Chords for Steve Cropper on Stax and 'Sitting On The Dock Of The Bay'
Tempo:
98.6 bpm
Chords used:
G
C
E
Bm
Gm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[E] We're very fortunate at Stax to play behind many, many artists,
and those including probably the greatest that will ever live,
[C] as Otis Redding, that ever will be,
and the great Wilson Pickett, we played behind him.
And of course we started out with Rufus and Carla Thomas,
William Bell, on to Eddie Floyd, people like that.
And it's just been a great career, and fortunately,
because of that, led me in two years later,
doing a lot of sessions in California
[Bm] and playing with some of the greatest artists
that have ever lived on this planet.
So I'm a very, very lucky and fortunate guy.
And I'm fortunate today to be here with my good buddy Ron Wood.
And I can't let any time go by without telling everybody
that Steve here wrote
Sitting on the Dock of the Bay with Otis Redding.
Tell us about that.
Well, I'll try to make it quick.
Make it as long as you want.
Well, okay.
When Otis came to town, he would go check in
to the Holiday Inn somewhere, wherever he was going to stay,
and then he'd call me from there,
and I'd go down and write with him.
And that's the way we did it.
And we'd write probably all night sometimes
and go to the studio the next day and cut what we wrote.
On this particular occasion, I get a phone call from Otis,
and he's at the airport.
And he said, I just wanted to check
to make sure you were at the studio
because I'm coming straight down.
And I said, okay.
So he comes down, and he comes running in the studio,
and he said, Crop, get your gut talk.
Get your gut talk.
I got a hit.
I got a hit.
I said, what do you got?
And he started playing, you know, he was tuned to a chord,
and he [G] started playing, you know, just like
And he said, sitting in the morning, son,
I'll be sitting when the evening comes,
watching the ships come in, and I'll watch them roll away again.
He was talking about the ferries.
Because he wrote the song or started it
in Bill Graham's boathouse in Sausalito.
I remember the fish and chip bar.
And the rest of it, I helped him write.
I wrote about him.
I left my home in Georgia and those things.
So you want to hear a little part of it?
Yeah.
And I come up with this.
You know, by the way, Otis never heard the electric guitar.
I played the acoustic guitar on that track.
And then I overdubbed that weekend.
On a Friday evening, I overdubbed the guitar licks,
which I was going to play him on Monday,
but he never got back for me to play it for him.
Wow, I didn't realize it was that close to him.
It was that close, absolutely.
So it went like this.
[Gm] Duck picked up on the bass line.
Yeah.
[G] Sitting in the [B] morning sun.
[C] I'll be sitting when the [C#] evening comes.
[G] Watching
and those including probably the greatest that will ever live,
[C] as Otis Redding, that ever will be,
and the great Wilson Pickett, we played behind him.
And of course we started out with Rufus and Carla Thomas,
William Bell, on to Eddie Floyd, people like that.
And it's just been a great career, and fortunately,
because of that, led me in two years later,
doing a lot of sessions in California
[Bm] and playing with some of the greatest artists
that have ever lived on this planet.
So I'm a very, very lucky and fortunate guy.
And I'm fortunate today to be here with my good buddy Ron Wood.
And I can't let any time go by without telling everybody
that Steve here wrote
Sitting on the Dock of the Bay with Otis Redding.
Tell us about that.
Well, I'll try to make it quick.
Make it as long as you want.
Well, okay.
When Otis came to town, he would go check in
to the Holiday Inn somewhere, wherever he was going to stay,
and then he'd call me from there,
and I'd go down and write with him.
And that's the way we did it.
And we'd write probably all night sometimes
and go to the studio the next day and cut what we wrote.
On this particular occasion, I get a phone call from Otis,
and he's at the airport.
And he said, I just wanted to check
to make sure you were at the studio
because I'm coming straight down.
And I said, okay.
So he comes down, and he comes running in the studio,
and he said, Crop, get your gut talk.
Get your gut talk.
I got a hit.
I got a hit.
I said, what do you got?
And he started playing, you know, he was tuned to a chord,
and he [G] started playing, you know, just like
And he said, sitting in the morning, son,
I'll be sitting when the evening comes,
watching the ships come in, and I'll watch them roll away again.
He was talking about the ferries.
Because he wrote the song or started it
in Bill Graham's boathouse in Sausalito.
I remember the fish and chip bar.
And the rest of it, I helped him write.
I wrote about him.
I left my home in Georgia and those things.
So you want to hear a little part of it?
Yeah.
And I come up with this.
You know, by the way, Otis never heard the electric guitar.
I played the acoustic guitar on that track.
And then I overdubbed that weekend.
On a Friday evening, I overdubbed the guitar licks,
which I was going to play him on Monday,
but he never got back for me to play it for him.
Wow, I didn't realize it was that close to him.
It was that close, absolutely.
So it went like this.
[Gm] Duck picked up on the bass line.
Yeah.
[G] Sitting in the [B] morning sun.
[C] I'll be sitting when the [C#] evening comes.
[G] Watching
Key:
G
C
E
Bm
Gm
G
C
E
_ [E] _ _ _ We're very fortunate at Stax to play behind many, many artists,
and those including probably the greatest that will ever live,
[C] as Otis Redding, _ that ever will be,
and the great Wilson Pickett, we played behind him.
And of course we started out with Rufus and Carla Thomas,
William Bell, on to Eddie Floyd, people like that.
And it's just been a great career, and fortunately,
because of that, led me in two years later,
doing a lot of sessions in California
[Bm] and playing with some of the greatest artists
that have ever lived on this planet.
So I'm a very, very lucky and fortunate guy.
And I'm fortunate today to be here with my good buddy Ron Wood.
And I can't let any time go by without telling everybody
that Steve here wrote
Sitting on the Dock of the Bay with Otis Redding.
Tell us about that.
Well, I'll try to make it quick.
_ Make it as long as you want.
Well, okay.
When Otis came to town, he would go check in
to the Holiday Inn somewhere, wherever he was going to stay,
and then he'd call me from there,
and I'd go down and write with him.
And that's the way we did it.
And we'd write probably all night sometimes
and go to the studio the next day and cut what we wrote.
On this particular occasion, I get a phone call from Otis,
and he's at the airport.
And he said, I just wanted to check
to make sure you were at the studio
because I'm coming straight down.
And I said, okay.
So he comes down, and he comes running in the studio,
and he said, Crop, get your gut talk.
Get your gut talk.
I got a hit.
I got a hit.
I said, what do you got? _
And he started playing, you know, he was tuned to a chord,
and he [G] started playing, you know, just like_
_ And he said, sitting in the morning, son,
I'll be sitting when the evening comes,
watching the ships come in, and I'll watch them roll away again.
He was talking about the ferries.
Because he wrote the song or started it
in Bill Graham's boathouse in Sausalito.
I remember the fish and chip bar.
And the rest of it, I helped him write.
I wrote about him.
I left my home in Georgia and those things.
So you want to hear a little part of it?
Yeah.
And I come up with this.
You know, by the way, Otis never heard the electric guitar.
I played the acoustic guitar on that track.
And then I overdubbed that weekend.
On a Friday evening, I overdubbed the guitar licks,
which I was going to play him on Monday,
but he never got back for me to play it for him.
Wow, I didn't realize it was that close to him.
It was that close, absolutely.
So it went like this. _
_ _ _ _ _ [Gm] Duck picked up on the bass line.
Yeah.
_ _ _ [G] Sitting in the [B] morning sun.
_ [C] I'll be sitting when the [C#] evening comes.
_ _ [G] Watching
and those including probably the greatest that will ever live,
[C] as Otis Redding, _ that ever will be,
and the great Wilson Pickett, we played behind him.
And of course we started out with Rufus and Carla Thomas,
William Bell, on to Eddie Floyd, people like that.
And it's just been a great career, and fortunately,
because of that, led me in two years later,
doing a lot of sessions in California
[Bm] and playing with some of the greatest artists
that have ever lived on this planet.
So I'm a very, very lucky and fortunate guy.
And I'm fortunate today to be here with my good buddy Ron Wood.
And I can't let any time go by without telling everybody
that Steve here wrote
Sitting on the Dock of the Bay with Otis Redding.
Tell us about that.
Well, I'll try to make it quick.
_ Make it as long as you want.
Well, okay.
When Otis came to town, he would go check in
to the Holiday Inn somewhere, wherever he was going to stay,
and then he'd call me from there,
and I'd go down and write with him.
And that's the way we did it.
And we'd write probably all night sometimes
and go to the studio the next day and cut what we wrote.
On this particular occasion, I get a phone call from Otis,
and he's at the airport.
And he said, I just wanted to check
to make sure you were at the studio
because I'm coming straight down.
And I said, okay.
So he comes down, and he comes running in the studio,
and he said, Crop, get your gut talk.
Get your gut talk.
I got a hit.
I got a hit.
I said, what do you got? _
And he started playing, you know, he was tuned to a chord,
and he [G] started playing, you know, just like_
_ And he said, sitting in the morning, son,
I'll be sitting when the evening comes,
watching the ships come in, and I'll watch them roll away again.
He was talking about the ferries.
Because he wrote the song or started it
in Bill Graham's boathouse in Sausalito.
I remember the fish and chip bar.
And the rest of it, I helped him write.
I wrote about him.
I left my home in Georgia and those things.
So you want to hear a little part of it?
Yeah.
And I come up with this.
You know, by the way, Otis never heard the electric guitar.
I played the acoustic guitar on that track.
And then I overdubbed that weekend.
On a Friday evening, I overdubbed the guitar licks,
which I was going to play him on Monday,
but he never got back for me to play it for him.
Wow, I didn't realize it was that close to him.
It was that close, absolutely.
So it went like this. _
_ _ _ _ _ [Gm] Duck picked up on the bass line.
Yeah.
_ _ _ [G] Sitting in the [B] morning sun.
_ [C] I'll be sitting when the [C#] evening comes.
_ _ [G] Watching