Chords for Ritchie Blackmore talks about his history #1
Tempo:
136.55 bpm
Chords used:
E
F
G
C
Am
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Gb] [Eb] I started when I was 11, [Ebm] I started with the classical guitar, [E] [Gb] almost similar to this one,
and [Abm] I added pickups, and I put three pickups [G] on myself.
[Ebm] And I plugged it into [Db] my father's radio, which is two watts amplifiers.
[Ab] That was my [Ebm] first encounter to an electric guitar.
[Eb] I didn't [Gb] practice that much.
When I [Eb] first got the guitar, when I was 11 [Gb] years old,
[Ebm] I never used to practice very much, and every time I went to guitar lessons,
the guitar [Db] teacher said that you [E] haven't been practicing.
[Abm] So that was a problem for about six [Ebm] months.
Then afterwards, I started [Db] to practice more when he [Bb] kind of found out that I wasn't practicing,
and he kind of felt guilty.
So [F] until I started practicing, he wasn't going to teach me [Eb] anymore.
So there was one time I went to a music lesson, [Ebm] and I hadn't practiced at [Ab] all.
I was reading [Fm] music, and he stopped me and he says,
Have you practiced this week?
I said, No.
He said, Well, go home and practice.
[Ab] He wouldn't teach me anymore, [F] until I practiced.
[E] [F] [Em] I did a lot of session work from the age of 16 to [E] 19, 18.
And I knew this [G] one producer called Joe Meek, [D] and I used to do all his [E] records.
He wrote Telstar.
I don't know if he wrote Telstar.
It was a number one instrument.
It was quite [E] funny because I do about four sessions a day,
so for a 17-year-old, I was making a lot of money from studio work.
It's a good way of, it's good to have that [F] discipline in the studio.
[E] And I met a [F] lot of people.
I [Em] was doing the street music.
People [F] like Tom Jones, people like [Em] that.
And it was, but then I stopped around about 19 and went on the road
[F] with the band, The Outlaws.
[Em]
That's what brought me up to [Em] 19.
Yes, that's [Dm] right.
Not a wild rock and roll life,
but [Em] we used to have this habit of [D] whenever we went to a concert,
on the way, we used to buy flower bags,
[F] and split them open and [Em] throw these flower bags at people,
[E] and then run away.
[F]
But [E] unfortunately, we used to have on our van,
we used to say The Outlaws, and we used to say,
call this number.
[F]
So the [E] police would always call that number [F] and say,
[E] you've been throwing flower bags at people.
So every time we would have a session in the studio,
the producer at the end of the session would say,
there's a policeman [A] here again to see you up.
Every [Gbm] time we did a session, there's always a [Ab] policeman.
Because we liked to play [Bbm] practical jokes.
We [C] had catapults, [G] gooseberries, I don't know if you know what they are,
[D]
[A] and the flower bags.
So we got into a lot of trouble [G] in those days.
[Bb]
No, [Ab] it was Chris Curtis.
[F] Chris Curtis asked me to join [G] a band that he was putting together.
So [Cm] I flew over from Hamburg to [D] London,
and they had John Law in the band,
[C] and that's when we met each other.
And from there, John and I put the band together.
We put other members in.
We had to kick Chris Curtis out, because he was [Ab] a little bit strange.
[Eb]
[F] That's another story.
[C]
We both liked Vanilla Fudge, that band,
and we both liked Mountain.
And we had a little bit of Hendrix in there.
[F]
And John was interested in playing with orchestras,
which I didn't mind, which we [C] did.
I think we did two more gigs.
But then I said I didn't want to play with any more orchestras.
[G] So we kept Rock and Roll, that's what we put out, Keep Urban [C] Rock.
And I said at the time, I said,
if this doesn't make it, then we should maybe play with orchestras.
But if [Dm] it does, we should pursue the Rock and Roll.
[E]
Playing with [B] orchestras is kind of difficult sometimes,
[Em] because of the balance.
The guitars are so loud, the [C] violins are so quiet.
Plus, a lot of classical players have a little bit [E] of snobs.
[G] Sometimes they don't like to play with orchestras.
[D] A little bit strange.
[Em] So the whole thing to me reached with a novelty.
It was a hype.
It was a gimmick.
[E] [Am]
Yes, Ian's kind of a hard person to [F]
[G] play with sometimes.
He's like me.
He's very
He can be very up [E] front.
So we [C] were like two bears.
[E] I didn't particularly like his way of life, and he didn't particularly like [C] mine.
[Am] After about 1972, he [F] would always lose his voice.
I didn't think that was too professional.
[E] I had a problem [G] with that.
[E] And with [D] Roger, I don't think Roger [Am] really likes Rock [G] and Roll anyway.
[Am] But you'd have to ask them, I suppose,
[G]
[Am] why they started drifting away.
Yes, [F] I [G] remember Ian Pace saying to me,
I have this singer, they had a tape of David [Am] Coverdell.
I listened to it and I thought he was very good, so we [Em] auditioned him.
[Am] And then we changed [G] a little [Am] bit.
I remember David Coverdell coming [F] [G] through the audition.
He was quite a big guy then.
With a [Am] big beard, glasses.
[Em] And I thought, maybe he's [Am] not a Rock and Roll singer.
So we had [G] to change him.
[Am] So we took his glasses off and shaved his beard and put him on a diet.
[F] [G]
[A] [C] We had lots of [Cm] political problems [D] backstage.
But [Am] when I did the show, I thought I wanted to do something [C] extra special.
So I said, I know [D] what I'll do, I'll blow up the amplifier.
It'll look good on [Am] television.
[C] And I told the [D] roadie to put [A] petrol over the amplifier.
And then just to light [Gb] it.
I didn't tell [C] the rest of the band.
[D] They didn't know what was going on.
So he poured all the [C] petrol [Dm] over the amplifier.
Too [C] much.
[D] [E] And then he lit it.
And [A] when it blew up, [C] it went up so great that [D] it knocked off [Am] Ian Pace's glasses.
It came off.
Somebody was deafened for a day.
And a few [D] people fell down.
[Am] It was [A] like a little bomb had gone off.
[Am] We wanted it to go up, but not that [D] much.
[A] It went off too much because they put too [C] much petrol on it.
[E] And with that, the police were [D] trying to find me to [E] arrest me.
But afterwards, I jumped into a helicopter [B] and we got away.
[Em] [N]
and [Abm] I added pickups, and I put three pickups [G] on myself.
[Ebm] And I plugged it into [Db] my father's radio, which is two watts amplifiers.
[Ab] That was my [Ebm] first encounter to an electric guitar.
[Eb] I didn't [Gb] practice that much.
When I [Eb] first got the guitar, when I was 11 [Gb] years old,
[Ebm] I never used to practice very much, and every time I went to guitar lessons,
the guitar [Db] teacher said that you [E] haven't been practicing.
[Abm] So that was a problem for about six [Ebm] months.
Then afterwards, I started [Db] to practice more when he [Bb] kind of found out that I wasn't practicing,
and he kind of felt guilty.
So [F] until I started practicing, he wasn't going to teach me [Eb] anymore.
So there was one time I went to a music lesson, [Ebm] and I hadn't practiced at [Ab] all.
I was reading [Fm] music, and he stopped me and he says,
Have you practiced this week?
I said, No.
He said, Well, go home and practice.
[Ab] He wouldn't teach me anymore, [F] until I practiced.
[E] [F] [Em] I did a lot of session work from the age of 16 to [E] 19, 18.
And I knew this [G] one producer called Joe Meek, [D] and I used to do all his [E] records.
He wrote Telstar.
I don't know if he wrote Telstar.
It was a number one instrument.
It was quite [E] funny because I do about four sessions a day,
so for a 17-year-old, I was making a lot of money from studio work.
It's a good way of, it's good to have that [F] discipline in the studio.
[E] And I met a [F] lot of people.
I [Em] was doing the street music.
People [F] like Tom Jones, people like [Em] that.
And it was, but then I stopped around about 19 and went on the road
[F] with the band, The Outlaws.
[Em]
That's what brought me up to [Em] 19.
Yes, that's [Dm] right.
Not a wild rock and roll life,
but [Em] we used to have this habit of [D] whenever we went to a concert,
on the way, we used to buy flower bags,
[F] and split them open and [Em] throw these flower bags at people,
[E] and then run away.
[F]
But [E] unfortunately, we used to have on our van,
we used to say The Outlaws, and we used to say,
call this number.
[F]
So the [E] police would always call that number [F] and say,
[E] you've been throwing flower bags at people.
So every time we would have a session in the studio,
the producer at the end of the session would say,
there's a policeman [A] here again to see you up.
Every [Gbm] time we did a session, there's always a [Ab] policeman.
Because we liked to play [Bbm] practical jokes.
We [C] had catapults, [G] gooseberries, I don't know if you know what they are,
[D]
[A] and the flower bags.
So we got into a lot of trouble [G] in those days.
[Bb]
No, [Ab] it was Chris Curtis.
[F] Chris Curtis asked me to join [G] a band that he was putting together.
So [Cm] I flew over from Hamburg to [D] London,
and they had John Law in the band,
[C] and that's when we met each other.
And from there, John and I put the band together.
We put other members in.
We had to kick Chris Curtis out, because he was [Ab] a little bit strange.
[Eb]
[F] That's another story.
[C]
We both liked Vanilla Fudge, that band,
and we both liked Mountain.
And we had a little bit of Hendrix in there.
[F]
And John was interested in playing with orchestras,
which I didn't mind, which we [C] did.
I think we did two more gigs.
But then I said I didn't want to play with any more orchestras.
[G] So we kept Rock and Roll, that's what we put out, Keep Urban [C] Rock.
And I said at the time, I said,
if this doesn't make it, then we should maybe play with orchestras.
But if [Dm] it does, we should pursue the Rock and Roll.
[E]
Playing with [B] orchestras is kind of difficult sometimes,
[Em] because of the balance.
The guitars are so loud, the [C] violins are so quiet.
Plus, a lot of classical players have a little bit [E] of snobs.
[G] Sometimes they don't like to play with orchestras.
[D] A little bit strange.
[Em] So the whole thing to me reached with a novelty.
It was a hype.
It was a gimmick.
[E] [Am]
Yes, Ian's kind of a hard person to [F]
[G] play with sometimes.
He's like me.
He's very
He can be very up [E] front.
So we [C] were like two bears.
[E] I didn't particularly like his way of life, and he didn't particularly like [C] mine.
[Am] After about 1972, he [F] would always lose his voice.
I didn't think that was too professional.
[E] I had a problem [G] with that.
[E] And with [D] Roger, I don't think Roger [Am] really likes Rock [G] and Roll anyway.
[Am] But you'd have to ask them, I suppose,
[G]
[Am] why they started drifting away.
Yes, [F] I [G] remember Ian Pace saying to me,
I have this singer, they had a tape of David [Am] Coverdell.
I listened to it and I thought he was very good, so we [Em] auditioned him.
[Am] And then we changed [G] a little [Am] bit.
I remember David Coverdell coming [F] [G] through the audition.
He was quite a big guy then.
With a [Am] big beard, glasses.
[Em] And I thought, maybe he's [Am] not a Rock and Roll singer.
So we had [G] to change him.
[Am] So we took his glasses off and shaved his beard and put him on a diet.
[F] [G]
[A] [C] We had lots of [Cm] political problems [D] backstage.
But [Am] when I did the show, I thought I wanted to do something [C] extra special.
So I said, I know [D] what I'll do, I'll blow up the amplifier.
It'll look good on [Am] television.
[C] And I told the [D] roadie to put [A] petrol over the amplifier.
And then just to light [Gb] it.
I didn't tell [C] the rest of the band.
[D] They didn't know what was going on.
So he poured all the [C] petrol [Dm] over the amplifier.
Too [C] much.
[D] [E] And then he lit it.
And [A] when it blew up, [C] it went up so great that [D] it knocked off [Am] Ian Pace's glasses.
It came off.
Somebody was deafened for a day.
And a few [D] people fell down.
[Am] It was [A] like a little bomb had gone off.
[Am] We wanted it to go up, but not that [D] much.
[A] It went off too much because they put too [C] much petrol on it.
[E] And with that, the police were [D] trying to find me to [E] arrest me.
But afterwards, I jumped into a helicopter [B] and we got away.
[Em] [N]
Key:
E
F
G
C
Am
E
F
G
_ _ _ _ _ _ _ _
_ [Gb] _ _ [Eb] _ _ I started when I was 11, [Ebm] I started with the classical guitar, [E] _ [Gb] almost similar to this one,
and [Abm] I added pickups, and I put three pickups [G] on myself.
[Ebm] _ _ _ And I plugged it into [Db] my father's radio, which is two watts _ _ amplifiers.
[Ab] _ That was my [Ebm] first encounter to an electric guitar.
[Eb] _ _ I didn't [Gb] practice that much.
When I [Eb] first got the guitar, when I was 11 [Gb] years old,
_ [Ebm] I never used to practice very much, and every time I went to guitar lessons,
_ the guitar [Db] teacher said that you [E] haven't been practicing.
[Abm] _ _ So that was a problem for about six [Ebm] months.
Then afterwards, _ I started [Db] to practice more _ _ when he [Bb] kind of found out that I wasn't practicing,
and he kind of felt guilty.
_ So [F] until I started practicing, he wasn't going to teach me [Eb] anymore.
_ So there was one time I went to a music lesson, _ [Ebm] and I hadn't practiced at [Ab] all.
I was reading [Fm] music, _ and he stopped me and he says,
Have you practiced this week?
I said, _ No.
He said, Well, go home and practice.
[Ab] _ He wouldn't teach me anymore, [F] until I practiced. _ _
_ [E] _ _ [F] _ _ [Em] _ I did a lot of session work from the age of 16 _ to [E] 19, 18.
_ And I knew this [G] one producer called Joe Meek, [D] and I used to do all his [E] records.
_ He wrote Telstar.
I don't know if he wrote Telstar.
_ It was a number one instrument. _
_ _ _ _ It was quite [E] funny because I do about four sessions a day,
so for a 17-year-old, I was making a lot of money from studio work. _
It's a good way of, _ _ it's good to have that [F] discipline in the studio.
_ _ [E] _ _ _ And I met a [F] lot of people.
I [Em] was doing the street music.
People [F] like Tom Jones, people like [Em] that. _
And it was, but then I stopped around about 19 and went on the road
[F] _ with the band, The Outlaws.
[Em] _
_ _ _ That's what brought me up to [Em] 19.
_ _ Yes, that's [Dm] right.
Not a wild rock and roll life,
but [Em] we used to have this habit of _ [D] whenever we went to a concert,
on the way, we used to buy flower bags,
[F] _ and split them open and [Em] throw these flower bags at people,
_ [E] and then run away.
_ _ _ _ [F] _ _
But [E] unfortunately, we used to have on our van,
we used to say The Outlaws, _ and we used to say,
call this number.
_ [F] _
So the [E] police would always call that number _ [F] and say,
_ _ [E] you've been throwing flower bags at people. _
So every time we would have a session in the studio,
the producer at the end of the session would say,
there's a policeman [A] here again to see you up.
_ _ Every [Gbm] time we did a session, there's always a [Ab] policeman.
Because we liked to play [Bbm] practical jokes.
We [C] had catapults, [G] gooseberries, I don't know if you know what they are,
_ [D] _
_ _ [A] and the flower bags.
So we got into a lot of trouble _ [G] in those days.
_ [Bb] _
_ No, [Ab] it was Chris Curtis.
[F] Chris Curtis asked me to join [G] a band that he was putting together.
So [Cm] I flew over from Hamburg to [D] London,
_ _ _ and they had John Law in the band,
[C] and that's when we met each other.
And from there, _ John and I put the band together. _
We put other members in.
We had to kick Chris Curtis out, because he was [Ab] a little bit strange.
_ _ [Eb] _
[F] That's another story.
_ _ [C] _ _
We both liked Vanilla Fudge, that band,
and we both liked Mountain. _ _ _ _ _ _ _
And we had a little bit of Hendrix in there.
[F] _
And John was interested in playing with orchestras,
which I didn't mind, which we [C] did.
I think we did two more gigs. _
But then I said I didn't want to play with any more orchestras.
[G] So we kept Rock and Roll, that's what we put out, Keep Urban [C] Rock.
_ And I said at the time, I said,
if this doesn't make it, then _ we should maybe play with orchestras.
But if [Dm] it does, we should pursue the Rock and Roll.
[E] _ _ _ _
Playing with [B] orchestras is kind of difficult sometimes,
[Em] because of the balance.
The guitars are so loud, the [C] violins are so quiet.
Plus, a lot of _ _ classical players have a _ little bit [E] of snobs.
[G] Sometimes they don't like to play with orchestras.
_ [D] _ _ A little bit strange.
[Em] _ _ So the whole thing to me reached with a novelty.
It was a hype.
It was a gimmick.
[E] _ _ _ _ _ _ _ [Am] _
Yes, Ian's kind of a hard person to _ [F] _
[G] play with sometimes.
He's like me.
He's very_
He can be very up [E] front.
_ _ So we [C] were like two bears.
_ [E] I didn't particularly like his way of life, and he didn't particularly like [C] mine.
_ [Am] After about 1972, _ he [F] would always lose his voice.
I didn't think that was too professional.
[E] I had a problem [G] with that.
_ [E] And with [D] Roger, I don't think Roger [Am] really likes Rock [G] and Roll anyway.
[Am] _ _ But you'd have to ask them, I suppose,
[G] _
[Am] why they started drifting away.
_ _ Yes, [F] I [G] remember Ian Pace saying to me,
I have this singer, they had a tape of David [Am] Coverdell.
I listened to it and I thought he was very good, so we [Em] auditioned him.
_ [Am] _ And then _ we changed [G] a little [Am] bit.
I remember David Coverdell coming _ _ [F] _ [G] through the audition.
He was quite a big guy then.
With a [Am] big beard, glasses.
_ _ _ [Em] And I thought, maybe he's [Am] not a Rock and Roll singer.
_ So we had [G] to change him.
[Am] So we took his glasses off and shaved his beard and put him on a diet.
[F] _ _ [G] _ _ _ _ _
[A] _ _ _ [C] We had lots of [Cm] political problems [D] backstage.
But [Am] _ when I did the show, I thought I wanted to do something [C] extra special.
So I said, I know [D] what I'll do, I'll blow up the amplifier.
_ It'll look good on [Am] television.
_ _ _ [C] And I told the [D] roadie to put [A] petrol over the amplifier.
_ And then just to light [Gb] it.
I didn't tell [C] the rest of the band.
[D] They didn't know what was going on.
_ So he poured all the [C] petrol [Dm] over the amplifier.
Too [C] much.
_ [D] _ _ [E] And then he lit it.
And [A] when it blew up, [C] it went up so great that [D] it knocked off [Am] Ian Pace's glasses.
It came off.
Somebody was deafened for a day.
_ And a few [D] people fell down.
[Am] _ _ It was [A] like a little bomb had gone off.
[Am] We wanted it to go up, but not that [D] much.
_ [A] It went off too much because they put too [C] much petrol on it.
[E] And with that, the police were [D] trying to find me to [E] arrest me.
But afterwards, I jumped into a helicopter [B] and we got away.
[Em] _ _ _ [N] _
_ [Gb] _ _ [Eb] _ _ I started when I was 11, [Ebm] I started with the classical guitar, [E] _ [Gb] almost similar to this one,
and [Abm] I added pickups, and I put three pickups [G] on myself.
[Ebm] _ _ _ And I plugged it into [Db] my father's radio, which is two watts _ _ amplifiers.
[Ab] _ That was my [Ebm] first encounter to an electric guitar.
[Eb] _ _ I didn't [Gb] practice that much.
When I [Eb] first got the guitar, when I was 11 [Gb] years old,
_ [Ebm] I never used to practice very much, and every time I went to guitar lessons,
_ the guitar [Db] teacher said that you [E] haven't been practicing.
[Abm] _ _ So that was a problem for about six [Ebm] months.
Then afterwards, _ I started [Db] to practice more _ _ when he [Bb] kind of found out that I wasn't practicing,
and he kind of felt guilty.
_ So [F] until I started practicing, he wasn't going to teach me [Eb] anymore.
_ So there was one time I went to a music lesson, _ [Ebm] and I hadn't practiced at [Ab] all.
I was reading [Fm] music, _ and he stopped me and he says,
Have you practiced this week?
I said, _ No.
He said, Well, go home and practice.
[Ab] _ He wouldn't teach me anymore, [F] until I practiced. _ _
_ [E] _ _ [F] _ _ [Em] _ I did a lot of session work from the age of 16 _ to [E] 19, 18.
_ And I knew this [G] one producer called Joe Meek, [D] and I used to do all his [E] records.
_ He wrote Telstar.
I don't know if he wrote Telstar.
_ It was a number one instrument. _
_ _ _ _ It was quite [E] funny because I do about four sessions a day,
so for a 17-year-old, I was making a lot of money from studio work. _
It's a good way of, _ _ it's good to have that [F] discipline in the studio.
_ _ [E] _ _ _ And I met a [F] lot of people.
I [Em] was doing the street music.
People [F] like Tom Jones, people like [Em] that. _
And it was, but then I stopped around about 19 and went on the road
[F] _ with the band, The Outlaws.
[Em] _
_ _ _ That's what brought me up to [Em] 19.
_ _ Yes, that's [Dm] right.
Not a wild rock and roll life,
but [Em] we used to have this habit of _ [D] whenever we went to a concert,
on the way, we used to buy flower bags,
[F] _ and split them open and [Em] throw these flower bags at people,
_ [E] and then run away.
_ _ _ _ [F] _ _
But [E] unfortunately, we used to have on our van,
we used to say The Outlaws, _ and we used to say,
call this number.
_ [F] _
So the [E] police would always call that number _ [F] and say,
_ _ [E] you've been throwing flower bags at people. _
So every time we would have a session in the studio,
the producer at the end of the session would say,
there's a policeman [A] here again to see you up.
_ _ Every [Gbm] time we did a session, there's always a [Ab] policeman.
Because we liked to play [Bbm] practical jokes.
We [C] had catapults, [G] gooseberries, I don't know if you know what they are,
_ [D] _
_ _ [A] and the flower bags.
So we got into a lot of trouble _ [G] in those days.
_ [Bb] _
_ No, [Ab] it was Chris Curtis.
[F] Chris Curtis asked me to join [G] a band that he was putting together.
So [Cm] I flew over from Hamburg to [D] London,
_ _ _ and they had John Law in the band,
[C] and that's when we met each other.
And from there, _ John and I put the band together. _
We put other members in.
We had to kick Chris Curtis out, because he was [Ab] a little bit strange.
_ _ [Eb] _
[F] That's another story.
_ _ [C] _ _
We both liked Vanilla Fudge, that band,
and we both liked Mountain. _ _ _ _ _ _ _
And we had a little bit of Hendrix in there.
[F] _
And John was interested in playing with orchestras,
which I didn't mind, which we [C] did.
I think we did two more gigs. _
But then I said I didn't want to play with any more orchestras.
[G] So we kept Rock and Roll, that's what we put out, Keep Urban [C] Rock.
_ And I said at the time, I said,
if this doesn't make it, then _ we should maybe play with orchestras.
But if [Dm] it does, we should pursue the Rock and Roll.
[E] _ _ _ _
Playing with [B] orchestras is kind of difficult sometimes,
[Em] because of the balance.
The guitars are so loud, the [C] violins are so quiet.
Plus, a lot of _ _ classical players have a _ little bit [E] of snobs.
[G] Sometimes they don't like to play with orchestras.
_ [D] _ _ A little bit strange.
[Em] _ _ So the whole thing to me reached with a novelty.
It was a hype.
It was a gimmick.
[E] _ _ _ _ _ _ _ [Am] _
Yes, Ian's kind of a hard person to _ [F] _
[G] play with sometimes.
He's like me.
He's very_
He can be very up [E] front.
_ _ So we [C] were like two bears.
_ [E] I didn't particularly like his way of life, and he didn't particularly like [C] mine.
_ [Am] After about 1972, _ he [F] would always lose his voice.
I didn't think that was too professional.
[E] I had a problem [G] with that.
_ [E] And with [D] Roger, I don't think Roger [Am] really likes Rock [G] and Roll anyway.
[Am] _ _ But you'd have to ask them, I suppose,
[G] _
[Am] why they started drifting away.
_ _ Yes, [F] I [G] remember Ian Pace saying to me,
I have this singer, they had a tape of David [Am] Coverdell.
I listened to it and I thought he was very good, so we [Em] auditioned him.
_ [Am] _ And then _ we changed [G] a little [Am] bit.
I remember David Coverdell coming _ _ [F] _ [G] through the audition.
He was quite a big guy then.
With a [Am] big beard, glasses.
_ _ _ [Em] And I thought, maybe he's [Am] not a Rock and Roll singer.
_ So we had [G] to change him.
[Am] So we took his glasses off and shaved his beard and put him on a diet.
[F] _ _ [G] _ _ _ _ _
[A] _ _ _ [C] We had lots of [Cm] political problems [D] backstage.
But [Am] _ when I did the show, I thought I wanted to do something [C] extra special.
So I said, I know [D] what I'll do, I'll blow up the amplifier.
_ It'll look good on [Am] television.
_ _ _ [C] And I told the [D] roadie to put [A] petrol over the amplifier.
_ And then just to light [Gb] it.
I didn't tell [C] the rest of the band.
[D] They didn't know what was going on.
_ So he poured all the [C] petrol [Dm] over the amplifier.
Too [C] much.
_ [D] _ _ [E] And then he lit it.
And [A] when it blew up, [C] it went up so great that [D] it knocked off [Am] Ian Pace's glasses.
It came off.
Somebody was deafened for a day.
_ And a few [D] people fell down.
[Am] _ _ It was [A] like a little bomb had gone off.
[Am] We wanted it to go up, but not that [D] much.
_ [A] It went off too much because they put too [C] much petrol on it.
[E] And with that, the police were [D] trying to find me to [E] arrest me.
But afterwards, I jumped into a helicopter [B] and we got away.
[Em] _ _ _ [N] _