Behind The Scenes Of Black & White Night 30 Chords by Roy Orbison
Tempo:
84.15 bpm
Chords used:
F
C
A
Bb
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Well, [Cm] he's the greatest, [Am] you know.
That's all I can say.
I mean, when I was a little kid, about [Gm] as big as this microphone here,
[C] I used to [F] listen to a group called The Beatles.
[Bb] Remember them?
And [B] the very first record I ever [A] had by them was called Please [Bb] Please Me.
And [G] that was written for Roy Orbison.
If [Ab] you slow that song right down, you [Em] can hear Roy Orbison in it.
And that's [Dm] the story.
That's all she wrote.
[Bbm] [Ebm] His style, [Bb]
all of that British music that's come out, all that European [G] music,
you know, for the last 20 years, [B] starting with Paul [Em] McCartin,
on and all the things [A] he's spawned, comes from Orbison.
I [Bbm] mean, [Dbm] he's been one of the most influential [Ab] writers.
[N] He's such a great singer, people don't give him credit for what a great writer he is,
but he's one of the best, [A] maybe Carole, [Abm] you know, who?
He's one of the [Bb] best rock and roll writers ever.
[C] He's one of the [F] greats when it comes to his voice.
[Am] The purity of his [Gm] voice is something that you don't hear much [C] at all anymore,
how [F] effortlessly he sings.
And you stand there and you [A] think, geez, is he going to hit that note?
[D] No matter how many times you've heard him hit it on the records or you've seen him play,
and you're not sure, and he always hits it.
[E] [A]
[N] So, you know, there's not much singing like [Db] that left anymore, you know,
and it's really a [A] beautiful, beautiful thing.
Well, Roy [N] Orbison supplied the soundtrack for my growing up.
I think he takes you back to a time when love was real innocent, and it's just [Db] inspirational.
It's very sensual music and real inspirational, and it reminds me of the way love [Dbm] should be, could be.
[F] He's a regimen.
[Db] Oh, yeah, the [N] greatest.
He has the best, the most evocative voice I've ever heard.
He's the world's only operatic rockabilly singer.
He's a great, he's also a great [G] dresser, I have [E] to say.
[G] He had a pair of $700 shoes on tonight.
[Ebm] [Db] Are they still on his feet?
I said, Roy, where'd you get [C] those?
It looked like you got those in London.
He said, yeah, uh-huh, I got those in England.
I'm not sure about the octaves.
I never had any formal training, and I think maybe it's just that I might be a baritone with a real high range,
two and a half octaves or so, but I've never checked it.
When I was a kid, his music took me out of my little town, you know,
and you don't always get a chance to sing harmony [E] with Roy Orbison [A] and play guitar next to James Burton.
[C] That's a dream.
Sweet dream, baby
Sweet
[F] dream, baby
How [C] long was [F] I dreaming?
[Bb] [Eb]
[D] [C] Sweet dream, baby
Sweet dream, baby
Sweet [F] [C] dream, baby
[F] [C] Sweet dream, baby
How long was [F] I dreaming?
[Fm] [F]
That's all I can say.
I mean, when I was a little kid, about [Gm] as big as this microphone here,
[C] I used to [F] listen to a group called The Beatles.
[Bb] Remember them?
And [B] the very first record I ever [A] had by them was called Please [Bb] Please Me.
And [G] that was written for Roy Orbison.
If [Ab] you slow that song right down, you [Em] can hear Roy Orbison in it.
And that's [Dm] the story.
That's all she wrote.
[Bbm] [Ebm] His style, [Bb]
all of that British music that's come out, all that European [G] music,
you know, for the last 20 years, [B] starting with Paul [Em] McCartin,
on and all the things [A] he's spawned, comes from Orbison.
I [Bbm] mean, [Dbm] he's been one of the most influential [Ab] writers.
[N] He's such a great singer, people don't give him credit for what a great writer he is,
but he's one of the best, [A] maybe Carole, [Abm] you know, who?
He's one of the [Bb] best rock and roll writers ever.
[C] He's one of the [F] greats when it comes to his voice.
[Am] The purity of his [Gm] voice is something that you don't hear much [C] at all anymore,
how [F] effortlessly he sings.
And you stand there and you [A] think, geez, is he going to hit that note?
[D] No matter how many times you've heard him hit it on the records or you've seen him play,
and you're not sure, and he always hits it.
[E] [A]
[N] So, you know, there's not much singing like [Db] that left anymore, you know,
and it's really a [A] beautiful, beautiful thing.
Well, Roy [N] Orbison supplied the soundtrack for my growing up.
I think he takes you back to a time when love was real innocent, and it's just [Db] inspirational.
It's very sensual music and real inspirational, and it reminds me of the way love [Dbm] should be, could be.
[F] He's a regimen.
[Db] Oh, yeah, the [N] greatest.
He has the best, the most evocative voice I've ever heard.
He's the world's only operatic rockabilly singer.
He's a great, he's also a great [G] dresser, I have [E] to say.
[G] He had a pair of $700 shoes on tonight.
[Ebm] [Db] Are they still on his feet?
I said, Roy, where'd you get [C] those?
It looked like you got those in London.
He said, yeah, uh-huh, I got those in England.
I'm not sure about the octaves.
I never had any formal training, and I think maybe it's just that I might be a baritone with a real high range,
two and a half octaves or so, but I've never checked it.
When I was a kid, his music took me out of my little town, you know,
and you don't always get a chance to sing harmony [E] with Roy Orbison [A] and play guitar next to James Burton.
[C] That's a dream.
Sweet dream, baby
Sweet
[F] dream, baby
How [C] long was [F] I dreaming?
[Bb] [Eb]
[D] [C] Sweet dream, baby
Sweet dream, baby
Sweet [F] [C] dream, baby
[F] [C] Sweet dream, baby
How long was [F] I dreaming?
[Fm] [F]
Key:
F
C
A
Bb
G
F
C
A
Well, [Cm] he's the greatest, [Am] you know.
That's all I can say.
I mean, when I was a little kid, about [Gm] as big as this microphone here,
_ [C] _ I used to [F] listen to a group called The Beatles.
[Bb] Remember them?
And [B] the very first record I ever [A] had by them was called Please [Bb] Please Me.
And [G] that was written for Roy Orbison.
If [Ab] you slow that song right down, you [Em] can hear Roy Orbison in it.
And that's [Dm] the story.
That's all she wrote.
[Bbm] _ [Ebm] His style, [Bb]
all of that British music that's come out, all that European [G] music,
you know, for the last 20 years, [B] starting with Paul [Em] McCartin,
on and all the things [A] he's spawned, comes from Orbison.
I [Bbm] mean, [Dbm] he's been one of the most influential [Ab] writers.
[N] He's such a great singer, people don't give him credit for what a great writer he is,
but he's one of the best, [A] maybe Carole, [Abm] you know, who?
He's one of the [Bb] best rock and roll writers ever.
_ [C] He's one of the [F] greats when it comes to his voice.
[Am] The purity of his [Gm] voice is something that you don't hear much [C] at all anymore,
how [F] effortlessly he sings.
And you stand there and you [A] think, geez, is he going to hit that note?
[D] No matter how many times you've heard him hit it on the records or you've seen him play,
and you're not sure, and he always hits it. _ _ _ _ _
_ _ _ _ _ _ _ _
[E] _ _ [A] _ _ _ _ _ _
_ _ _ _ [N] _ _ So, you know, there's not much singing like [Db] that left anymore, you know,
and it's really a [A] beautiful, beautiful thing.
_ Well, Roy [N] Orbison supplied the soundtrack for my growing up.
I think he takes you back to a time when love was real innocent, and it's just [Db] inspirational.
It's very sensual music and real inspirational, and it reminds me of the way love [Dbm] should be, could be.
[F] He's a regimen.
[Db] Oh, yeah, the [N] greatest.
He has the best, the most evocative voice I've ever heard.
He's the world's only operatic rockabilly singer.
He's a great, he's also a great [G] dresser, I have [E] to say.
_ [G] He had a pair of $700 shoes on tonight.
[Ebm] _ [Db] Are they still on his feet?
I said, Roy, where'd you get [C] those?
It looked like you got those in London.
He said, yeah, uh-huh, I got those in England.
I'm not sure about the octaves.
_ I never had any formal training, and I think maybe it's just that I might be a baritone with a real high range,
two and a half octaves or so, but I've never checked it.
When I was a kid, his music took me out of my little town, you know,
and you don't always get a chance to sing harmony [E] with Roy Orbison [A] and play guitar next to James Burton.
[C] That's a dream. _ _ _
Sweet dream, baby
Sweet _
[F] _ _ dream, baby
How [C] _ _ long was [F] I dreaming?
[Bb] _ [Eb] _
[D] [C] Sweet dream, baby _ _
Sweet dream, baby
Sweet _ [F] _ [C] dream, baby _ _
[F] [C] Sweet _ dream, baby _
How _ long was [F] I dreaming? _
_ _ [Fm] _ _ [F] _ _ _ _
That's all I can say.
I mean, when I was a little kid, about [Gm] as big as this microphone here,
_ [C] _ I used to [F] listen to a group called The Beatles.
[Bb] Remember them?
And [B] the very first record I ever [A] had by them was called Please [Bb] Please Me.
And [G] that was written for Roy Orbison.
If [Ab] you slow that song right down, you [Em] can hear Roy Orbison in it.
And that's [Dm] the story.
That's all she wrote.
[Bbm] _ [Ebm] His style, [Bb]
all of that British music that's come out, all that European [G] music,
you know, for the last 20 years, [B] starting with Paul [Em] McCartin,
on and all the things [A] he's spawned, comes from Orbison.
I [Bbm] mean, [Dbm] he's been one of the most influential [Ab] writers.
[N] He's such a great singer, people don't give him credit for what a great writer he is,
but he's one of the best, [A] maybe Carole, [Abm] you know, who?
He's one of the [Bb] best rock and roll writers ever.
_ [C] He's one of the [F] greats when it comes to his voice.
[Am] The purity of his [Gm] voice is something that you don't hear much [C] at all anymore,
how [F] effortlessly he sings.
And you stand there and you [A] think, geez, is he going to hit that note?
[D] No matter how many times you've heard him hit it on the records or you've seen him play,
and you're not sure, and he always hits it. _ _ _ _ _
_ _ _ _ _ _ _ _
[E] _ _ [A] _ _ _ _ _ _
_ _ _ _ [N] _ _ So, you know, there's not much singing like [Db] that left anymore, you know,
and it's really a [A] beautiful, beautiful thing.
_ Well, Roy [N] Orbison supplied the soundtrack for my growing up.
I think he takes you back to a time when love was real innocent, and it's just [Db] inspirational.
It's very sensual music and real inspirational, and it reminds me of the way love [Dbm] should be, could be.
[F] He's a regimen.
[Db] Oh, yeah, the [N] greatest.
He has the best, the most evocative voice I've ever heard.
He's the world's only operatic rockabilly singer.
He's a great, he's also a great [G] dresser, I have [E] to say.
_ [G] He had a pair of $700 shoes on tonight.
[Ebm] _ [Db] Are they still on his feet?
I said, Roy, where'd you get [C] those?
It looked like you got those in London.
He said, yeah, uh-huh, I got those in England.
I'm not sure about the octaves.
_ I never had any formal training, and I think maybe it's just that I might be a baritone with a real high range,
two and a half octaves or so, but I've never checked it.
When I was a kid, his music took me out of my little town, you know,
and you don't always get a chance to sing harmony [E] with Roy Orbison [A] and play guitar next to James Burton.
[C] That's a dream. _ _ _
Sweet dream, baby
Sweet _
[F] _ _ dream, baby
How [C] _ _ long was [F] I dreaming?
[Bb] _ [Eb] _
[D] [C] Sweet dream, baby _ _
Sweet dream, baby
Sweet _ [F] _ [C] dream, baby _ _
[F] [C] Sweet _ dream, baby _
How _ long was [F] I dreaming? _
_ _ [Fm] _ _ [F] _ _ _ _