Chords for The Sound of The Smashing Pumpkins | Jimmy Chamberlin & Yamaha Drums
Tempo:
121.1 bpm
Chords used:
G
D
F
Bm
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
You can [F] kind of get close with other stuff and [Em] approximate it, but [Bm] you've got to have the real thing.
[G]
I tried to play other drums with this band and it just never sounded right.
I mean, it's [N] always like this is such a big part of the pumpkin sound.
I mean, all of the drums on bullet, I mean.
Yeah, so these drums are maple, they're the Absolute Hybrid.
I signed with Yamaha in 1992 or 93, and that's the sound you hear on all the pumpkin records.
So when this tour and recording opportunity came together, I really, in my heart, wanted to go back to Yamaha,
but was kind of afraid to ask, and they welcomed me back in the best possible way.
So this is kind of a unique configuration.
It's a 14-10-12-16-18 and a 22-by-14-inch bass drum.
I like my bass drums a little bit shallower just because I come from a bit of a jazz background and I like a little bit more resonance.
My bass drums as opposed to kind of a long, thuddy kick drum sound.
And then I'm using their aluminum 6.5.-by-14 snare. [Ab] [N]
[B] It's got a lot of nice tonal characteristics. I've got it muffled a little bit for rehearsal, but I'll [A] probably open it up wide open for the tour. The drums are super consistent, super [N] even. The great thing about these Absolute Hybrids is they've combined the great tonal characteristics of the old maple custom Absolute and injected a little bit of the Phoenix kit into it as well. So there's a lot of usable harmonics in the drums, and a lot of drums will sound good on their own, but when you add the pumpkins on top, a lot of that usable tone will go away, right? So especially in this configuration where you've got three guitars soaking up a lot of kind of harmonics, you've got a lot of low end coming from the bass, these drums just cut right through that [Am] stuff and are super articulate. And you can hear even on [Eb] the new recordings like Solara how much the drums totally cut through. [D] [G] I switched to Istanbul about two years ago, but I'd really been looking for some darker tones. These are just super nice and dark. [Gb] [G] Kind of a 70s hi-hat sound, but a little bit more slush for songs like Hummer. And then the ride cymbal is an Epoch Istanbul Agop, which is, they designed it to be a crash cymbal, but I really like it so much as a ride, especially for this stuff, because you can play songs like Zero, or you [C] can play stuff like [Gm] the end of Hummer. [Am] So it's got a lot of sound in it. [Bm] [N] Always Vic Firth, always Remo. These Vic Firths are the new Modern Jazz collection, and I think there's two in the series that are maple. And for almost my whole career I played 5 As or 5 Bs, which are hickory. But I feel like these maple just have a different, they allowed a cymbal to breathe in a little bit different way. Which I started playing them with my straight ahead band, Jimmy Chamberlain Complex, and just thought, man I'm going to try them for rock, and I just fell in love with them. They just really open up the cymbal in the best possible way. The idea with these sticks with a little bit more of an open grain structure allows the drum to breathe a little bit more. More resonance in [A] the same cymbal, right? [D] The idea is just to not, is to not kind of power through the sound, just kind of [F] let the sound explode, right? And the more freedom that the instrument has to resonate post the striking, the more pure that tone is. [G] [N] Song to song, I'm playing a lot of different stuff night to night. I'm trying not to play the same things over and over again. Obviously with songs like Cherub Rock, there's signature fills in there, and the ending with the long roll. But I'm trying to just be in the moment, and reacting to the moment in as creative a way as I can. Without obviously just kind of blowing chops all over the song. But I just like to keep it kind of agile, and keep it kind of free-flowing. More like a jazz band, where I'll play different things every night. And Billy and I, we tend to not kind of get too caught up in the same thing every night. It gets kind of boring that way. So I challenge the band to do some counting once in a while, or maybe metrically modulate something to mess with the bass player. But not in a non-musical or irresponsible way. Even though the arrangements are pretty buttoned up, and the arrangements never change. And the nuance within the context of the arrangements are integral to the perception of the song. There's still a ton of freedom. I think a lot of it has to do with the fact that it's the way I always play, and those songs are me playing anyway. So I just take it like, if people want to hear me playing, they want to hear my interpretation of that moment in time. Not a [D] reinterpretation of a moment that happened 25 years ago. Now granted, you want to be responsible in those moments, but you also want to let people know that the Pumpkins, just like any other artistic platform, ultimately is a vehicle of self-expression. [N]
[G]
I tried to play other drums with this band and it just never sounded right.
I mean, it's [N] always like this is such a big part of the pumpkin sound.
I mean, all of the drums on bullet, I mean.
Yeah, so these drums are maple, they're the Absolute Hybrid.
I signed with Yamaha in 1992 or 93, and that's the sound you hear on all the pumpkin records.
So when this tour and recording opportunity came together, I really, in my heart, wanted to go back to Yamaha,
but was kind of afraid to ask, and they welcomed me back in the best possible way.
So this is kind of a unique configuration.
It's a 14-10-12-16-18 and a 22-by-14-inch bass drum.
I like my bass drums a little bit shallower just because I come from a bit of a jazz background and I like a little bit more resonance.
My bass drums as opposed to kind of a long, thuddy kick drum sound.
And then I'm using their aluminum 6.5.-by-14 snare. [Ab] [N]
[B] It's got a lot of nice tonal characteristics. I've got it muffled a little bit for rehearsal, but I'll [A] probably open it up wide open for the tour. The drums are super consistent, super [N] even. The great thing about these Absolute Hybrids is they've combined the great tonal characteristics of the old maple custom Absolute and injected a little bit of the Phoenix kit into it as well. So there's a lot of usable harmonics in the drums, and a lot of drums will sound good on their own, but when you add the pumpkins on top, a lot of that usable tone will go away, right? So especially in this configuration where you've got three guitars soaking up a lot of kind of harmonics, you've got a lot of low end coming from the bass, these drums just cut right through that [Am] stuff and are super articulate. And you can hear even on [Eb] the new recordings like Solara how much the drums totally cut through. [D] [G] I switched to Istanbul about two years ago, but I'd really been looking for some darker tones. These are just super nice and dark. [Gb] [G] Kind of a 70s hi-hat sound, but a little bit more slush for songs like Hummer. And then the ride cymbal is an Epoch Istanbul Agop, which is, they designed it to be a crash cymbal, but I really like it so much as a ride, especially for this stuff, because you can play songs like Zero, or you [C] can play stuff like [Gm] the end of Hummer. [Am] So it's got a lot of sound in it. [Bm] [N] Always Vic Firth, always Remo. These Vic Firths are the new Modern Jazz collection, and I think there's two in the series that are maple. And for almost my whole career I played 5 As or 5 Bs, which are hickory. But I feel like these maple just have a different, they allowed a cymbal to breathe in a little bit different way. Which I started playing them with my straight ahead band, Jimmy Chamberlain Complex, and just thought, man I'm going to try them for rock, and I just fell in love with them. They just really open up the cymbal in the best possible way. The idea with these sticks with a little bit more of an open grain structure allows the drum to breathe a little bit more. More resonance in [A] the same cymbal, right? [D] The idea is just to not, is to not kind of power through the sound, just kind of [F] let the sound explode, right? And the more freedom that the instrument has to resonate post the striking, the more pure that tone is. [G] [N] Song to song, I'm playing a lot of different stuff night to night. I'm trying not to play the same things over and over again. Obviously with songs like Cherub Rock, there's signature fills in there, and the ending with the long roll. But I'm trying to just be in the moment, and reacting to the moment in as creative a way as I can. Without obviously just kind of blowing chops all over the song. But I just like to keep it kind of agile, and keep it kind of free-flowing. More like a jazz band, where I'll play different things every night. And Billy and I, we tend to not kind of get too caught up in the same thing every night. It gets kind of boring that way. So I challenge the band to do some counting once in a while, or maybe metrically modulate something to mess with the bass player. But not in a non-musical or irresponsible way. Even though the arrangements are pretty buttoned up, and the arrangements never change. And the nuance within the context of the arrangements are integral to the perception of the song. There's still a ton of freedom. I think a lot of it has to do with the fact that it's the way I always play, and those songs are me playing anyway. So I just take it like, if people want to hear me playing, they want to hear my interpretation of that moment in time. Not a [D] reinterpretation of a moment that happened 25 years ago. Now granted, you want to be responsible in those moments, but you also want to let people know that the Pumpkins, just like any other artistic platform, ultimately is a vehicle of self-expression. [N]
Key:
G
D
F
Bm
A
G
D
F
You can [F] kind of get close with other stuff and [Em] approximate it, but [Bm] you've got to have the real thing.
[G] _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ I tried to play other drums _ _ with this band and it just never sounded right.
I mean, it's [N] always like this is such a big part of the pumpkin sound.
I mean, all of the drums on bullet, I mean. _ _ _ _
_ _ _ _ _ _ Yeah, so these drums are maple, they're the Absolute Hybrid.
I signed with Yamaha in 1992 or 93, _ and that's the sound you hear on all the pumpkin records.
So when this tour and recording opportunity came together, I really, in my heart, wanted to go back to Yamaha,
but was kind of afraid to ask, and they welcomed me back in the best possible way.
So this is kind of a unique configuration.
It's a 14-10-12-16-18 and a 22-by-14-inch bass drum.
_ I like my bass drums a little bit shallower just because I come from a bit of a jazz background and I like a little bit more resonance.
My bass drums as opposed to kind of a long, thuddy kick drum sound.
And then I'm using their aluminum 6.5.-by-14 snare. _ [Ab] _ _ _ _ [N] _ _ _ _ _ _ _ _
_ _ [B] _ It's got a lot of nice tonal characteristics. I've got it muffled a little bit for rehearsal, but I'll [A] probably open it up wide open for the tour. The drums are super consistent, super [N] even. The great thing about these Absolute Hybrids is they've combined the great tonal characteristics of the old maple custom Absolute and injected a little bit of the Phoenix kit into it as well. So there's a lot of usable harmonics in the drums, and a lot of drums will sound good on their own, but when you add the pumpkins on top, a lot of that usable tone will go away, right? So especially in this configuration where you've got three guitars soaking up a lot of kind of harmonics, you've got a lot of low end coming from the bass, these drums just cut right through that [Am] stuff and are super articulate. And you can hear even on _ [Eb] the new recordings like Solara how much the drums totally cut through. [D] _ _ _ _ _ _ _ _ _
_ _ _ _ [G] _ I switched to Istanbul about two years ago, but I'd really been looking for some darker _ tones. These are just _ super nice and dark. _ _ _ [Gb] _ [G] Kind _ _ _ _ _ _ _ _
_ _ _ _ _ _ _
of a 70s hi-hat sound, but a little bit _ more slush for songs like Hummer. _ _ _ _ _ _ _ _ _ _ And then the ride cymbal is an Epoch Istanbul Agop, which is, _ they designed it to be a crash cymbal, but I really like it so much as a ride, especially for this stuff, because you can play songs like Zero, or you _ _ _ _ _ [C] can play stuff like [Gm] the end of Hummer. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
_ _ _ _ [Am] So it's got a lot of sound in it. _ [Bm] _ _ _ [N] _ _ _ _ Always Vic Firth, always Remo. These Vic Firths are the new Modern Jazz collection, and I think there's two in the series that are maple. And for almost my whole career I played 5 As or 5 Bs, which are hickory. But I feel like these maple just have a different, they allowed a cymbal to breathe in a little bit different way. Which I started playing them with my _ straight ahead band, Jimmy Chamberlain Complex, and just thought, man I'm going to try them for rock, and I just fell in love with them. They just really open up the cymbal in the best possible way. The idea with these sticks with a little bit more of an open grain structure allows the drum to breathe a little bit more. _ _ _ _ _ _ More resonance in [A] the same cymbal, right? [D] The idea is just to not, is to not kind of power through the sound, just kind of [F] let the sound explode, right? And the more _ freedom that the instrument has to resonate post the striking, the more pure that tone is. [G] _ _ _ _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[N] _ _ Song to song, I'm playing a lot of different stuff night to night. _ I'm trying not to play the same things over and over again. Obviously with songs like Cherub Rock, there's signature fills in there, and the ending with the long roll. But _ _ _ I'm trying to just be in the moment, and _ reacting to the moment in as creative a way as I can. Without obviously just kind of blowing chops all over the song. _ But I just like to keep it kind of agile, and keep it kind of free-flowing. More like a jazz band, where I'll play different things every night. And Billy and I, _ we tend to not kind of get too caught up in the same thing every night. It gets kind of boring that way. So I challenge the band to do some counting once in a while, or maybe metrically modulate something to mess with the bass player. But not in a non-musical or irresponsible way. Even though the arrangements are pretty buttoned up, and the arrangements never change. And the nuance within the context of the arrangements are integral to the perception of the song. There's still a ton of freedom. I think a lot of it has to do with the fact that it's the way I always play, and those songs are me playing anyway. So I just take it like, if people want to hear me playing, they want to hear my interpretation of that moment in time. Not a [D] reinterpretation of a moment that happened 25 years ago. Now granted, you want to be responsible in those moments, but you also want to let people know that the Pumpkins, just like any other artistic platform, _ _ ultimately is a vehicle of self-expression. _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ [N] _ _ _
[G] _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ I tried to play other drums _ _ with this band and it just never sounded right.
I mean, it's [N] always like this is such a big part of the pumpkin sound.
I mean, all of the drums on bullet, I mean. _ _ _ _
_ _ _ _ _ _ Yeah, so these drums are maple, they're the Absolute Hybrid.
I signed with Yamaha in 1992 or 93, _ and that's the sound you hear on all the pumpkin records.
So when this tour and recording opportunity came together, I really, in my heart, wanted to go back to Yamaha,
but was kind of afraid to ask, and they welcomed me back in the best possible way.
So this is kind of a unique configuration.
It's a 14-10-12-16-18 and a 22-by-14-inch bass drum.
_ I like my bass drums a little bit shallower just because I come from a bit of a jazz background and I like a little bit more resonance.
My bass drums as opposed to kind of a long, thuddy kick drum sound.
And then I'm using their aluminum 6.5.-by-14 snare. _ [Ab] _ _ _ _ [N] _ _ _ _ _ _ _ _
_ _ [B] _ It's got a lot of nice tonal characteristics. I've got it muffled a little bit for rehearsal, but I'll [A] probably open it up wide open for the tour. The drums are super consistent, super [N] even. The great thing about these Absolute Hybrids is they've combined the great tonal characteristics of the old maple custom Absolute and injected a little bit of the Phoenix kit into it as well. So there's a lot of usable harmonics in the drums, and a lot of drums will sound good on their own, but when you add the pumpkins on top, a lot of that usable tone will go away, right? So especially in this configuration where you've got three guitars soaking up a lot of kind of harmonics, you've got a lot of low end coming from the bass, these drums just cut right through that [Am] stuff and are super articulate. And you can hear even on _ [Eb] the new recordings like Solara how much the drums totally cut through. [D] _ _ _ _ _ _ _ _ _
_ _ _ _ [G] _ I switched to Istanbul about two years ago, but I'd really been looking for some darker _ tones. These are just _ super nice and dark. _ _ _ [Gb] _ [G] Kind _ _ _ _ _ _ _ _
_ _ _ _ _ _ _
of a 70s hi-hat sound, but a little bit _ more slush for songs like Hummer. _ _ _ _ _ _ _ _ _ _ And then the ride cymbal is an Epoch Istanbul Agop, which is, _ they designed it to be a crash cymbal, but I really like it so much as a ride, especially for this stuff, because you can play songs like Zero, or you _ _ _ _ _ [C] can play stuff like [Gm] the end of Hummer. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
_ _ _ _ [Am] So it's got a lot of sound in it. _ [Bm] _ _ _ [N] _ _ _ _ Always Vic Firth, always Remo. These Vic Firths are the new Modern Jazz collection, and I think there's two in the series that are maple. And for almost my whole career I played 5 As or 5 Bs, which are hickory. But I feel like these maple just have a different, they allowed a cymbal to breathe in a little bit different way. Which I started playing them with my _ straight ahead band, Jimmy Chamberlain Complex, and just thought, man I'm going to try them for rock, and I just fell in love with them. They just really open up the cymbal in the best possible way. The idea with these sticks with a little bit more of an open grain structure allows the drum to breathe a little bit more. _ _ _ _ _ _ More resonance in [A] the same cymbal, right? [D] The idea is just to not, is to not kind of power through the sound, just kind of [F] let the sound explode, right? And the more _ freedom that the instrument has to resonate post the striking, the more pure that tone is. [G] _ _ _ _ _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
[N] _ _ Song to song, I'm playing a lot of different stuff night to night. _ I'm trying not to play the same things over and over again. Obviously with songs like Cherub Rock, there's signature fills in there, and the ending with the long roll. But _ _ _ I'm trying to just be in the moment, and _ reacting to the moment in as creative a way as I can. Without obviously just kind of blowing chops all over the song. _ But I just like to keep it kind of agile, and keep it kind of free-flowing. More like a jazz band, where I'll play different things every night. And Billy and I, _ we tend to not kind of get too caught up in the same thing every night. It gets kind of boring that way. So I challenge the band to do some counting once in a while, or maybe metrically modulate something to mess with the bass player. But not in a non-musical or irresponsible way. Even though the arrangements are pretty buttoned up, and the arrangements never change. And the nuance within the context of the arrangements are integral to the perception of the song. There's still a ton of freedom. I think a lot of it has to do with the fact that it's the way I always play, and those songs are me playing anyway. So I just take it like, if people want to hear me playing, they want to hear my interpretation of that moment in time. Not a [D] reinterpretation of a moment that happened 25 years ago. Now granted, you want to be responsible in those moments, but you also want to let people know that the Pumpkins, just like any other artistic platform, _ _ ultimately is a vehicle of self-expression. _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ [N] _ _ _