Chords for Stewart Copeland Signature Kit

_ _ [A] _ _ _ _ _ _
_ _ [E] _ _ _ _ _ _
[A] _ _ [E] I picked up the guitar and the drums pretty much at about the same time.
Actually, my first answer was trombone. _
[D] But [A] as destiny would have it, my first band [E] opening was for a drummer. _ _ _
I [A] guess this would be an introduction to Stewart's new drum kit.
[E] Basically, it's a copy of the original drum set from [G] 1983.
_ [A] The sizes are all the same, a few variations in the cymbals,
_ but it's an exact copy of the Synchronicity 1983 drum set.
_ [G] With the addition of the Stewart Copeland signature [A] snare drum.
_ [F#] _ My relationship with Tama Drums began in a rather [C] _ _ [A] dubious fashion.
As a matter of fact, I was a reviewer of drum equipment for [F#] Sounds Magazine [C#m] in London in [A#] 1975. _
_ [E] _ _ [A] _ _ _ [F#] I was given this [C#] set of Japanese drums to review.
And Tama was [F#] really the first drum manufacturer to design [C#] equipment for rock music,
to be played hard and to be [A] played by gorillas [Bm] like myself.
So there I [C#] am, actually not a gorilla at the time, I'm a [F#] starving, skinny reviewer for a music magazine.
But I got these [C#] drummers and they turned me into a [N] gorilla.
_ _ So I was just [F#] looking at them.
Then you whack them.
_ [C#] _ _ _ [B]
The sound, just the sound of the drum.
Whoa, they just explode on impact.
[C] _ _ [C#] There was a [A#] feel and a sound to them, as well as the [D] equipment.
For me as a reviewer, it was a no-brainer.
I had to get me some. _ _ _
_ _ _ [A] _ _ I think [G]
what a lot of people ask about Stewart's drums _ in general is why the sizes. _ _
Why standard sized tom-toms as opposed to long, deep tom-toms.
_ When Stewart was touring through America in a station wagon,
[F] part of getting the sound [G] to project to the [E] audience, higher [F] pitched drums.
Smaller, higher pitched drums would crack [C#] through.
So _ _ [G] I was actually playing in a band at the time called Curved Air.
Of course [D] I played in the fifth [B] generation of the band,
way after it had lost all of its following, lost its [D] credibility and everything.
[A] But never mind that.
I sent [A#] to the importer of Tomah Drums,
[D] I sent all the headlines of the group from [C#]
years before I joined
and convinced them to give me a free set of drums.
_ _ _ That was _ 33 years ago.
And I've been playing these drums ever since.
Many times over I could buy any drums I want.
The American companies started to catch up and copy,
pretty much following in the footsteps of Tomah,
started to build drums that looked pretty much like Tomah,
but they were still behind.
Tomah was bursting ahead with things like the gong drum over there
and just revolutionary shapes of the different kinds of drums they were making.
They just continued to leave everybody in their dust.
One day they invented these [D] octobands here,
which are kind of cool looking, which is the main reason I got them.
But they also, intriguingly, actually sound really good.
_ _ _ _ _ [A#] _
_ _ _ _ _ _ _ _
_ _ _ _ [Gm] _ _ _ _
_ [D] And for reggae, they fit really good. _ _
_ _ _ _ _ _ _ _
_ _ _ _ [A#] _ _ _ _
_ _ _ They cut through, [G#] they have a lot of [D#] impact, but they cut through
and it's kind of a unique, interesting sound. _ _
_ _ [Gm] _ _ But he goes for a [D#] really tight, quick response, spot-head sound.
[F] _ _ _ _ _ _ [F#] _ _
[F] You don't get as much of a rebound, as much of a [D#] bounce back.
[A] So the smaller tom's tight,
but the lower head's getting a nice deep pitch.
[G] _ It makes them cut through, project through the big wall of sound as it were. _ _ _
By the way, [A] here's a trick for [Bm] any young drummer
who wants to [A] be on the front of [G] Drum World magazine.
It's [A] really easy.
Basically [B] what you do is you take every [C#] rhythm that you play,
_ [G] move it one quarter note to the [A] left.
You've got [Bm] to tell the band you're doing it or else they'll get [C#] confused.
Just take every_
See, [G] I moved every beat [A] that I play and moved it one [Bm] quarter note to the right,
[C#] which is why I got rich and famous.
[G] So one beat to the right is [A] taken,
but one beat to [Bm] the left is still free, it's [C#] still available.
For anyone, the [D] first person who hears this
and runs down to their band room and does this is going to be rich and [B] famous.
_ _ _ _ [D] _ _
_ _ [A] _ _ [D] _ _ My last drum set that I got from Tama was [C] a green sparkle drum set,
which is green because I like the color [D] green
and I hadn't seen much in the way of _ green drums.
But [A] then when it came time to play the police, green just didn't seem right.
Green is not a police color.
This is a police color. _ _
_ _ _ _ _ _ _ _
_ It has been a [F] real interesting journey to come back to my group that I broke out with.
I played in groups before,
[Cm] but the police was the group that really invented [F] me as a musician.
_ Stuart's signature, I suppose, [G] of all the [A] elements of the sound of the [Gm] drums,
the way he attacks the drums, the way [Cm] he is, the way he [D] feels the rhythm. _ _
_ _ [C] People talk about a unique style,
and I'm not really sure [D] what they're talking about
because I just play _ instinctively.
I [C] don't really think _ about_ _
_uniquitude.
I guess [Dm] maybe I grew up in the Arab world
and I grew up listening [C] to Arabic music instead of American music.
I don't know.
Maybe that might have [A#] contributed to different [D] sensibilities.
All I [Dm] can tell you is that I got real lucky.
_ _ [C] _ _ _ _ [Dm] _ _ _ _ _ _