Chords for The Story of "Break on Through" by The Doors
Tempo:
94.5 bpm
Chords used:
E
Em
D
A
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Em] We're gonna do to the other side, [E] we're [A] gonna do to the [G] other side.
The first song was Break On Through, which starts with John Densmore playing a bossa nova beat,
which is very unusual, marrying bossa nova to some pretty intense rock and roll.
[B] At the time, bossa nova was coming up from Brazil, which was with a stick and a brush like.
[Em] And I appreciated that very much, and I decided to use it and make it stiffer for rock and roll, so it's like this.
[Ab]
[E]
[N]
[Ebm] [C]
[Gbm] [Em] [D]
[E] [Bm] And you're hearing Ray Manzarek's [E] piano bass along with John.
[D] [A]
[E] [D] Latino.
[Em] [D] [Em] [D]
[E] [D] [Em] [D]
[E] Ray Charles.
But I'm playing Break On Through to the other side.
We'd steal from anybody.
I'm gonna bring in Robbie and Ray, [N] they were locked on one track together.
Break On Through, I got the idea for the riff from a Paul Butterfield song, Shake Your Money Maker,
which was one of my favorites, and the way they played it was something like this.
[Em]
So we just changed the beat around and made it.
[E] [D] [E]
[D] [E]
[D] [Em]
Do the other side, do the other side, we're gonna do to the [E] other side, yeah.
We're chasing our pleasures here, dug our treasures there, [D] can't you still recall the time we [Em] cried,
Break On Through to the other [E] side, Break On Through, yeah, and a [Em] solo.
[Bm]
Then he's gonna come up to a forbidden part that we weren't [A] allowed to do on the [E] record.
[Em] Here's the She Get
[E]
High.
[B] In [A]
those days, if you wanted to get a song on the radio, you couldn't say hi.
Talking about smoking pot and taking a, oh dear God, the world is going to hell in a handbasket.
So the word hi, that would be like using the F word today.
So that was the reason why we had to take that [Em] out.
The
[G] thing that really grabbed me about The Doors, even at that very young age, was Jim Morrison's voice.
The control, the richness of it, and just how he would go from this great control and [Ab]
balladeer tenderness
to this [G] feral, ferocious, animal connection he had.
This is probably not gonna make [N] much sense, but the closest persona or musician that I've heard to The Doors is actually Frank Sinatra.
Because I feel like Jim Morrison might have really liked Frank Sinatra.
He sings with that kind of masculine, you know, I've lived through it and here's what it's like.
When Jim came into the studio, he had never recorded before.
It was the first time.
I didn't know what he was gonna be like.
And my favorite vocal microphone is a Telefunken U47.
And I showed it to him, I said, this is gonna be your mic, and he froze.
And he said, that's great.
I said, why is that?
He said, that's the mic that Frank Sinatra sings in.
That's when I realized that he was a big fan of
The first song was Break On Through, which starts with John Densmore playing a bossa nova beat,
which is very unusual, marrying bossa nova to some pretty intense rock and roll.
[B] At the time, bossa nova was coming up from Brazil, which was with a stick and a brush like.
[Em] And I appreciated that very much, and I decided to use it and make it stiffer for rock and roll, so it's like this.
[Ab]
[E]
[N]
[Ebm] [C]
[Gbm] [Em] [D]
[E] [Bm] And you're hearing Ray Manzarek's [E] piano bass along with John.
[D] [A]
[E] [D] Latino.
[Em] [D] [Em] [D]
[E] [D] [Em] [D]
[E] Ray Charles.
But I'm playing Break On Through to the other side.
We'd steal from anybody.
I'm gonna bring in Robbie and Ray, [N] they were locked on one track together.
Break On Through, I got the idea for the riff from a Paul Butterfield song, Shake Your Money Maker,
which was one of my favorites, and the way they played it was something like this.
[Em]
So we just changed the beat around and made it.
[E] [D] [E]
[D] [E]
[D] [Em]
Do the other side, do the other side, we're gonna do to the [E] other side, yeah.
We're chasing our pleasures here, dug our treasures there, [D] can't you still recall the time we [Em] cried,
Break On Through to the other [E] side, Break On Through, yeah, and a [Em] solo.
[Bm]
Then he's gonna come up to a forbidden part that we weren't [A] allowed to do on the [E] record.
[Em] Here's the She Get
[E]
High.
[B] In [A]
those days, if you wanted to get a song on the radio, you couldn't say hi.
Talking about smoking pot and taking a, oh dear God, the world is going to hell in a handbasket.
So the word hi, that would be like using the F word today.
So that was the reason why we had to take that [Em] out.
The
[G] thing that really grabbed me about The Doors, even at that very young age, was Jim Morrison's voice.
The control, the richness of it, and just how he would go from this great control and [Ab]
balladeer tenderness
to this [G] feral, ferocious, animal connection he had.
This is probably not gonna make [N] much sense, but the closest persona or musician that I've heard to The Doors is actually Frank Sinatra.
Because I feel like Jim Morrison might have really liked Frank Sinatra.
He sings with that kind of masculine, you know, I've lived through it and here's what it's like.
When Jim came into the studio, he had never recorded before.
It was the first time.
I didn't know what he was gonna be like.
And my favorite vocal microphone is a Telefunken U47.
And I showed it to him, I said, this is gonna be your mic, and he froze.
And he said, that's great.
I said, why is that?
He said, that's the mic that Frank Sinatra sings in.
That's when I realized that he was a big fan of
Key:
E
Em
D
A
G
E
Em
D
[Em] We're gonna do to the other side, [E] we're [A] gonna do to the [G] other side.
The first song was Break On Through, which starts with John Densmore playing a bossa nova beat,
which is very unusual, marrying bossa nova to some pretty intense rock and roll. _ _ _
_ _ _ _ _ [B] At the time, bossa nova was coming up from Brazil, which was with a stick and a brush like.
_ _ _ _ _ _ _
[Em] And I _ appreciated that very much, and I decided to use it and make it stiffer for rock and roll, so it's like this.
_ _ _ [Ab] _
_ _ _ _ _ _ [E] _ _
[N] _ _ _ _ _ _ _ _
_ _ _ _ [Ebm] _ _ _ [C] _
_ _ _ _ _ _ _ _
_ _ [Gbm] _ [Em] _ _ _ [D] _ _
[E] _ _ _ _ [Bm] _ And you're hearing Ray Manzarek's [E] piano bass along with John.
[D] _ _ _ [A] _
[E] [D] Latino.
_ _ [Em] _ [D] _ [Em] _ [D] _
[E] _ [D] _ [Em] _ [D] _ _ _ _ _
_ [E] _ _ _ Ray Charles. _
_ _ But I'm playing Break On Through to the other side.
_ _ _ We'd steal from anybody. _
I'm gonna _ bring in Robbie and Ray, [N] they were locked on one track together.
Break On Through, I got the idea for the riff from a Paul Butterfield song, Shake Your Money Maker,
which was one of my favorites, and the way they played it was something like this. _
[Em] _ _ _ _ _ _ _ _
_ _ _ _ _ _ So we just changed the beat around and made it. _ _ _
_ _ [E] _ [D] _ [E] _ _ _ _
_ _ [D] _ [E] _ _ _ _ _
_ _ _ [D] _ _ _ _ [Em] _
Do the other side, do the other side, we're gonna do to the [E] other side, yeah. _ _ _ _
_ _ _ We're chasing our pleasures here, dug our treasures there, [D] can't you still recall the time we [Em] cried,
Break On Through to the other [E] side, Break On Through, yeah, and a [Em] solo.
_ _ [Bm] _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ Then he's gonna come up to a forbidden part that we weren't [A] allowed to do on the [E] record.
_ [Em] Here's the She Get _
_ _ [E] _ _ _ _ _ _
_ High.
_ [B] In [A] _
those days, if you wanted to get a song on the radio, you couldn't say hi.
Talking about smoking pot and taking a, oh dear God, the world is going to hell in a handbasket.
_ So the word hi, that would be like using the F word today.
_ So that was the reason why we had to take that [Em] out. _ _ _ _ _
_ _ The _ _ _ _
_ _ _ _ [G] thing that really grabbed me about The Doors, even at that very young age, was Jim Morrison's voice.
The control, the richness of it, _ _ and just how he would go from this _ great control and [Ab] _
balladeer tenderness
to this [G] feral, _ ferocious, _ animal connection he had.
This is probably not gonna make [N] much sense, but the closest _ _ persona _ or musician that I've heard to The Doors is actually Frank Sinatra.
Because I feel like Jim Morrison might have really liked Frank Sinatra.
He sings with that kind of masculine, you know, I've lived through it and here's what it's like.
When Jim came into the studio, he had never recorded before.
It was the first time.
I didn't know what he was gonna be like.
_ And my favorite vocal microphone is a Telefunken U47.
And I showed it to him, I said, this is gonna be your mic, and he froze.
And he said, that's great.
I said, why is that?
He said, that's the mic that Frank Sinatra sings in.
That's when I realized that he was a big fan of
The first song was Break On Through, which starts with John Densmore playing a bossa nova beat,
which is very unusual, marrying bossa nova to some pretty intense rock and roll. _ _ _
_ _ _ _ _ [B] At the time, bossa nova was coming up from Brazil, which was with a stick and a brush like.
_ _ _ _ _ _ _
[Em] And I _ appreciated that very much, and I decided to use it and make it stiffer for rock and roll, so it's like this.
_ _ _ [Ab] _
_ _ _ _ _ _ [E] _ _
[N] _ _ _ _ _ _ _ _
_ _ _ _ [Ebm] _ _ _ [C] _
_ _ _ _ _ _ _ _
_ _ [Gbm] _ [Em] _ _ _ [D] _ _
[E] _ _ _ _ [Bm] _ And you're hearing Ray Manzarek's [E] piano bass along with John.
[D] _ _ _ [A] _
[E] [D] Latino.
_ _ [Em] _ [D] _ [Em] _ [D] _
[E] _ [D] _ [Em] _ [D] _ _ _ _ _
_ [E] _ _ _ Ray Charles. _
_ _ But I'm playing Break On Through to the other side.
_ _ _ We'd steal from anybody. _
I'm gonna _ bring in Robbie and Ray, [N] they were locked on one track together.
Break On Through, I got the idea for the riff from a Paul Butterfield song, Shake Your Money Maker,
which was one of my favorites, and the way they played it was something like this. _
[Em] _ _ _ _ _ _ _ _
_ _ _ _ _ _ So we just changed the beat around and made it. _ _ _
_ _ [E] _ [D] _ [E] _ _ _ _
_ _ [D] _ [E] _ _ _ _ _
_ _ _ [D] _ _ _ _ [Em] _
Do the other side, do the other side, we're gonna do to the [E] other side, yeah. _ _ _ _
_ _ _ We're chasing our pleasures here, dug our treasures there, [D] can't you still recall the time we [Em] cried,
Break On Through to the other [E] side, Break On Through, yeah, and a [Em] solo.
_ _ [Bm] _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ Then he's gonna come up to a forbidden part that we weren't [A] allowed to do on the [E] record.
_ [Em] Here's the She Get _
_ _ [E] _ _ _ _ _ _
_ High.
_ [B] In [A] _
those days, if you wanted to get a song on the radio, you couldn't say hi.
Talking about smoking pot and taking a, oh dear God, the world is going to hell in a handbasket.
_ So the word hi, that would be like using the F word today.
_ So that was the reason why we had to take that [Em] out. _ _ _ _ _
_ _ The _ _ _ _
_ _ _ _ [G] thing that really grabbed me about The Doors, even at that very young age, was Jim Morrison's voice.
The control, the richness of it, _ _ and just how he would go from this _ great control and [Ab] _
balladeer tenderness
to this [G] feral, _ ferocious, _ animal connection he had.
This is probably not gonna make [N] much sense, but the closest _ _ persona _ or musician that I've heard to The Doors is actually Frank Sinatra.
Because I feel like Jim Morrison might have really liked Frank Sinatra.
He sings with that kind of masculine, you know, I've lived through it and here's what it's like.
When Jim came into the studio, he had never recorded before.
It was the first time.
I didn't know what he was gonna be like.
_ And my favorite vocal microphone is a Telefunken U47.
And I showed it to him, I said, this is gonna be your mic, and he froze.
And he said, that's great.
I said, why is that?
He said, that's the mic that Frank Sinatra sings in.
That's when I realized that he was a big fan of