Chords for Roger & Michael talk about The Byrds
Tempo:
127.2 bpm
Chords used:
Ab
Db
Bb
Abm
Bbm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Now you have a very adventurous musicality about [Ab] yourself.
You're willing to push and pull and change and [Gb] mix the genres.
Back in the [Db] 60s, how did this go over?
When you were taking the pure folk sounds and you were trying to [E] electrify them and do things to them and rock them [Bb] up,
how did it go over then?
Originally, it [Abm] didn't go over too well.
It was [N] kind of a tough sell.
Now you were around the New York area where the folk boom was really happening.
Right.
I was in New York City.
I was down in Greenwich Village and playing for the folkies [Bbm] in the village.
And they were going, what is this guy doing?
What is this?
And then I went out to L.A. to the Troubadour Folk Club in Hollywood, opening up for Roger Miller and Hoyt Axton.
[Ab] And I was doing pretty much the same thing, but it wasn't going over either.
Roger Miller took [N] me aside and he said, I like what you're doing, but you'll do a lot better if you don't get angry with the audience.
But Gene Clark was out in the audience, and he came backstage and he said, I love what you're doing,
because he was into the Beatles, too, and he had been a folk singer.
So we got together and started writing songs together.
Now, when did the famous Rickenbacker enter your music and your life?
When did that happen?
Well, after we decided to be a band, and David Crosby and Chris Ellman and Michael Clark and Gene Clark were all part of the band,
we went to see A Hard Day's Night as a kind of a reconnaissance trip to see what the Beatles were playing,
what kind of instruments they had.
And we noticed they had Ludwig drums and a Gretsch guitar, and John Lennon had a little Rickenbacker guitar.
And then George, when he wasn't playing the Gretsch guitar, he had this other guitar that was a Rickenbacker,
but it looked like a six-string from the front until he turned it sideways,
and you could see six other tuning pegs sticking out the back.
And I went, ah, that's a 12-string electric, man.
Wow, I've got to [Abm] get one.
So I traded in my acoustic 12-string and I got the [Bb] Rickenbacker electric 12.
Well, [B] it became such a magic [N] sound.
You guys got together and you formed The Birds, and before you knew it, you were on a record deal, and you guys were just rich.
Well, no, that's not exactly true.
I'm kidding.
The record deals back then didn't make you rich.
Right.
They made you famous, though, for a minute.
[Bbm] That was a good thing.
Well, when the music came out and [N] you suddenly realized that The Birds were a hit, though,
wasn't that just a mind-swimming experience?
Oh, it was, yeah.
We went from zero to 60 in three seconds.
It was like being strapped to a Polaris missile going, shooting up out of the water.
Well, you suddenly realized that you were admiring The Beatles.
Now you are The Beatles.
You were a band that was being admired by other kids now, just like you admired The Beatles.
Actually, yeah, we got to know The Beatles, [C] and we became their favorite band for a while.
That was really cool.
Well, [Ab] didn't George Harrison even write a song [A] based on something you [N] guys did?
He did.
There was a song we did in The Birds that had this lick in it.
It was a Pete Seeger song, The Bells of [Db] Brumney.
And [N] George took that, and he made the whole song, If I Needed Someone, out of that.
And he sent a copy over from London to Los Angeles, and Derek Taylor brought it.
Derek had been working for The Beatles as their press officer, and then he was working for The Birds.
So he was in London, and he came back to California, and he came over to my house and said,
George wants you to have this and know that he wrote the whole song based on your riff from The Bells of Brumney.
Wow.
Well, that just shows the depth of the influence of a Rodman McGuinn.
What the right sound can do.
You're willing to push and pull and change and [Gb] mix the genres.
Back in the [Db] 60s, how did this go over?
When you were taking the pure folk sounds and you were trying to [E] electrify them and do things to them and rock them [Bb] up,
how did it go over then?
Originally, it [Abm] didn't go over too well.
It was [N] kind of a tough sell.
Now you were around the New York area where the folk boom was really happening.
Right.
I was in New York City.
I was down in Greenwich Village and playing for the folkies [Bbm] in the village.
And they were going, what is this guy doing?
What is this?
And then I went out to L.A. to the Troubadour Folk Club in Hollywood, opening up for Roger Miller and Hoyt Axton.
[Ab] And I was doing pretty much the same thing, but it wasn't going over either.
Roger Miller took [N] me aside and he said, I like what you're doing, but you'll do a lot better if you don't get angry with the audience.
But Gene Clark was out in the audience, and he came backstage and he said, I love what you're doing,
because he was into the Beatles, too, and he had been a folk singer.
So we got together and started writing songs together.
Now, when did the famous Rickenbacker enter your music and your life?
When did that happen?
Well, after we decided to be a band, and David Crosby and Chris Ellman and Michael Clark and Gene Clark were all part of the band,
we went to see A Hard Day's Night as a kind of a reconnaissance trip to see what the Beatles were playing,
what kind of instruments they had.
And we noticed they had Ludwig drums and a Gretsch guitar, and John Lennon had a little Rickenbacker guitar.
And then George, when he wasn't playing the Gretsch guitar, he had this other guitar that was a Rickenbacker,
but it looked like a six-string from the front until he turned it sideways,
and you could see six other tuning pegs sticking out the back.
And I went, ah, that's a 12-string electric, man.
Wow, I've got to [Abm] get one.
So I traded in my acoustic 12-string and I got the [Bb] Rickenbacker electric 12.
Well, [B] it became such a magic [N] sound.
You guys got together and you formed The Birds, and before you knew it, you were on a record deal, and you guys were just rich.
Well, no, that's not exactly true.
I'm kidding.
The record deals back then didn't make you rich.
Right.
They made you famous, though, for a minute.
[Bbm] That was a good thing.
Well, when the music came out and [N] you suddenly realized that The Birds were a hit, though,
wasn't that just a mind-swimming experience?
Oh, it was, yeah.
We went from zero to 60 in three seconds.
It was like being strapped to a Polaris missile going, shooting up out of the water.
Well, you suddenly realized that you were admiring The Beatles.
Now you are The Beatles.
You were a band that was being admired by other kids now, just like you admired The Beatles.
Actually, yeah, we got to know The Beatles, [C] and we became their favorite band for a while.
That was really cool.
Well, [Ab] didn't George Harrison even write a song [A] based on something you [N] guys did?
He did.
There was a song we did in The Birds that had this lick in it.
It was a Pete Seeger song, The Bells of [Db] Brumney.
And [N] George took that, and he made the whole song, If I Needed Someone, out of that.
And he sent a copy over from London to Los Angeles, and Derek Taylor brought it.
Derek had been working for The Beatles as their press officer, and then he was working for The Birds.
So he was in London, and he came back to California, and he came over to my house and said,
George wants you to have this and know that he wrote the whole song based on your riff from The Bells of Brumney.
Wow.
Well, that just shows the depth of the influence of a Rodman McGuinn.
What the right sound can do.
Key:
Ab
Db
Bb
Abm
Bbm
Ab
Db
Bb
Now you have a very _ _ adventurous musicality about [Ab] yourself.
You're willing to push and pull and change and _ _ [Gb] mix the genres.
Back in the [Db] 60s, how did this go over?
When you were taking the pure folk sounds and you were trying to [E] electrify them and do things to them and rock them [Bb] up,
how did it go over then?
Originally, it [Abm] didn't go over too well.
It was [N] kind of a tough sell.
Now you were around the New York area where the folk boom was really happening.
Right.
I was in New York City.
I was down in Greenwich Village and playing for the folkies [Bbm] in the village.
And they were going, what is this guy doing?
What is this?
And then I went out to L.A. to the Troubadour Folk Club in Hollywood, opening up for Roger Miller and Hoyt Axton.
_ [Ab] And I was doing pretty much the same thing, but it wasn't going over either.
Roger Miller took [N] me aside and he said, I like what you're doing, but you'll do a lot better if you don't get angry with the audience.
_ _ _ But Gene Clark was out in the audience, and he came backstage and he said, I love what you're doing,
because he was into the Beatles, too, and he had been a folk singer.
So we got together and started writing songs together.
Now, when did the _ famous Rickenbacker enter your music and your life?
When did that happen?
Well, after we decided to be a band, and David Crosby and Chris Ellman and Michael Clark and Gene Clark were all part of the band,
we went to see A Hard Day's Night as a kind of a reconnaissance trip to see what the Beatles were playing,
what kind of instruments they had.
And we noticed they had Ludwig drums and a Gretsch guitar, and John Lennon had a little Rickenbacker guitar.
And then George, when he wasn't playing the Gretsch guitar, he had this other guitar that was a Rickenbacker,
but it looked like a six-string from the front until he turned it sideways,
and you could see six other tuning pegs sticking out the back.
And I went, ah, that's a 12-string electric, man.
Wow, I've got to [Abm] get one.
So I traded in my acoustic 12-string and I got the [Bb] Rickenbacker electric 12.
Well, [B] it became such a magic [N] sound.
You guys got together and you formed The Birds, and before you knew it, you were on a record deal, and you guys were just rich.
Well, no, that's not exactly true.
I'm kidding.
The record deals back then didn't make you rich.
Right.
They made you famous, though, for a minute.
_ [Bbm] That was a good thing.
Well, when the music came out and [N] you suddenly realized that The Birds were a hit, though,
wasn't that just a mind-swimming experience?
Oh, it was, yeah.
We went from zero to 60 in three seconds.
It was like being strapped to a Polaris missile going, shooting up out of the water.
Well, you suddenly realized that you were _ admiring The Beatles.
Now you are The Beatles.
You were a band that was being admired by other kids now, just like you admired The Beatles.
Actually, yeah, we got to know The Beatles, [C] and we became their favorite band for a while.
That was really cool.
Well, [Ab] didn't George Harrison even write a song [A] based on something you [N] guys did?
He did.
There was a song we did in The Birds that had this lick in it.
It was a Pete Seeger song, The Bells of [Db] Brumney. _
_ _ _ _ _ _ _ _
_ And [N] George took that, and he made the whole song, If I Needed Someone, out of that.
_ And he sent a copy over from London to Los Angeles, and Derek Taylor brought it.
Derek had been working for The Beatles as their press officer, and then he was working for The Birds.
So he was in London, and he came back to California, and he came over to my house and said,
George wants you to have this and know that he wrote the whole song based on your riff from The Bells of Brumney.
Wow.
Well, that just shows the depth of the influence of a Rodman McGuinn.
_ What the right sound can do. _ _ _
You're willing to push and pull and change and _ _ [Gb] mix the genres.
Back in the [Db] 60s, how did this go over?
When you were taking the pure folk sounds and you were trying to [E] electrify them and do things to them and rock them [Bb] up,
how did it go over then?
Originally, it [Abm] didn't go over too well.
It was [N] kind of a tough sell.
Now you were around the New York area where the folk boom was really happening.
Right.
I was in New York City.
I was down in Greenwich Village and playing for the folkies [Bbm] in the village.
And they were going, what is this guy doing?
What is this?
And then I went out to L.A. to the Troubadour Folk Club in Hollywood, opening up for Roger Miller and Hoyt Axton.
_ [Ab] And I was doing pretty much the same thing, but it wasn't going over either.
Roger Miller took [N] me aside and he said, I like what you're doing, but you'll do a lot better if you don't get angry with the audience.
_ _ _ But Gene Clark was out in the audience, and he came backstage and he said, I love what you're doing,
because he was into the Beatles, too, and he had been a folk singer.
So we got together and started writing songs together.
Now, when did the _ famous Rickenbacker enter your music and your life?
When did that happen?
Well, after we decided to be a band, and David Crosby and Chris Ellman and Michael Clark and Gene Clark were all part of the band,
we went to see A Hard Day's Night as a kind of a reconnaissance trip to see what the Beatles were playing,
what kind of instruments they had.
And we noticed they had Ludwig drums and a Gretsch guitar, and John Lennon had a little Rickenbacker guitar.
And then George, when he wasn't playing the Gretsch guitar, he had this other guitar that was a Rickenbacker,
but it looked like a six-string from the front until he turned it sideways,
and you could see six other tuning pegs sticking out the back.
And I went, ah, that's a 12-string electric, man.
Wow, I've got to [Abm] get one.
So I traded in my acoustic 12-string and I got the [Bb] Rickenbacker electric 12.
Well, [B] it became such a magic [N] sound.
You guys got together and you formed The Birds, and before you knew it, you were on a record deal, and you guys were just rich.
Well, no, that's not exactly true.
I'm kidding.
The record deals back then didn't make you rich.
Right.
They made you famous, though, for a minute.
_ [Bbm] That was a good thing.
Well, when the music came out and [N] you suddenly realized that The Birds were a hit, though,
wasn't that just a mind-swimming experience?
Oh, it was, yeah.
We went from zero to 60 in three seconds.
It was like being strapped to a Polaris missile going, shooting up out of the water.
Well, you suddenly realized that you were _ admiring The Beatles.
Now you are The Beatles.
You were a band that was being admired by other kids now, just like you admired The Beatles.
Actually, yeah, we got to know The Beatles, [C] and we became their favorite band for a while.
That was really cool.
Well, [Ab] didn't George Harrison even write a song [A] based on something you [N] guys did?
He did.
There was a song we did in The Birds that had this lick in it.
It was a Pete Seeger song, The Bells of [Db] Brumney. _
_ _ _ _ _ _ _ _
_ And [N] George took that, and he made the whole song, If I Needed Someone, out of that.
_ And he sent a copy over from London to Los Angeles, and Derek Taylor brought it.
Derek had been working for The Beatles as their press officer, and then he was working for The Birds.
So he was in London, and he came back to California, and he came over to my house and said,
George wants you to have this and know that he wrote the whole song based on your riff from The Bells of Brumney.
Wow.
Well, that just shows the depth of the influence of a Rodman McGuinn.
_ What the right sound can do. _ _ _