ _ [C] _ Add the high [Em] harmonies on the chorus.
_ _ [G] _ _ _
_ _ [A#] _ _ _ _ _ [C] _
_ [E] _ Last, we [C] brought in Kurt Canning to do a cello.
_ [E] _ _ _ [C] _ _ _ _
_ [B] _ And he [G] had the same problem that Chris did [B] trying to get the track in tune to Kurt's
[C] funky five-string acoustic.
[Em] So the track is a little out of tune, _ [C] but that gives it kind of the [B] eeriness.
_ _ [C] It helps with it.
It gives it a lot [B] of character.
_ _ _ [G] _ _ _ _
[B] _ _ _ _ [E] _ _ _
[B] Very mournful cello sound.
_ [G] _ _ _ _ [G] _ _ _ _ [C] _ _ _ _
_ _ _ _ _ _ _ [A#] _
_ [E] _ _ _ [C] _ _ _ _
_ [E] _ _ _ _ [C] Something in the way was definitely the [E] hardest track to record in Nevermind.
[Cm] After three or four takes of trying to cut it live in [E] the main room, _ it [G] just wasn't happening.
Kurt came into the control room.
[E] Out of frustration, he sat on the couch and [Cm] he basically said, it needs to sound like this.
[G] He laid on his back and he started playing the guitar [C] and he was barely singing.
[E] It was coming out almost a whisper.
[F#] I was like, okay, stop, stop, stop.
And I quick grabbed a couple of mics and plugged them in.
I unplugged the phone, I turned the fans off in the tape machine _ [F] and said, this is it.
Just do what you think you need to do [E] right now.
[F] And I literally held my breath for three [E] minutes while he sang.
I mean, it was so [F] quiet and yet it was [G] so powerful.
_ And that was the core of [F#] the track.
_ _ [E] _ _ _ _
[C] _ _ _ _ [E] _ _ It's [C] very mournful, very quiet.
_ [E] _ _ _ _
[C] _ _ _ _ [E] _ _ _ _
_ [C] _ _ _ _ Coming up on the second [E] verse again, gets very, very quiet.
_ [C] _ _ _ _
[E] _ _ _ _ [C] _ I'll bring in some of the instrumentation [E] here.
_ _ _ [C] _ As we went back and [E] overdubbed, it was very difficult [C] _ for both Chris [E] and Dave to do the
[C] drums and bass because with no click track, the timing was [E] kind of all over the place.
And I [C] think I tortured him on it.
Literally at some points we punched [B] bar by bars to make [B] sure it was really [C] languid.
When Dave was doing the drums, [E] Kurt was in the back of the control room [C] saying quieter,
quieter, quieter.
And I think it's in his [B] nature to hit hard.
_ [C] _ _ _
_ _ [E] _ _ [Em] _ [G] But he played it very mellow, very [Em] understated.
_ [C] And they were recorded in Studio B at Sound [Em] City, which is a dead, dry room compared to
the big live [C] room. _ _
_ [E] _ _ _ _ [C] _ Add the high [Em] harmonies on the chorus.
_ _ [G] _ _ _
_ _ [A#] _ _ _ _ _ [C] _
_ [E] _ Last, we [C] brought in Kurt Canning to do a cello.
_ [E] _ _ _ [C] _ _ _ _
_ [B] _ And he [G] had the same problem that Chris did [B] trying to get the track in tune to Kurt's
[C] funky five-string acoustic.
[Em] So the track is a little out of tune, _ [C] but that gives it kind of the [B] eeriness.
_ _ [C] It helps with it.
It gives it a lot [B] of character.
_ _ _ [G] _ _ _ _
[B] _ _ _ _ [E] _ _ _
[B] Very mournful cello sound.
_ [G] _ _ _ _ [G] _ _ _ _ [C] _ _ _ _
_ _ _ _ _ _ _ [A#] _
Facts about this song