Chords for Steely Dan - "Home At Last" The Making Of:

[Bb] _ _ _ _ _ _ [Am] _ [Bb] _
_ _ _ _ _ [C] _ [Dm] _ _
_ [Bb] _ _ _ _ _ [Am] _ _
[Bb] _ _ _ _ _ [Am] _ [Dm] _ _
[Gm] _ _ _ [F] _ [Gm] _ _ _ _
_ _ _ _ [Gm] _ _ [C] _ [Bb] _
[Gm] _ _ _ _ [Gm] _ _ _ [Am] _
[Gm] _ _ _ _ [F] _ [G] _ [Am] _ [Bb]
When we got [Gm] to California, I don't know that we were nostalgic in a general sort of way for New York
so much as we were nostalgic as writers [F] for this _ _ milieu that we left behind.
We weren't finished writing songs with New York characters in them yet.
So we kept doing that, and [Gm] by the time we were finished, we had moved back to New York,
at which point we immediately started writing lyrics about California.
Who wrote that tired, sleepy song?
Said, on [F] this peaceful [Gm] shore,
_ _ [F] You'll take [Gm] you for [Ab] this one, [Gm] me, home.
_ [G] A lot of our songs are about being homesick, [Eb] I think, for New York.
[Gm]
I've noticed that, actually.
_ _ [Dm] I guess _ [Bb] it just [Cm] was our natural [Gm] inclination to write to some [Eb] [Dm] stories, really.
_ Home at Last, the central metaphor [Cm] was taken from Ulysses' Big [Gm] Problem,
trying to get back home, [Bb] but we didn't take it that seriously.
It's essentially just the idea that, have you read a little blues about [F] Ulysses?
[F] _ [Eb] _ Here's [F] [Bb] a guitar riff, [F] sort [Gm] of a _ _ [Dm] _ _ [G] Chicago [Dm] blues [F] sort of [Bb] _ [Dm] _ _ [G] item.
[Am] _ [Bb] Larry Carlton.
_ _ _ [G] _
[Dm] _ _ _ _ _ _ _ _
[C] [Bb] Donald [Eb] and Walter love [Bb] sophisticated harmony,
but they're [Eb] rock and roll guys.
_ [Bb] We're contemporaries as far as age, so we all were brought up [Gm] listening to the 60s. _
I know that they love rock and roll, but they also have a passion for harmony,
[Am] [Bb] which, [Gm] as do I.
All the players they use, we love great feeling rock and roll music, but we love harmony.
_ [C] _ _
_ [Dm] _ [Gm] _ _ _ _ [F] _ _
[Gm] _ _ _ _ _ _ _ _
[C] _ [Gm] _ _ _ _ _ _ _
_ When we did Pressologic, which was the first album we [Dm] did with studio players,
[Bb] we had done a couple albums with our little [Fm] band,
and we had _ [Bb] heard these players and done overdubs and stuff with them.
_ But I found myself in the room with these guys, and I thought,
wow, I'm really out of class here. _
_ [F] _ Reet _ _ [Bb] _ _
_ _ _ _ [A] _ _ [Dm] and Frank.
[Fm] Nina [Abm] Simone.
_ _ [Gb] Roberta Flack and Donny Hathaway.
[Gm] _ James Brown.
Lloyd Price.
[Am] Ray [Bb] Charles.
[Eb] _ Frank Sinatra.
[Bb] _ Heinz, [Eb] Heinz, and Ford.
[Bb] Barry Manilow.
Dionne Warwick.
The Animals.
The [D] Monkeys.
Peter.
[Gm] _ B.B. [C] King.
[Fm] Bobby [G] Bluford.
[Gm] _ _
_ [G] _ _ [C] [Bb] Now, they already told me that they didn't want a shuffle.
They didn't want the Motown, they didn't want the Chicago.
But they weren't [Eb] sure [Dm] how and what they wanted, but [Gm] they did want [Ab] halftime.
[Gm] I said, fine, then let me do the Purdy [G] Shuffle.
And they said, well, what [Eb] is that?
I said, well, I'll show [F] you where you can feel [Bb] comfortable with it,
[F] and you end up getting [Eb] exactly what you asked for,
halftime, _ [Dm] funky, _ laid back, _ without thinking that it's a shuffle.
[Bb] And it goes something like this. _
_ _ _ _ _ _ _ _
_ [Dm] _ _ _ [Gm] _ [Am] _ [Bb] _ _
Who wrote the cheat song?
Said all [F] this peaceful [Eb] song. _
_ [D] _ [Gm] _ _ [Fm] _ _ _ [Gm] _
_ _ _ Let's isolate Bernard [C] for a second because [Bb] let's listen to that beat.
_ Bernard, you know, _ this isn't easy.
[N] You'd come in with a _ tune and have sort of something in mind,
but _ _ the way Bernard played stuff was always,
he always had some unique _ stylistic thing that he did that you would never imagine in advance
and that nobody else would do.
This tune was a good example of that.
_ A lot of _ _ _ _ _ _ Bernard's hi-hat _ _ _ in this tune particularly is a real driving kind of. _ _ _
_ _ _ You got the backbeat, _ you got double time, _ _ _ _
and you have it almost shuffle.
Funky, ba-ba-ba-ba-ba-ba-ba-ba-ba-ba.
Boom,