Chords for The Edge Strat® | Artist Signature Series | Fender
Tempo:
124.8 bpm
Chords used:
D
E
A
Em
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Bb] [Ebm]
[Eb]
I can only describe it in terms of like getting on the back of a great motorcycle and opening the throttle and just tearing up the highway.
[Em] It's that sort of adrenaline rush.
[D]
I think music goes in cycles.
So there is an opportunity to draw from the past.
And in fact, we kind of have to.
But it's about how you draw from the past, how you apply things that have been seen or heard before, and finding a new way to present in a way that is fresh.
[D] So the 70s head socks being wider need a bit more wood, [Dm] obviously.
It's actually a different raw [F] blank to accommodate [Em] that extra wood.
It gives extra mass though, too.
And that's another thing that you [Fm] have in your guitar.
[B] Do you ever take a guitar and press it against the wall while you [D] strum a chord when it's unplugged?
That extra [G] mass and connection [E] gives you something there.
[Gb] The first guitar player that I really got interested in was an Irish guitar player called Rory Gallaher.
He played this really old, beaten up early 60s Strat.
I just remember thinking, if I pick up a guitar, I want it to be able to sound like that.
Amazing.
And there's like no finish left.
Nothing left.
It's all been just sweated away.
So I would have seen Rory play the original of this at my first ever gig in McCroom, Cork [Eb] in like 1978.
What a beaut.
There's something amazing about the fact that this instrument was designed in the [E] 50s.
And it's pretty much [Abm] the same.
That it was [Cm] day one.
[A]
Fender hit on some [Gb] innovations back in those days that [E] have never been beaten.
I think when you are an original, it always kind of stands.
And you [Gbm] sort of establish [Ab] something that is [E] unshakable.
What I was really doing [Dbm] was trying [E] to take what is [Ab] a classic [B] quintessential design.
[A] And find [Abm] what I would say is a sweet spot in terms of the sound that it will make.
[D] On the bridge pickup particularly, with the Strat.
It's a little darker so it just takes some of the [Dm] high off.
Yeah, I like it a lot.
It just came alive when you switched.
[Em] Yeah, it's really, it's a great ambience.
[A]
So [N] with the guitar that I've worked on with Fender.
I wanted to look into how I might be able to improve on my original guitars.
We made nine prototype guitars.
I used all of them on the tour to try and figure out exactly what was going to be the ultimate combination.
What's the story with that?
The nub there?
I mean, [D] who's in charge of, who's in charge?
That is definitely not, look.
That one doesn't have it.
[Em] I don't think that's the [Gb] spec.
I'm just [Bb] saying, [G] we need consistency here lads.
[Am] [Am] [D] Everything that is part of the design [A] imparts [C] some element of the personality of the tone.
[G] The actual weight of the body [A] really does [C] have an impact on the tonal [D] characteristics of the guitar.
[F]
So the adaptions, you know, I've been changing the sound [G] of the pickups.
His pickup set is [A] unique.
[Am] It's the only one that's like this.
As opposed to [F] Fender's staggered pull pieces, these are actually non-staggered.
That [C] is very unique to this guitar, any guitar we [Am] make actually.
What I've [D] been able to do with this is really refine it [C] and get it to the place where it's even [G] closer to that ideal sound I'm hearing in my [E] head.
I think it could have been, I think that might have been [D] part of the vibe.
Can we try the amp down [E] instead?
For you two, we're facing forwards all the time.
We're looking for where the culture is developing and where we can take our music that's somewhere new.
I was playing around with the pedal and it clearly was broken, but it made this crazy sound.
So, you know, it's the beginnings of something.
[Gb] That spirit of innovation [E] and discovery drives my songwriting and my guitar playing.
Great, that is a killer groove.
Whenever I pick up a guitar, [Am] I'm like, okay, I know this song is in here.
I just need [Em] to find them.
[A]
[Em] That's what it is.
It's like just this source [A] of inspiration and ideas.
[G]
I [A] hope if I do inspire somebody, it's to do something that I'm not doing, [Em] because that's where it gets really interesting.
[E]
[Eb]
I can only describe it in terms of like getting on the back of a great motorcycle and opening the throttle and just tearing up the highway.
[Em] It's that sort of adrenaline rush.
[D]
I think music goes in cycles.
So there is an opportunity to draw from the past.
And in fact, we kind of have to.
But it's about how you draw from the past, how you apply things that have been seen or heard before, and finding a new way to present in a way that is fresh.
[D] So the 70s head socks being wider need a bit more wood, [Dm] obviously.
It's actually a different raw [F] blank to accommodate [Em] that extra wood.
It gives extra mass though, too.
And that's another thing that you [Fm] have in your guitar.
[B] Do you ever take a guitar and press it against the wall while you [D] strum a chord when it's unplugged?
That extra [G] mass and connection [E] gives you something there.
[Gb] The first guitar player that I really got interested in was an Irish guitar player called Rory Gallaher.
He played this really old, beaten up early 60s Strat.
I just remember thinking, if I pick up a guitar, I want it to be able to sound like that.
Amazing.
And there's like no finish left.
Nothing left.
It's all been just sweated away.
So I would have seen Rory play the original of this at my first ever gig in McCroom, Cork [Eb] in like 1978.
What a beaut.
There's something amazing about the fact that this instrument was designed in the [E] 50s.
And it's pretty much [Abm] the same.
That it was [Cm] day one.
[A]
Fender hit on some [Gb] innovations back in those days that [E] have never been beaten.
I think when you are an original, it always kind of stands.
And you [Gbm] sort of establish [Ab] something that is [E] unshakable.
What I was really doing [Dbm] was trying [E] to take what is [Ab] a classic [B] quintessential design.
[A] And find [Abm] what I would say is a sweet spot in terms of the sound that it will make.
[D] On the bridge pickup particularly, with the Strat.
It's a little darker so it just takes some of the [Dm] high off.
Yeah, I like it a lot.
It just came alive when you switched.
[Em] Yeah, it's really, it's a great ambience.
[A]
So [N] with the guitar that I've worked on with Fender.
I wanted to look into how I might be able to improve on my original guitars.
We made nine prototype guitars.
I used all of them on the tour to try and figure out exactly what was going to be the ultimate combination.
What's the story with that?
The nub there?
I mean, [D] who's in charge of, who's in charge?
That is definitely not, look.
That one doesn't have it.
[Em] I don't think that's the [Gb] spec.
I'm just [Bb] saying, [G] we need consistency here lads.
[Am] [Am] [D] Everything that is part of the design [A] imparts [C] some element of the personality of the tone.
[G] The actual weight of the body [A] really does [C] have an impact on the tonal [D] characteristics of the guitar.
[F]
So the adaptions, you know, I've been changing the sound [G] of the pickups.
His pickup set is [A] unique.
[Am] It's the only one that's like this.
As opposed to [F] Fender's staggered pull pieces, these are actually non-staggered.
That [C] is very unique to this guitar, any guitar we [Am] make actually.
What I've [D] been able to do with this is really refine it [C] and get it to the place where it's even [G] closer to that ideal sound I'm hearing in my [E] head.
I think it could have been, I think that might have been [D] part of the vibe.
Can we try the amp down [E] instead?
For you two, we're facing forwards all the time.
We're looking for where the culture is developing and where we can take our music that's somewhere new.
I was playing around with the pedal and it clearly was broken, but it made this crazy sound.
So, you know, it's the beginnings of something.
[Gb] That spirit of innovation [E] and discovery drives my songwriting and my guitar playing.
Great, that is a killer groove.
Whenever I pick up a guitar, [Am] I'm like, okay, I know this song is in here.
I just need [Em] to find them.
[A]
[Em] That's what it is.
It's like just this source [A] of inspiration and ideas.
[G]
I [A] hope if I do inspire somebody, it's to do something that I'm not doing, [Em] because that's where it gets really interesting.
[E]
Key:
D
E
A
Em
G
D
E
A
_ _ _ _ [Bb] _ _ [Ebm] _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [Eb] _ _
I can only describe it in terms of like getting on the back of a great motorcycle and opening the throttle and just tearing up the highway.
[Em] It's that sort of adrenaline rush.
_ [D] _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
I think music goes in cycles.
So there is an opportunity to draw from the past.
And in fact, we kind of have to.
But it's about how you draw from the past, how you apply things that have been seen or heard before, and finding a new way to present in a way that is fresh. _ _ _ _
_ [D] So the 70s head socks being wider need a bit more wood, [Dm] obviously.
It's actually a different raw [F] blank to accommodate [Em] that extra wood.
It gives extra mass though, too.
And that's another thing that you [Fm] have in your guitar.
[B] Do you ever take a guitar and press it against the wall while you [D] strum a chord when it's unplugged?
That extra [G] mass and connection [E] gives you something there.
[Gb] The first guitar player that I really got interested in was an Irish guitar player called Rory Gallaher.
He played this really old, beaten up early 60s Strat.
I just remember thinking, if I pick up a guitar, I want it to be able to sound like that.
Amazing.
And there's like no finish left.
Nothing left.
It's all been just sweated away.
So I would have seen Rory play the original of this at my first ever gig in McCroom, Cork [Eb] in like _ _ 1978.
_ _ What a beaut.
There's something amazing about the fact that this instrument was designed in the [E] 50s.
_ And it's pretty much [Abm] the same.
That it was [Cm] day one.
_ [A] _ _
Fender hit on some [Gb] innovations back in those days that [E] have never been beaten.
_ _ I think when you are an original, it always kind of stands.
And you [Gbm] sort of establish [Ab] something that is [E] unshakable.
What _ I was really doing [Dbm] was trying [E] to take what is [Ab] a classic [B] quintessential design.
[A] And find [Abm] what I would say is a sweet spot in terms of the sound that it will make.
[D] On the bridge pickup particularly, with the Strat.
It's a little darker so it just takes some of the [Dm] high off.
Yeah, I like it a lot.
It just came alive when you switched. _ _
[Em] Yeah, it's really, it's a great ambience.
[A] _
So [N] with the guitar that I've worked on with Fender.
I wanted to look into how I might be able to improve on my original guitars.
We made nine prototype guitars.
I used all of them on the tour to try and figure out exactly what was going to be the ultimate combination.
_ What's the story with that?
The nub there?
I mean, [D] who's in charge of, who's in charge?
That is definitely not, look.
That one doesn't have it.
[Em] I don't think that's the [Gb] spec.
I'm just [Bb] saying, [G] we need consistency here lads.
[Am] _ _ [Am] _ _ _ [D] Everything that is part of the design [A] imparts [C] some element of the personality of the tone. _ _ _
[G] The actual weight of the body [A] really does [C] have an impact on the tonal [D] characteristics of the guitar.
_ _ [F] _
So the adaptions, you know, I've been changing the sound [G] of the pickups.
His pickup set is [A] unique.
[Am] It's the only one that's like this.
As opposed to [F] Fender's staggered pull pieces, these are actually non-staggered.
That [C] is very unique to this guitar, any guitar we [Am] make actually.
_ _ What I've [D] been able to do with this is really refine it [C] and get it to the place where it's even [G] closer to that ideal sound I'm hearing in my [E] head. _
_ _ _ _ _ _ _ _
_ I think it could have been, I think that might have been [D] part of the vibe.
Can we try the amp down [E] instead?
For you two, we're facing forwards all the time.
We're looking for where the culture is developing and where we can take our music that's somewhere new.
I was playing around with the pedal and it clearly was broken, but it made this crazy sound.
So, you know, it's the beginnings of something.
_ _ _ _ _ [Gb] That spirit of innovation [E] and discovery drives my songwriting and my guitar playing.
_ Great, that is a killer groove.
Whenever I pick up a guitar, [Am] I'm like, okay, I know this song is in here.
I just need [Em] to _ find them.
_ _ [A] _ _ _ _
_ _ _ _ [Em] That's what it is.
It's like just this source [A] of _ inspiration and ideas.
_ _ _ [G] _ _ _ _ _
_ I [A] hope if I do inspire somebody, it's to do something that I'm not doing, [Em] because that's where _ it gets really interesting.
[E] _ _ _ _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [Eb] _ _
I can only describe it in terms of like getting on the back of a great motorcycle and opening the throttle and just tearing up the highway.
[Em] It's that sort of adrenaline rush.
_ [D] _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _
I think music goes in cycles.
So there is an opportunity to draw from the past.
And in fact, we kind of have to.
But it's about how you draw from the past, how you apply things that have been seen or heard before, and finding a new way to present in a way that is fresh. _ _ _ _
_ [D] So the 70s head socks being wider need a bit more wood, [Dm] obviously.
It's actually a different raw [F] blank to accommodate [Em] that extra wood.
It gives extra mass though, too.
And that's another thing that you [Fm] have in your guitar.
[B] Do you ever take a guitar and press it against the wall while you [D] strum a chord when it's unplugged?
That extra [G] mass and connection [E] gives you something there.
[Gb] The first guitar player that I really got interested in was an Irish guitar player called Rory Gallaher.
He played this really old, beaten up early 60s Strat.
I just remember thinking, if I pick up a guitar, I want it to be able to sound like that.
Amazing.
And there's like no finish left.
Nothing left.
It's all been just sweated away.
So I would have seen Rory play the original of this at my first ever gig in McCroom, Cork [Eb] in like _ _ 1978.
_ _ What a beaut.
There's something amazing about the fact that this instrument was designed in the [E] 50s.
_ And it's pretty much [Abm] the same.
That it was [Cm] day one.
_ [A] _ _
Fender hit on some [Gb] innovations back in those days that [E] have never been beaten.
_ _ I think when you are an original, it always kind of stands.
And you [Gbm] sort of establish [Ab] something that is [E] unshakable.
What _ I was really doing [Dbm] was trying [E] to take what is [Ab] a classic [B] quintessential design.
[A] And find [Abm] what I would say is a sweet spot in terms of the sound that it will make.
[D] On the bridge pickup particularly, with the Strat.
It's a little darker so it just takes some of the [Dm] high off.
Yeah, I like it a lot.
It just came alive when you switched. _ _
[Em] Yeah, it's really, it's a great ambience.
[A] _
So [N] with the guitar that I've worked on with Fender.
I wanted to look into how I might be able to improve on my original guitars.
We made nine prototype guitars.
I used all of them on the tour to try and figure out exactly what was going to be the ultimate combination.
_ What's the story with that?
The nub there?
I mean, [D] who's in charge of, who's in charge?
That is definitely not, look.
That one doesn't have it.
[Em] I don't think that's the [Gb] spec.
I'm just [Bb] saying, [G] we need consistency here lads.
[Am] _ _ [Am] _ _ _ [D] Everything that is part of the design [A] imparts [C] some element of the personality of the tone. _ _ _
[G] The actual weight of the body [A] really does [C] have an impact on the tonal [D] characteristics of the guitar.
_ _ [F] _
So the adaptions, you know, I've been changing the sound [G] of the pickups.
His pickup set is [A] unique.
[Am] It's the only one that's like this.
As opposed to [F] Fender's staggered pull pieces, these are actually non-staggered.
That [C] is very unique to this guitar, any guitar we [Am] make actually.
_ _ What I've [D] been able to do with this is really refine it [C] and get it to the place where it's even [G] closer to that ideal sound I'm hearing in my [E] head. _
_ _ _ _ _ _ _ _
_ I think it could have been, I think that might have been [D] part of the vibe.
Can we try the amp down [E] instead?
For you two, we're facing forwards all the time.
We're looking for where the culture is developing and where we can take our music that's somewhere new.
I was playing around with the pedal and it clearly was broken, but it made this crazy sound.
So, you know, it's the beginnings of something.
_ _ _ _ _ [Gb] That spirit of innovation [E] and discovery drives my songwriting and my guitar playing.
_ Great, that is a killer groove.
Whenever I pick up a guitar, [Am] I'm like, okay, I know this song is in here.
I just need [Em] to _ find them.
_ _ [A] _ _ _ _
_ _ _ _ [Em] That's what it is.
It's like just this source [A] of _ inspiration and ideas.
_ _ _ [G] _ _ _ _ _
_ I [A] hope if I do inspire somebody, it's to do something that I'm not doing, [Em] because that's where _ it gets really interesting.
[E] _ _ _ _ _ _ _ _ _ _ _ _ _