Chords for About Gary Numan Replicas

[C] _ _ [Bb] _ _ [F] _ [C] _ [Bb] _ _
[C] _ _ [G] _ [Bb] _ _ [C] _ _ [Bb] _
[C] _ _ _ [Bb] _ [F] _ [C] _ _ [Bb] _
[C] _ _ _ [Bb] _ _ [C] _ _ [Bb] _
[C] _ There's a man [Bb] outside, [F] _ [C] _ _ [Bb] _
[C] _ in a long [Bb] coat and grey hat smoking [C] a cigarette.
[Bb] _
[E] _ [F] _ _ _ _ _ _ _
_ [Am] One [F] _ _ _ _ _
[Cm] _ _ _ [Bb] _ _ [C] _ [Bb] _ _
[E] _ [N] day Paul Gardner, who was Gary's [C] bass player, he mentioned to you when I was walking
into our record [Bb] shop in Ealing, _ _ and in those days, we started to release _ [Eb] records.
We were very young, it was a record [Bbm] company, especially we were at record shops.
[Em] And people brought in tapes, we were selling pieces, and we did a discovery, and there
was a story, [N] and I broke up.
And Paul Gardner walked in with, I guess the first few tracks that we eventually released,
and they [F] hit me like a_ _ _ _ _ _ _
[G] _ [Dm] _ _ _ [F] _ _ [C] _ _
[G] _ [Dm] _ _ _ _ [C] _ _ _
[G] [Dm] So now I'm alone, now I [F] can think for myself.
[C] _ _
[G] Going out of the [N] studio to hear Repetus, he was in the studio in Porto, _ _ _ and he was like
three quarters of the way through the album, which was done really quickly, [Bb] it was done in like_
[Em] And I went down to [B] [C] listen to [Bb] it, and Our [C] Friends Electric was the only track that we hadn't
heard before we went into the studio, all the other tracks, you know, we had_
Early versions of But Our Friends Electric came on right [N] at the very end of us recording
and I walked into the studio and Paul played it for me, and I immediately thought it was
a great track, and I said, that's great.
[G] Doesn't sound like a single, doesn't shake [D] like a single, [Cm] but it's such an amazing track.
I think you need to bear in mind that these were the days of punk, this was real [N] guitar music.
And Gary's first album, or it didn't really fit in with punk, because it was kind of more
tuneful and more_
_ But the first album was nonetheless a very straightforward guitar album.
_ [C] One of the reasons for that, they didn't do anything other than guitars and [N] drums.
And _ very soon after that first record came out, quite a surprising decision, Gary started
buying us to buy him a computer_
Sorry, a computer, a synthesizer, a Moog, a [C] Polymoo, well actually a Minimoog first,
and [Bb] then a Polymoo.
_ _ And it seems weird [F] now, but I think the first one cost [Cm] like £700, and the second one £1,500.
[C] That was a huge amount of money for us in those days, so we actually had to borrow the
money [G] to [Ab] buy those machines, because we got a [D] badgering from him to persuade us to do
it, and we didn't have the money at that point.
[G] _ And it was really the purchase of those two synthesizers that [F] took me to another sphere.
_ _ _ _ Firstly [C] we did a picture disc on [N] the single, which was really unusual.
The second one that had been done, the first one was by the Cars, so it was a really smart
looking picture disc that we did. _ _ _ _
And we had a license that we bought at that point, and Warner's I think had exclusive
access to the present files, so that actually made it.
So that was what translated his existing following into a top 50 guitar position.
In those days of course records were [G] slowly up the chart, they didn't actually [C] go higher,
so they were going to go on day one and gradually fall down.
The idea was to [Eb] gradually build them up the chart in those days.
_ And simultaneously we got two TV [N] shows for him in the same week, which was almost unprecedented.
We got Top of the Pop, which was a musical chart entry, which was obviously a single
show, and we got a show called The Old Great Whistle Test, [G] which was like the album show.
And it was kind of almost unprecedented for an artist in those [Gm] days [C] to be on both those shows.
They were kind of generally [N] either or. _
He generally couldn't be both, because what was the singles market, what was the albums
market, and there weren't that many people that sold both.
_ And the [Gm] impact from his presentation, how he looked and what he performed on those two
shows was just huge.
[C] It was absolutely [G] huge.
I mean Gary had decided he wanted to go [C] into it, to calculate exactly how he wanted to present himself.
And he had to have a set of cues to do what he wanted, with the songs he wanted to write.
And he drove the single up the charts, followed by the album.
_ _ [Bb] _ [E] _ [C] _ _
[G] It was a very, very radical number one thing.
It was a five and a half minute song.
Didn't particularly have a cheesy hit.
It was [C] completely different to every other [N] thing around.
It was really adventurous, cutting edge music.
And I think Stan recognised he was a real pioneer in that.
_ [Bb] _ _ [F] _
[C] _ _ [Bb] _ [C] _ _ The number one event [G] was the Nita Award, with Midnight Bell.
And that was fairly [C] characteristic of the record that was around at that time.
So it was a lot [G] of_
Wooka-ling!
[Cm] _ _ [Fm] _ [Cm] Wooka-ling!
_ _ _ [G] _ Wooka-ling!
[Cm] _
_ _ Wooka-ling!
And it's interesting how the cycle of appreciation [N] has gone for Gary.
He was obviously hugely popular, and then of course [Cm] the flip side of the coin, hugely
popular, he's [C] becoming [Db] fairly uncool.
[Cm] And then gradually over the [Bb] last, I suppose, _ last 15 years probably, _ [Eb] he's been [C] recognised
by [Bb] other artists [C] as having been hugely influential.
_ [D] _ _
[Bb] _ _ _ _ [F] _ _ [C] _ _
[D] _ _ _ [A] _ _ _ _ [C] _
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[F] _ [C] _ _ _ [D] _ _ _ [A] _
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[D] _ _ _ [A] _ _ _ _ [C] _
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_ [C] _ _ _ [D] _ _ [A] Yeah.
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