Chords for Roger Waters explains the arguments over 'Comfortably Numb'
Tempo:
114.45 bpm
Chords used:
B
A
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[E] [B]
[A] [N] Yeah, well, you know Dave and I
When we were in the south of France where we did most of the recording of the war
There we had a quite serious disagreement about the recording of comfortably numb
Which was very much a team effort because let's not forget
we were working as well with Bob Ezrin who was producing the record with me and Dave and
When the multi tracks went to New York
Dave and I didn't go with them.
Neither did Ezrin.
They went off and they arrived and Michael Kamen
Then took them into a studio and he wrote that he wrote all those great charts for comfortably numb
On his own
Which is pretty extraordinary a lot of the other stuff that he did for he took off my demos and things
You know things like is there anybody out there and things to sort of exact copies of the demos that I've made
What was the disagreement then between what you know, it's a fundamental disagreement
Yeah, it's really really
Simply it's probably one story that where you were his memory and my memory would probably be almost exactly the same and it was that
We had made a rhythm track.
So that would be like drums bass
guitar, whatever and I
Loved it and he thought it wasn't precise enough rhythmically
And recut the drum track and there's something else and said there that's better and I listened to it.
I went no, it's not
Hate that and he went
So that was all the disagreement was and in the end the track that is on the record is
You know the first verses from the version
I like than the second verses from the version he liked and then there's a bit of chorus from my well and a bit of
it so we
Compromise it was a negotiation and a compromise but it was very fine margins, wasn't it by the sound of it?
No margins of perfection.
Yeah, neat neat neither he nor I would would accept that
You know, it's it's a very strange thing when you when you're a musician and you work in these things
There are things that would that to a layman might seem like nothing really kind of glaring and jarring on the air
Though I did read that David said somewhere or other
About that telling the same story and he has the same story as me because I've read it some way
He said probably if we listen to it now, we wouldn't be able to tell the difference
[B] [A]
[A] [N] Yeah, well, you know Dave and I
When we were in the south of France where we did most of the recording of the war
There we had a quite serious disagreement about the recording of comfortably numb
Which was very much a team effort because let's not forget
we were working as well with Bob Ezrin who was producing the record with me and Dave and
When the multi tracks went to New York
Dave and I didn't go with them.
Neither did Ezrin.
They went off and they arrived and Michael Kamen
Then took them into a studio and he wrote that he wrote all those great charts for comfortably numb
On his own
Which is pretty extraordinary a lot of the other stuff that he did for he took off my demos and things
You know things like is there anybody out there and things to sort of exact copies of the demos that I've made
What was the disagreement then between what you know, it's a fundamental disagreement
Yeah, it's really really
Simply it's probably one story that where you were his memory and my memory would probably be almost exactly the same and it was that
We had made a rhythm track.
So that would be like drums bass
guitar, whatever and I
Loved it and he thought it wasn't precise enough rhythmically
And recut the drum track and there's something else and said there that's better and I listened to it.
I went no, it's not
Hate that and he went
So that was all the disagreement was and in the end the track that is on the record is
You know the first verses from the version
I like than the second verses from the version he liked and then there's a bit of chorus from my well and a bit of
it so we
Compromise it was a negotiation and a compromise but it was very fine margins, wasn't it by the sound of it?
No margins of perfection.
Yeah, neat neat neither he nor I would would accept that
You know, it's it's a very strange thing when you when you're a musician and you work in these things
There are things that would that to a layman might seem like nothing really kind of glaring and jarring on the air
Though I did read that David said somewhere or other
About that telling the same story and he has the same story as me because I've read it some way
He said probably if we listen to it now, we wouldn't be able to tell the difference
[B] [A]
Key:
B
A
E
B
A
E
B
A
_ _ [E] _ _ _ [B] _ _ _
[A] _ _ _ _ _ [N] Yeah, well, you know Dave and I
_ When we were in the south of France where we did most of the recording of the war
There we had a quite serious disagreement about the recording of comfortably numb
Which was very much a team effort because let's not forget
we were working as well with Bob Ezrin who was producing the record with me and Dave _ and
_ _ _ _ When the multi tracks went to New York _ _
Dave and I didn't go with them.
Neither did Ezrin.
They went off and they arrived and Michael Kamen
Then took them into a studio and he wrote that he wrote all those great charts for comfortably numb _ _
On his own
_ Which is pretty extraordinary a lot of the other stuff that he did for he took off my demos and things
You know things like is there anybody out there and things to sort of exact copies of the demos that I've made
What was the disagreement then between what you know, it's a fundamental disagreement
Yeah, _ it's really really
Simply it's probably one story that where you were his memory and my memory would probably be almost exactly the same and it was that
We had made a _ rhythm track.
So that would be like drums bass
_ guitar, whatever and _ I
Loved it and he thought _ it wasn't precise enough rhythmically _ _
And recut the drum track and there's something else and said there that's better and I listened to it.
I went no, it's not
Hate that and he went
So _ that was all the disagreement was and in the end the track that is on the record is
You know the first verses from the version
I like than the second verses from the version he liked and then there's a bit of chorus from my well and a bit of
it so we
Compromise it was a negotiation and a compromise but it was very fine margins, wasn't it by the sound of it?
No margins of perfection.
Yeah, neat neat neither he nor I would would accept that
You know, it's it's a very strange thing when you when you're a musician and you work in these things
There are things that would that to a layman might seem like nothing really kind of glaring and jarring on the air
Though I did read that David said somewhere or other
About that telling the same story and he has the same story as me because I've read it some way
He said probably if we listen to it now, we wouldn't be able to tell the difference
_ _ _ _ [B] _ _ _ [A] _ _ _ _ _ _ _ _
[A] _ _ _ _ _ [N] Yeah, well, you know Dave and I
_ When we were in the south of France where we did most of the recording of the war
There we had a quite serious disagreement about the recording of comfortably numb
Which was very much a team effort because let's not forget
we were working as well with Bob Ezrin who was producing the record with me and Dave _ and
_ _ _ _ When the multi tracks went to New York _ _
Dave and I didn't go with them.
Neither did Ezrin.
They went off and they arrived and Michael Kamen
Then took them into a studio and he wrote that he wrote all those great charts for comfortably numb _ _
On his own
_ Which is pretty extraordinary a lot of the other stuff that he did for he took off my demos and things
You know things like is there anybody out there and things to sort of exact copies of the demos that I've made
What was the disagreement then between what you know, it's a fundamental disagreement
Yeah, _ it's really really
Simply it's probably one story that where you were his memory and my memory would probably be almost exactly the same and it was that
We had made a _ rhythm track.
So that would be like drums bass
_ guitar, whatever and _ I
Loved it and he thought _ it wasn't precise enough rhythmically _ _
And recut the drum track and there's something else and said there that's better and I listened to it.
I went no, it's not
Hate that and he went
So _ that was all the disagreement was and in the end the track that is on the record is
You know the first verses from the version
I like than the second verses from the version he liked and then there's a bit of chorus from my well and a bit of
it so we
Compromise it was a negotiation and a compromise but it was very fine margins, wasn't it by the sound of it?
No margins of perfection.
Yeah, neat neat neither he nor I would would accept that
You know, it's it's a very strange thing when you when you're a musician and you work in these things
There are things that would that to a layman might seem like nothing really kind of glaring and jarring on the air
Though I did read that David said somewhere or other
About that telling the same story and he has the same story as me because I've read it some way
He said probably if we listen to it now, we wouldn't be able to tell the difference
_ _ _ _ [B] _ _ _ [A] _ _ _ _ _ _ _ _