Chords for An Interview with Roger Fisher of Heart - Barracuda
Tempo:
120.65 bpm
Chords used:
E
G
A
C
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Jam Along & Learn...
[C]
[G] [Gm] [F]
[C] Well, my tuner's down there.
Okay.
[D#] But this is good enough for you guys.
Yeah, it's good.
I'm not picky, [A] obviously.
All right, so what I wanted to [D] ask, so Alien Attack,
[E] what happened?
Yeah, so I had bought a little kit.
It was a flanger.
Some local electronics technician put it together for me,
and it was a really cool sounding flanger.
It was very analog.
And that was the
So [B] there's a little bit of flanging on there.
It's the.sound. And this flanger sounded great, and used that in Barracuda. We're down at K Smith Studios [E] recording Barracuda. [N] We've been at it for hours and hours, and we're really taking our time with this song because we know it's a hit song, or we believe it's a hit song. And at some point, I had my guitar on, and I reached behind my amp to do something, and it went It starts making this wild sound, and I realized that it's the proximity of the guitar to the tubes and the flanger all working together to make this wacky sound. And so then I [A] thought, well, geez, what if I took this out and just used the quarter-inch foam plug? And sure enough, then you really had control over it. So I'm making this sound, and everyone's just kind of freaking out a little bit, and Mike Flicker said, Hey, we got to use that on the end of the song. And he said, I got to write this down. What are we going to call it? I said, how about Alien Attack? So that's using the lead towards the end of the song? Yeah, that's near the end of Barracuda. [N] And we had to record it several times because he wanted to get it when it was at the apex of its And that is going to come in right there, and then it's going to sync up perfectly in a certain way with the song. And so it took like 5 or 6 tries, and boom, there we got it. Okay, cool. Yeah. So how do you reproduce that when you're playing it live or you don't bother? I don't give a shit. I'm not going to reproduce that. I mean, you know, I'm just not the kind of person that's going to worry about a detail like that. In the future sometime, like if there was a Hart reunion, I would say that we would have to have the Alien Attack in there. Okay, okay. Live you didn't try and redo that on stage. It sounded really difficult. Nah, nah, nah. You know, I could have. I never thought to do that. Go back behind the guitar and, you know How did that song again come together? The beginning of that song is like the most iconic beginnings you can have. Can you tell us about how that works? Sure. One of the hard things about being on the road is it's often difficult to find time to practice and grow. And to feel [Em] yourself stagnating is really, you know, it's not pleasant. It's not something a musician likes to do. And so me and Deroger would go down to Soundchecks [G] and much to the chagrin of probably some of the people there, we would just, you know, wail. And we could do that [G#] for maybe an hour and a half, two hours, depending on circumstances of the gig and the day and how far they'd gotten set up. This one day we had this lick. [E] Like I was just going [A]
[E]
[F#] [G] Oh, [E] that sounds cool. And we were just horsing around and horsing around and we both liked [G] Oh, [N] yeah, that sounds cool. And so my brother comes running up to the stage and he says, What is that, you guys? And oh, we're just horsing around like we do every day. I mean, free association with music and it's not recorded and it's not remembered and boom, it's gone. He says, Don't forget that. You need to write a song using that. [Am] And if he hadn't said that, it would have been one of [E] those things that was just gone. Wow. Thank you, Michael. Yeah, thank you, Michael. And so we carried it on. Oh, [G] yeah. [E] Oh, [F#] [G] [Dm]
[E] yeah. [A] [B] [D]
[E]
[D] [A] [E] [N] So Mike recorded probably on a cassette our extremely rough draft of it, and he had that with him. And one of the next gigs was Detroit. And some of the record company people that are hired because of their expertise working with the lower world, and Ann and Nance, well, we all experienced one of these guys this particular day, and God, he just said everything that he shouldn't have said to Ann and Nance. It was so disgusting. It was really [A] disgusting. So Ann was really pissed off, and she went up to her room and she was just furious. And Mike said, you know what, you should take that energy you've got right now and write a song with it. Oh, listen to this. You know, the reason the song was written was because of Michael Fisher. [C] [G]
[F] [C]
[G] [Gm] [F]
[C] Well, my tuner's down there.
Okay.
[D#] But this is good enough for you guys.
Yeah, it's good.
I'm not picky, [A] obviously.
All right, so what I wanted to [D] ask, so Alien Attack,
[E] what happened?
Yeah, so I had bought a little kit.
It was a flanger.
Some local electronics technician put it together for me,
and it was a really cool sounding flanger.
It was very analog.
And that was the
So [B] there's a little bit of flanging on there.
It's the.sound. And this flanger sounded great, and used that in Barracuda. We're down at K Smith Studios [E] recording Barracuda. [N] We've been at it for hours and hours, and we're really taking our time with this song because we know it's a hit song, or we believe it's a hit song. And at some point, I had my guitar on, and I reached behind my amp to do something, and it went It starts making this wild sound, and I realized that it's the proximity of the guitar to the tubes and the flanger all working together to make this wacky sound. And so then I [A] thought, well, geez, what if I took this out and just used the quarter-inch foam plug? And sure enough, then you really had control over it. So I'm making this sound, and everyone's just kind of freaking out a little bit, and Mike Flicker said, Hey, we got to use that on the end of the song. And he said, I got to write this down. What are we going to call it? I said, how about Alien Attack? So that's using the lead towards the end of the song? Yeah, that's near the end of Barracuda. [N] And we had to record it several times because he wanted to get it when it was at the apex of its And that is going to come in right there, and then it's going to sync up perfectly in a certain way with the song. And so it took like 5 or 6 tries, and boom, there we got it. Okay, cool. Yeah. So how do you reproduce that when you're playing it live or you don't bother? I don't give a shit. I'm not going to reproduce that. I mean, you know, I'm just not the kind of person that's going to worry about a detail like that. In the future sometime, like if there was a Hart reunion, I would say that we would have to have the Alien Attack in there. Okay, okay. Live you didn't try and redo that on stage. It sounded really difficult. Nah, nah, nah. You know, I could have. I never thought to do that. Go back behind the guitar and, you know How did that song again come together? The beginning of that song is like the most iconic beginnings you can have. Can you tell us about how that works? Sure. One of the hard things about being on the road is it's often difficult to find time to practice and grow. And to feel [Em] yourself stagnating is really, you know, it's not pleasant. It's not something a musician likes to do. And so me and Deroger would go down to Soundchecks [G] and much to the chagrin of probably some of the people there, we would just, you know, wail. And we could do that [G#] for maybe an hour and a half, two hours, depending on circumstances of the gig and the day and how far they'd gotten set up. This one day we had this lick. [E] Like I was just going [A]
[E]
[F#] [G] Oh, [E] that sounds cool. And we were just horsing around and horsing around and we both liked [G] Oh, [N] yeah, that sounds cool. And so my brother comes running up to the stage and he says, What is that, you guys? And oh, we're just horsing around like we do every day. I mean, free association with music and it's not recorded and it's not remembered and boom, it's gone. He says, Don't forget that. You need to write a song using that. [Am] And if he hadn't said that, it would have been one of [E] those things that was just gone. Wow. Thank you, Michael. Yeah, thank you, Michael. And so we carried it on. Oh, [G] yeah. [E] Oh, [F#] [G] [Dm]
[E] yeah. [A] [B] [D]
[E]
[D] [A] [E] [N] So Mike recorded probably on a cassette our extremely rough draft of it, and he had that with him. And one of the next gigs was Detroit. And some of the record company people that are hired because of their expertise working with the lower world, and Ann and Nance, well, we all experienced one of these guys this particular day, and God, he just said everything that he shouldn't have said to Ann and Nance. It was so disgusting. It was really [A] disgusting. So Ann was really pissed off, and she went up to her room and she was just furious. And Mike said, you know what, you should take that energy you've got right now and write a song with it. Oh, listen to this. You know, the reason the song was written was because of Michael Fisher. [C] [G]
[F] [C]
100% ➙ 121BPM
E
G
A
C
D
E
G
A
_ _ _ _ _ _ _ _
_ _ _ _ _ [C] _ _ _
_ _ [G] _ _ _ [Gm] _ [F] _ _
_ _ [C] _ _ Well, my tuner's down there.
Okay.
[D#] But this is good enough for you guys.
Yeah, it's good. _
I'm not picky, [A] obviously.
All right, so what I wanted to [D] ask, so _ Alien Attack, _ _ _ _
[E] what happened?
Yeah, so I had bought a little kit.
_ _ _ It was a flanger.
Some local _ electronics technician _ put it together for me,
and it was a really cool sounding flanger.
It was very analog.
_ And that was the_ _
_ So _ _ [B] there's a little bit of flanging on there.
_ It's _ _ the.sound. _ And this flanger sounded great, and used that in Barracuda. We're down at K Smith Studios [E] recording Barracuda. _ [N] _ We've been at it for hours and hours, and we're really taking our time with this song because we know it's a hit song, or we believe it's a hit song. And at some point, I had my guitar on, and I reached behind my amp to do something, and it went_ _ _ It starts making this wild sound, and I realized that it's the proximity of the guitar to the tubes and the flanger all working together to make this wacky sound. And so then I [A] thought, well, geez, what if I took this out and just used _ the quarter-inch foam plug? _ _ And sure enough, then you really had control over it. So I'm making this sound, and everyone's just kind of freaking out a little bit, and Mike Flicker said, Hey, we got to use that on the end of the song. And he said, I got to write this down. What are we going to call it? I said, how about Alien Attack? _ _ So that's using the lead towards the end of the song? Yeah, that's near the end of Barracuda. _ [N] And we had to record it several times _ because he wanted to get it when it was at the apex of its_ _ And that is going to come in right there, and then it's going to sync up perfectly in a certain way with the song. And so it took like 5 or 6 tries, and boom, there we got it. Okay, cool. Yeah. So how do you reproduce that when you're playing it live or you don't bother? _ I don't give a shit. _ _ _ I'm not going to reproduce that. I mean, you know, I'm just not the kind of person that's going to worry about a detail like that. In the future sometime, like if there was a Hart reunion, I would say that we would have to have the Alien Attack in there. Okay, okay. Live you didn't try and redo that on stage. It sounded really difficult. _ Nah, nah, nah. You know, I could have. I never thought to do that. Go back behind the guitar and, you know_ How did that song again come together? The beginning of that song is like the most iconic _ _ _ beginnings you can have. Can you tell us about how that works? Sure. One of the hard things about being on the road is _ it's _ often difficult to find _ time to practice and grow. And to feel [Em] yourself _ stagnating is really, you know, it's not pleasant. It's not something a musician likes to do. And so me and Deroger would go down to Soundchecks [G] and much to the chagrin of probably some of the people there, we would just, you know, wail. And _ we could do that [G#] for maybe an hour and a half, two hours, depending on circumstances of the gig and the day and how far they'd gotten set up. This one day we had this lick. [E] Like I was just going_ _ _ _ _ _ _ [A] _ _ _ _ _ _ _ _
_ _ [E] _ _ _ _ _ _
_ _ [F#] _ [G] Oh, [E] that sounds cool. And we were just horsing around and horsing around and we both liked_ [G] _ _ Oh, [N] yeah, that sounds cool. And so _ my brother comes running up to the stage and he says, What is that, you guys? And oh, we're just horsing around like we do every day. I mean, free association with music and it's not recorded and it's not remembered and boom, it's gone. He says, Don't forget that. You need to write a song using that. [Am] And if he hadn't said that, it would have been one of [E] those things that was just gone. Wow. _ Thank you, Michael. Yeah, thank you, Michael. And so we carried it on. Oh, [G] _ yeah. _ _ _ [E] Oh, _ _ _ _ _ [F#] _ [G] _ _ _ _ [Dm] _
_ _ [E] yeah. _ _ _ _ _ _ [A] _ _ [B] _ _ _ [D] _
_ _ [E] _ _ _ _ _ _
[D] _ _ [A] _ _ _ [E] _ [N] So Mike _ recorded _ probably on a cassette _ _ our extremely rough draft of it, and he had that with him. _ And one of the next gigs was Detroit. _ _ And some of the record company people that are hired because of their expertise working with the lower world, _ and _ _ Ann and Nance, well, we all experienced one of these guys this particular day, and_ _ God, he just said everything that he shouldn't have said to Ann and Nance. It was so disgusting. It was really [A] disgusting. So Ann was really pissed off, and she went up to her room and she was just furious. _ _ And Mike said, you know what, you should take that energy you've got right now and write a song with it. Oh, listen to this. You know, the reason the song was written was because of Michael Fisher. _ _ [C] _ _ _ _ _ _ _ _ [G] _ _ _
_ [F] _ _ _ _ [C] _ _ _
_ _ _ _ _ [C] _ _ _
_ _ [G] _ _ _ [Gm] _ [F] _ _
_ _ [C] _ _ Well, my tuner's down there.
Okay.
[D#] But this is good enough for you guys.
Yeah, it's good. _
I'm not picky, [A] obviously.
All right, so what I wanted to [D] ask, so _ Alien Attack, _ _ _ _
[E] what happened?
Yeah, so I had bought a little kit.
_ _ _ It was a flanger.
Some local _ electronics technician _ put it together for me,
and it was a really cool sounding flanger.
It was very analog.
_ And that was the_ _
_ So _ _ [B] there's a little bit of flanging on there.
_ It's _ _ the.sound. _ And this flanger sounded great, and used that in Barracuda. We're down at K Smith Studios [E] recording Barracuda. _ [N] _ We've been at it for hours and hours, and we're really taking our time with this song because we know it's a hit song, or we believe it's a hit song. And at some point, I had my guitar on, and I reached behind my amp to do something, and it went_ _ _ It starts making this wild sound, and I realized that it's the proximity of the guitar to the tubes and the flanger all working together to make this wacky sound. And so then I [A] thought, well, geez, what if I took this out and just used _ the quarter-inch foam plug? _ _ And sure enough, then you really had control over it. So I'm making this sound, and everyone's just kind of freaking out a little bit, and Mike Flicker said, Hey, we got to use that on the end of the song. And he said, I got to write this down. What are we going to call it? I said, how about Alien Attack? _ _ So that's using the lead towards the end of the song? Yeah, that's near the end of Barracuda. _ [N] And we had to record it several times _ because he wanted to get it when it was at the apex of its_ _ And that is going to come in right there, and then it's going to sync up perfectly in a certain way with the song. And so it took like 5 or 6 tries, and boom, there we got it. Okay, cool. Yeah. So how do you reproduce that when you're playing it live or you don't bother? _ I don't give a shit. _ _ _ I'm not going to reproduce that. I mean, you know, I'm just not the kind of person that's going to worry about a detail like that. In the future sometime, like if there was a Hart reunion, I would say that we would have to have the Alien Attack in there. Okay, okay. Live you didn't try and redo that on stage. It sounded really difficult. _ Nah, nah, nah. You know, I could have. I never thought to do that. Go back behind the guitar and, you know_ How did that song again come together? The beginning of that song is like the most iconic _ _ _ beginnings you can have. Can you tell us about how that works? Sure. One of the hard things about being on the road is _ it's _ often difficult to find _ time to practice and grow. And to feel [Em] yourself _ stagnating is really, you know, it's not pleasant. It's not something a musician likes to do. And so me and Deroger would go down to Soundchecks [G] and much to the chagrin of probably some of the people there, we would just, you know, wail. And _ we could do that [G#] for maybe an hour and a half, two hours, depending on circumstances of the gig and the day and how far they'd gotten set up. This one day we had this lick. [E] Like I was just going_ _ _ _ _ _ _ [A] _ _ _ _ _ _ _ _
_ _ [E] _ _ _ _ _ _
_ _ [F#] _ [G] Oh, [E] that sounds cool. And we were just horsing around and horsing around and we both liked_ [G] _ _ Oh, [N] yeah, that sounds cool. And so _ my brother comes running up to the stage and he says, What is that, you guys? And oh, we're just horsing around like we do every day. I mean, free association with music and it's not recorded and it's not remembered and boom, it's gone. He says, Don't forget that. You need to write a song using that. [Am] And if he hadn't said that, it would have been one of [E] those things that was just gone. Wow. _ Thank you, Michael. Yeah, thank you, Michael. And so we carried it on. Oh, [G] _ yeah. _ _ _ [E] Oh, _ _ _ _ _ [F#] _ [G] _ _ _ _ [Dm] _
_ _ [E] yeah. _ _ _ _ _ _ [A] _ _ [B] _ _ _ [D] _
_ _ [E] _ _ _ _ _ _
[D] _ _ [A] _ _ _ [E] _ [N] So Mike _ recorded _ probably on a cassette _ _ our extremely rough draft of it, and he had that with him. _ And one of the next gigs was Detroit. _ _ And some of the record company people that are hired because of their expertise working with the lower world, _ and _ _ Ann and Nance, well, we all experienced one of these guys this particular day, and_ _ God, he just said everything that he shouldn't have said to Ann and Nance. It was so disgusting. It was really [A] disgusting. So Ann was really pissed off, and she went up to her room and she was just furious. _ _ And Mike said, you know what, you should take that energy you've got right now and write a song with it. Oh, listen to this. You know, the reason the song was written was because of Michael Fisher. _ _ [C] _ _ _ _ _ _ _ _ [G] _ _ _
_ [F] _ _ _ _ [C] _ _ _