Chords for The Legend of Arthur Verocai

[A#] _ _ _ [G#] _ _ _ [G] _ _
[F] _ _ _ _ [B] Why do those guys like Madlib, why do they just rate this record so much?
Maybe just because it is such an amazing record and also is it's an undiscovered one
I think diggers and good hip-hop producers always like the stuff that's rare _ _ _ _
_ [F#] _ _ _ _ [Am] _ _ [G] _
_ _ [F#] _ _ _ My [Dm] _
_ _ _ _ [Em] _ _ _ _
name is Ethan Alipat, we're here in Los Angeles at Now Again Records and Rap Cats getting ready to celebrate [G] the reissue of
Arthur Veracai's self-titled [Dm] Brazilian masterpiece
Arthur Veracai was
[Em] In his time a relatively well-known
Composer [Am] and arranger really was one of [Dm] those like behind-the-scene types kind of like David Axelrod [B] or Lalo Schifrin
He only ever [A] did one solo album, [G#] which is his masterpiece.
He did it when he was about 26 years [F#m] old
_ _ _ _ [G#m] _ _
_ _ _ _ Everything is perfect.
There's the jazz elements.
There's the Brazilian elements.
There's even some funk elements
[Am] There's even some quite because he's quite [D] melancholic Arthur and there's some of [Am] those elements
Which I think gives it a lift [D] that you don't hear in other music
[Am] _ _
_ [A] _ _ _ _ _ [C] _ _
_ [D] _ Record [C] reveals itself and [G] its nuances and there's so many [C] nuances and there's so many things you [E] hear
Listen after listen after listen that [A] it's just one of those records that once you enter its world
_ You never leave it
[Em] _ _
_ [A] _ _ [C#] _ _ _ [Em] _ _
_ _ [A] _ _ _ _ [Bm] _ _
[A] You know Madlib and Dilla used to really go back and forth with [Em] the Veracai record and I always [A] wondered why neither of them
_ [G] Didn't sample it
It [C#] was it was odd because there were so many obvious [G] parts that they could sample the closest [Em] that I think Madlib got to sampling
[C] It was [Bm] an outgoing voicemail [F#] where he just looped the the part that said [F#m] no space no [Am] space
[B] _ _ And I [Em] always thought that he did that because on [E] the voicemail it sounded like who's there?
[Em] _ _ _
_ [F#m] _ [C#m] We want to give people the original [Em] album as it was originally [B] made with all [E] the errors [Bm] and then
[D] Sonically give the get the best tapes we [E] can package it so there's no barcode on the actual album
So it just looks exactly the same as we'd wanted into a shop in
1973 and bought it and that's that's our mission and to you know to sleeve it up nice
[Bm]
Give a good price, you know and
Make it accessible for everyone.
[F#m] I
[D] _ _ _ _ _ _
_ _ _ _ [Em] _ Think that records need like a definitive treatment
[D] You know half speed mastering job or [G] like, you know the proper package [Bm] and I look at what's been done before
I come to [G] the table and I say can I do better than that?
And if I can do better than that
Then I say [B] let me [F#] put this out and hope that I can do the definitive [E] version
Because if you do [B] the definitive version on [F#] a great record, you can keep [G] it in print for years
That's what I think is most important because [F#m] how many people can actually go out there and find an original copy of this?
[Bm] It's now very expensive
_ _ _ I
For the [G] mr.
Bongo Arthur Beresai launched [D#] launch party.
[Bm] Here it is.
It's awesome.
They've been repressed
If anyone's gonna [G] do it properly, mr.
Bongo is gonna do it, [D] right?
Imagine [A] if somebody tried to [Em] explain why [F#m] you should buy a man
_ [Bm]
You know, I mean, this [G] is a record that is in the top _
_ [F#m] Most highest bar of music that's [D] been created
[Bm] Don't [N] fucking sleep _ _ _ _