Chords for Robin Trower guitars and gear
Tempo:
102.75 bpm
Chords used:
D
A
Dm
Bm
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Gb] [A] [D]
[A] [D] [F] [D]
Well, the Stratocaster, I think it's been around about four, [Dm] maybe five years now.
I got together with Todd at [Gb] the Custom Shop vendors [D] and we sort of went through what are
all the things you like, what would you like.
[E] The [D] neck is a flat neck with large frets.
As you can see, [E] it's a [Bm] 70s headstock.
I decided on a larger headstock because I figured more wood, more resonance, [D] and it's
got the locking tuners.
[Bm] I decided to have the sort of a vintage reissue [A] bridge because [D] I'm convinced that [Bm] the sound
is the right [Gm] sound for a Strat.
[Bm] I've got a five-way switch.
On the neck pickup, it's a 50s reissue.
The middle is a 60s reissue, and this is what they call a sort of [B] Texas special [E] kind of,
I think [A] it's a high gain than the vintage ones.
[D] [Bm]
[B] The [Dm] 50s [A]
reissue is [Bm] a very top [A]-ending sounding pickup.
It's very open, [B] sweet [D] sounding.
That's a little bit harder sounding, [A] a little bit middlier, [Dm] and that's just got a bit more
gain, but I hardly ever use [D] the bridge pickup anyway.
It tends to be [B] either [A] [Em] that on its own, [A] between, or that on its own.
[Dm] It's between those two pickups, [G] basically.
[A]
[Dm] [Bm]
[A] First [F] one there is the full-tone [D] Deja Vibe, [A] called the Deja [D] 2.
[Am] I don't think [B] you can get that anymore, [D] but [Dm] that's Mike Fuller's [Bm] version of the
Univibe, which I used to use in the [A] 70s.
But [E] it's a beautiful [D] sounding thing.
[F] The next one is [Bm] a pedal that I asked Mike to make for me specifically.
You can't buy them.
It's a wah in there, but you can have it on a preset anywhere on its suite.
You just [A] kick it in, [B] and you're [Gm] in one spot on the wah.
If you want to go up another gear, basically you put that one on.
Then there's the wah, [Bb] which I think he [Gb] calls the standard, [G] the full-tone standard [Bb] wah,
which I really love.
And then I've got [Ab] an old four-drive, [Gb] which was the first [Cm] pedal that Mike ever [Fm] gave to me.
[F] It's got to be [C] 15, 16, or maybe a lot older than that, even.
It's got something in it that [Cm] no other overdrive pedal has had.
Then I've got the Robintrow [Fm] Overdrive, which is basically what I have that on all the time.
That is the one thing [Bb] that is the sort of [Fm] building block of the sound.
[C] What Mike [Eb] wanted to do was [F] to combine [B] sort of a [Fm] modern, more of a modern sound, distortion-wise
and everything, with the warmth of that [D] old four-drive.
I've [F] been using these for a couple of weeks now.
[Dm] I was using an 800 [D] and a JMP, which was a real, [G] real old amp, beautiful sounding amp,
[D] but it just, [G] the reliability of using [Cm] old heads [Gm] is a [Dm] problem, so I decided I've got
to find a new [G] amp.
And [Dm] someone recommended it to me, well, Marshall's recommended it to me, in fact, and so I decided
to try [D] it.
But it's got a great sound.
[Gm] [G]
[Dm] I've got an album called What Lies Beneath, coming out in a few days.
I was produced by a friend of mine called Livingston Brown, [Gm] and we recorded it at [Dm] his
studio and he played bass on it, he engineered it.
Basically, it's more his album than my album.
[D] But [Gm] I wrote all the songs and, [C] you know, I played all the [G] guitar on it.
[Dm] [D]
[A] [D] [F] [D]
Well, the Stratocaster, I think it's been around about four, [Dm] maybe five years now.
I got together with Todd at [Gb] the Custom Shop vendors [D] and we sort of went through what are
all the things you like, what would you like.
[E] The [D] neck is a flat neck with large frets.
As you can see, [E] it's a [Bm] 70s headstock.
I decided on a larger headstock because I figured more wood, more resonance, [D] and it's
got the locking tuners.
[Bm] I decided to have the sort of a vintage reissue [A] bridge because [D] I'm convinced that [Bm] the sound
is the right [Gm] sound for a Strat.
[Bm] I've got a five-way switch.
On the neck pickup, it's a 50s reissue.
The middle is a 60s reissue, and this is what they call a sort of [B] Texas special [E] kind of,
I think [A] it's a high gain than the vintage ones.
[D] [Bm]
[B] The [Dm] 50s [A]
reissue is [Bm] a very top [A]-ending sounding pickup.
It's very open, [B] sweet [D] sounding.
That's a little bit harder sounding, [A] a little bit middlier, [Dm] and that's just got a bit more
gain, but I hardly ever use [D] the bridge pickup anyway.
It tends to be [B] either [A] [Em] that on its own, [A] between, or that on its own.
[Dm] It's between those two pickups, [G] basically.
[A]
[Dm] [Bm]
[A] First [F] one there is the full-tone [D] Deja Vibe, [A] called the Deja [D] 2.
[Am] I don't think [B] you can get that anymore, [D] but [Dm] that's Mike Fuller's [Bm] version of the
Univibe, which I used to use in the [A] 70s.
But [E] it's a beautiful [D] sounding thing.
[F] The next one is [Bm] a pedal that I asked Mike to make for me specifically.
You can't buy them.
It's a wah in there, but you can have it on a preset anywhere on its suite.
You just [A] kick it in, [B] and you're [Gm] in one spot on the wah.
If you want to go up another gear, basically you put that one on.
Then there's the wah, [Bb] which I think he [Gb] calls the standard, [G] the full-tone standard [Bb] wah,
which I really love.
And then I've got [Ab] an old four-drive, [Gb] which was the first [Cm] pedal that Mike ever [Fm] gave to me.
[F] It's got to be [C] 15, 16, or maybe a lot older than that, even.
It's got something in it that [Cm] no other overdrive pedal has had.
Then I've got the Robintrow [Fm] Overdrive, which is basically what I have that on all the time.
That is the one thing [Bb] that is the sort of [Fm] building block of the sound.
[C] What Mike [Eb] wanted to do was [F] to combine [B] sort of a [Fm] modern, more of a modern sound, distortion-wise
and everything, with the warmth of that [D] old four-drive.
I've [F] been using these for a couple of weeks now.
[Dm] I was using an 800 [D] and a JMP, which was a real, [G] real old amp, beautiful sounding amp,
[D] but it just, [G] the reliability of using [Cm] old heads [Gm] is a [Dm] problem, so I decided I've got
to find a new [G] amp.
And [Dm] someone recommended it to me, well, Marshall's recommended it to me, in fact, and so I decided
to try [D] it.
But it's got a great sound.
[Gm] [G]
[Dm] I've got an album called What Lies Beneath, coming out in a few days.
I was produced by a friend of mine called Livingston Brown, [Gm] and we recorded it at [Dm] his
studio and he played bass on it, he engineered it.
Basically, it's more his album than my album.
[D] But [Gm] I wrote all the songs and, [C] you know, I played all the [G] guitar on it.
[Dm] [D]
Key:
D
A
Dm
Bm
G
D
A
Dm
[Gb] _ [A] _ [D] _ _ _ _ _ _
_ _ [A] _ [D] _ _ _ [F] _ [D] _
_ _ _ _ _ _ Well, the Stratocaster, I think it's been around about four, [Dm] maybe five years now.
I got together with Todd at [Gb] the Custom Shop vendors [D] and we sort of went through what are
all the things you like, what would you like.
_ [E] The [D] neck is a flat neck with large frets.
As you can see, [E] it's a [Bm] 70s headstock.
I decided on a larger headstock because I figured more wood, more resonance, [D] _ and it's
got the locking tuners. _ _
[Bm] I decided to have the sort of a vintage reissue [A] bridge because [D] I'm convinced that [Bm] the sound
is _ the right [Gm] sound for a Strat.
[Bm] I've got a five-way switch.
On the neck pickup, it's a 50s reissue.
The middle is a 60s reissue, and this is what they call a sort of [B] Texas special [E] kind of,
I think [A] it's a high gain than the vintage ones.
[D] _ _ [Bm] _
_ _ [B] _ The [Dm] 50s [A]
reissue is [Bm] a very top [A]-ending sounding pickup.
It's very open, [B] sweet [D] sounding.
That's a little bit harder sounding, [A] a little bit middlier, [Dm] _ and that's just got a bit more
gain, but I hardly ever use [D] the bridge pickup anyway.
It tends to be [B] either _ _ [A] [Em] that on its own, [A] between, or that on its own.
[Dm] It's between those two pickups, [G] basically.
_ _ [A] _ _
_ _ [Dm] _ _ [Bm] _ _ _
[A] First _ [F] one there is the full-tone [D] Deja Vibe, [A] called the Deja [D] 2.
_ [Am] I don't think [B] you can get that anymore, [D] but _ [Dm] _ _ that's Mike Fuller's [Bm] version of the
Univibe, which I used to use in the [A] 70s.
But [E] it's a beautiful [D] sounding thing.
_ [F] The next one is [Bm] a pedal that I asked Mike to make for me specifically.
You can't buy them.
It's a wah in there, but you can have it on a preset anywhere on its suite.
You just [A] kick it in, [B] and you're [Gm] in one spot on the wah.
If you want to go up another gear, basically you put that one on.
Then there's the wah, [Bb] which I _ think he [Gb] calls the standard, [G] the full-tone standard [Bb] wah,
which I really love.
And then I've got [Ab] an old four-drive, [Gb] which was the first [Cm] pedal that Mike ever [Fm] gave to me.
_ [F] It's got to be [C] 15, 16, or maybe a lot older than that, even.
It's got something in it that [Cm] no other overdrive pedal has had.
Then I've got the Robintrow [Fm] Overdrive, which is basically what I have that on all the time.
That is the one thing [Bb] that is the sort of [Fm] building block of the sound.
[C] What Mike [Eb] wanted to do was [F] to combine [B] sort of a [Fm] modern, more of a modern sound, distortion-wise
and everything, with the warmth of that [D] old four-drive. _ _ _ _ _ _
_ I've _ [F] _ been using these for a couple of weeks now.
[Dm] I was using an 800 [D] and a JMP, which was a real, [G] real old amp, beautiful sounding amp,
[D] but it just, _ [G] the reliability of using [Cm] old heads [Gm] is a [Dm] problem, so I decided I've got
to find a new [G] amp.
And [Dm] someone recommended it to me, well, Marshall's recommended it to me, in fact, and so I decided
to try [D] it.
But it's got a great sound. _
[Gm] _ _ [G] _ _ _ _ _
[Dm] I've got an album called What Lies Beneath, coming out in a few days.
I was produced by a friend of mine called Livingston Brown, [Gm] and we recorded it at [Dm] his
studio and he played bass on it, he engineered it.
Basically, it's more his album than my album.
[D] _ _ But [Gm] I wrote all the songs and, _ [C] you know, I played all the [G] guitar on it.
_ _ _ [Dm] _ _ _ _ _ _ _ [D] _ _ _ _ _
_ _ [A] _ [D] _ _ _ [F] _ [D] _
_ _ _ _ _ _ Well, the Stratocaster, I think it's been around about four, [Dm] maybe five years now.
I got together with Todd at [Gb] the Custom Shop vendors [D] and we sort of went through what are
all the things you like, what would you like.
_ [E] The [D] neck is a flat neck with large frets.
As you can see, [E] it's a [Bm] 70s headstock.
I decided on a larger headstock because I figured more wood, more resonance, [D] _ and it's
got the locking tuners. _ _
[Bm] I decided to have the sort of a vintage reissue [A] bridge because [D] I'm convinced that [Bm] the sound
is _ the right [Gm] sound for a Strat.
[Bm] I've got a five-way switch.
On the neck pickup, it's a 50s reissue.
The middle is a 60s reissue, and this is what they call a sort of [B] Texas special [E] kind of,
I think [A] it's a high gain than the vintage ones.
[D] _ _ [Bm] _
_ _ [B] _ The [Dm] 50s [A]
reissue is [Bm] a very top [A]-ending sounding pickup.
It's very open, [B] sweet [D] sounding.
That's a little bit harder sounding, [A] a little bit middlier, [Dm] _ and that's just got a bit more
gain, but I hardly ever use [D] the bridge pickup anyway.
It tends to be [B] either _ _ [A] [Em] that on its own, [A] between, or that on its own.
[Dm] It's between those two pickups, [G] basically.
_ _ [A] _ _
_ _ [Dm] _ _ [Bm] _ _ _
[A] First _ [F] one there is the full-tone [D] Deja Vibe, [A] called the Deja [D] 2.
_ [Am] I don't think [B] you can get that anymore, [D] but _ [Dm] _ _ that's Mike Fuller's [Bm] version of the
Univibe, which I used to use in the [A] 70s.
But [E] it's a beautiful [D] sounding thing.
_ [F] The next one is [Bm] a pedal that I asked Mike to make for me specifically.
You can't buy them.
It's a wah in there, but you can have it on a preset anywhere on its suite.
You just [A] kick it in, [B] and you're [Gm] in one spot on the wah.
If you want to go up another gear, basically you put that one on.
Then there's the wah, [Bb] which I _ think he [Gb] calls the standard, [G] the full-tone standard [Bb] wah,
which I really love.
And then I've got [Ab] an old four-drive, [Gb] which was the first [Cm] pedal that Mike ever [Fm] gave to me.
_ [F] It's got to be [C] 15, 16, or maybe a lot older than that, even.
It's got something in it that [Cm] no other overdrive pedal has had.
Then I've got the Robintrow [Fm] Overdrive, which is basically what I have that on all the time.
That is the one thing [Bb] that is the sort of [Fm] building block of the sound.
[C] What Mike [Eb] wanted to do was [F] to combine [B] sort of a [Fm] modern, more of a modern sound, distortion-wise
and everything, with the warmth of that [D] old four-drive. _ _ _ _ _ _
_ I've _ [F] _ been using these for a couple of weeks now.
[Dm] I was using an 800 [D] and a JMP, which was a real, [G] real old amp, beautiful sounding amp,
[D] but it just, _ [G] the reliability of using [Cm] old heads [Gm] is a [Dm] problem, so I decided I've got
to find a new [G] amp.
And [Dm] someone recommended it to me, well, Marshall's recommended it to me, in fact, and so I decided
to try [D] it.
But it's got a great sound. _
[Gm] _ _ [G] _ _ _ _ _
[Dm] I've got an album called What Lies Beneath, coming out in a few days.
I was produced by a friend of mine called Livingston Brown, [Gm] and we recorded it at [Dm] his
studio and he played bass on it, he engineered it.
Basically, it's more his album than my album.
[D] _ _ But [Gm] I wrote all the songs and, _ [C] you know, I played all the [G] guitar on it.
_ _ _ [Dm] _ _ _ _ _ _ _ [D] _ _ _ _ _
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