Chords for Steve Hackett - Spectral Mornings [The Man, The Music]
Tempo:
102.9 bpm
Chords used:
G
D
C
E
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
![Steve Hackett - Spectral Mornings [The Man, The Music] chords](https://i.ytimg.com/vi/47AJx_E9ZsM/mqdefault.jpg)
Start Jamming...
[Am] [C] [Bm] [E] Well, it [G] was my [D] first touring [Bm] band, really, under [E] my own name.
And I loved the guys, I loved what [A] they could do.
We did a tour where they were playing material from Acolyte [G] and Please Don't Touch.
And even [F] though they [D] didn't actually play on those records, they [E] really gave it everything live.
[D] And we did a great tour, and I thought, well, wow.
We [G] had to come up with a little more [A] material, so there were a couple of things that would [G] become [C] part of the [D] subsequent album, which was Spectral [A] Mornings.
So, [G] I think [N] Clocks was really designed as a stage [Ab] thing, and the title track, Spectral Mornings, was designed originally as a vocal piece.
And I played it to the guys on guitar to illustrate the vocal piece that I thought should be done.
And Pete Hicks, the singer, said, well, it sounds great on guitar, Steve, why don't you just stick like that?
And I thought, oh, this would sound more like an Elton John song [D] if it had [C] lyrics on it.
It was going to be somewhere between Elton John and Randy Newman, maybe.
But of course it came out as progressive.
And we recorded in Holland.
It was very, very cold.
It was 15 degrees below freezing Fahrenheit, as it was in those days.
And frozen lakes in Holland, the Phonogram Studios.
Again, very little sleep.
Lots of partying.
So it was really a party that happened on record.
We weren't straight.
We weren't sober for it.
And yet it was a very cohesive album, I think.
I felt very relaxed, very excited about this thing that we were building.
I did think that it sounded wonderful.
There were just some very long sessions way into the night, as I remember.
Various frequent trips to the drinks cabinet, which got us through those times.
It was absolutely freezing, as I recall.
Yes, I think it was quite frozen.
The lake was frozen outside.
And there were people doing handbrake turns on the lake.
It was good fun.
You know, Nick Magnus had this extraordinary sound.
He had a thing called a vox string thing.
And when I first met him, I said,
I don't suppose you've got a sound like a church organ or a pipe organ.
He said, yes.
And he pressed the switch.
And he'd done this thing.
He'd hooked up all the various octaves on this thing.
And from this keyboard that I thought wasn't going to be able to do anything like that,
it came out with this glorious pipe organ sound,
which is the sound you hear on Spectral Mornings.
And I loved the guys, I loved what [A] they could do.
We did a tour where they were playing material from Acolyte [G] and Please Don't Touch.
And even [F] though they [D] didn't actually play on those records, they [E] really gave it everything live.
[D] And we did a great tour, and I thought, well, wow.
We [G] had to come up with a little more [A] material, so there were a couple of things that would [G] become [C] part of the [D] subsequent album, which was Spectral [A] Mornings.
So, [G] I think [N] Clocks was really designed as a stage [Ab] thing, and the title track, Spectral Mornings, was designed originally as a vocal piece.
And I played it to the guys on guitar to illustrate the vocal piece that I thought should be done.
And Pete Hicks, the singer, said, well, it sounds great on guitar, Steve, why don't you just stick like that?
And I thought, oh, this would sound more like an Elton John song [D] if it had [C] lyrics on it.
It was going to be somewhere between Elton John and Randy Newman, maybe.
But of course it came out as progressive.
And we recorded in Holland.
It was very, very cold.
It was 15 degrees below freezing Fahrenheit, as it was in those days.
And frozen lakes in Holland, the Phonogram Studios.
Again, very little sleep.
Lots of partying.
So it was really a party that happened on record.
We weren't straight.
We weren't sober for it.
And yet it was a very cohesive album, I think.
I felt very relaxed, very excited about this thing that we were building.
I did think that it sounded wonderful.
There were just some very long sessions way into the night, as I remember.
Various frequent trips to the drinks cabinet, which got us through those times.
It was absolutely freezing, as I recall.
Yes, I think it was quite frozen.
The lake was frozen outside.
And there were people doing handbrake turns on the lake.
It was good fun.
You know, Nick Magnus had this extraordinary sound.
He had a thing called a vox string thing.
And when I first met him, I said,
I don't suppose you've got a sound like a church organ or a pipe organ.
He said, yes.
And he pressed the switch.
And he'd done this thing.
He'd hooked up all the various octaves on this thing.
And from this keyboard that I thought wasn't going to be able to do anything like that,
it came out with this glorious pipe organ sound,
which is the sound you hear on Spectral Mornings.
Key:
G
D
C
E
A
G
D
C
[Am] _ _ [C] _ _ _ [Bm] _ [E] Well, it [G] was my [D] first touring [Bm] band, really, under [E] my own name.
And I loved the guys, I loved what [A] they could do.
_ We did a tour where they were playing material from Acolyte [G] and Please Don't Touch.
And even [F] though they [D] didn't actually play on those records, they [E] really gave it everything live.
[D] And we did a great tour, and I thought, well, wow.
We [G] had to come up with a little more [A] material, so there were a couple of things that would [G] become _ _ _ [C] part of the [D] subsequent album, which was Spectral [A] Mornings.
So, [G] I think [N] Clocks was really designed as a stage [Ab] thing, and the title track, Spectral Mornings, was designed originally as a vocal piece.
_ And I played it to the guys on guitar to illustrate the vocal piece that I thought should be done.
And Pete Hicks, the singer, said, well, it sounds great on guitar, Steve, why don't you just stick like that?
And I thought, oh, this would sound more like an Elton John song [D] if it had _ [C] lyrics on it.
It was going to be somewhere between Elton John and Randy Newman, maybe.
_ _ But of course it came out as progressive.
_ And we recorded in Holland.
It was very, very cold.
It was 15 degrees below freezing Fahrenheit, as it was in those days.
And _ _ frozen lakes in Holland, the Phonogram Studios.
_ _ _ Again, very little sleep.
Lots of partying.
So it was really a party that happened on record.
We weren't straight.
We weren't sober for it. _ _
And yet it was a very cohesive _ album, I think.
I felt very relaxed, very excited about this thing that we were building.
I did think that it sounded wonderful.
There were just some very long sessions way into the night, as I remember. _
Various _ frequent trips to the drinks cabinet, which got us through those times.
It was absolutely freezing, as I recall. _ _ _
Yes, I think it was quite frozen.
The lake was frozen outside.
And there were people doing handbrake turns on the lake.
It was _ _ _ good fun.
You know, Nick Magnus had this _ extraordinary sound.
He had a thing called a vox string thing.
And when I first met him, _ I said,
I don't suppose you've got a sound like a church organ or a pipe organ.
He said, yes.
And he pressed the switch.
And he'd done this thing.
He'd hooked up all the various octaves on this thing.
And from this _ _ keyboard that I thought _ wasn't going to be able to do anything like that,
it came out with this glorious pipe organ sound,
which is the sound you hear on Spectral Mornings. _ _ _
And I loved the guys, I loved what [A] they could do.
_ We did a tour where they were playing material from Acolyte [G] and Please Don't Touch.
And even [F] though they [D] didn't actually play on those records, they [E] really gave it everything live.
[D] And we did a great tour, and I thought, well, wow.
We [G] had to come up with a little more [A] material, so there were a couple of things that would [G] become _ _ _ [C] part of the [D] subsequent album, which was Spectral [A] Mornings.
So, [G] I think [N] Clocks was really designed as a stage [Ab] thing, and the title track, Spectral Mornings, was designed originally as a vocal piece.
_ And I played it to the guys on guitar to illustrate the vocal piece that I thought should be done.
And Pete Hicks, the singer, said, well, it sounds great on guitar, Steve, why don't you just stick like that?
And I thought, oh, this would sound more like an Elton John song [D] if it had _ [C] lyrics on it.
It was going to be somewhere between Elton John and Randy Newman, maybe.
_ _ But of course it came out as progressive.
_ And we recorded in Holland.
It was very, very cold.
It was 15 degrees below freezing Fahrenheit, as it was in those days.
And _ _ frozen lakes in Holland, the Phonogram Studios.
_ _ _ Again, very little sleep.
Lots of partying.
So it was really a party that happened on record.
We weren't straight.
We weren't sober for it. _ _
And yet it was a very cohesive _ album, I think.
I felt very relaxed, very excited about this thing that we were building.
I did think that it sounded wonderful.
There were just some very long sessions way into the night, as I remember. _
Various _ frequent trips to the drinks cabinet, which got us through those times.
It was absolutely freezing, as I recall. _ _ _
Yes, I think it was quite frozen.
The lake was frozen outside.
And there were people doing handbrake turns on the lake.
It was _ _ _ good fun.
You know, Nick Magnus had this _ extraordinary sound.
He had a thing called a vox string thing.
And when I first met him, _ I said,
I don't suppose you've got a sound like a church organ or a pipe organ.
He said, yes.
And he pressed the switch.
And he'd done this thing.
He'd hooked up all the various octaves on this thing.
And from this _ _ keyboard that I thought _ wasn't going to be able to do anything like that,
it came out with this glorious pipe organ sound,
which is the sound you hear on Spectral Mornings. _ _ _