Chords for Behind The Vinyl: "True" with Spandau Ballet

_ _ _ _ _ _ _ _
That's it, you've got it. _ _ _ _ _
[Bm] It's the first time I've got to say [G] I've heard True on vinyl [Bm] for must be 20, [G] 30 years or something like that.
Yeah it is, [Bm] but it takes me straight back to the thrill of taking that record [Bm] home to my mum and dad and putting it on [G] the record player.
On the gramophone.
It's just really nice, I mean I'm not a terribly big nostalgic freak, but when [C] we were kids you used to buy a record, save up your pocket [F] money and [D] then kind of investigate the whole thing, [G] where it's produced and everything else.
The nice thing about hearing it on this vinyl [C] is that it just takes you back to how kids were listening to it [G] in the 80s.
In the same way that [Bm] I buy 78s or old [B] Elvis records and put it on an old 78 player, so that you can hear it the same way [C] as the kids were listening [G] to it.
To be honest it's pretty _
[Bb] _ [C] primitive, I mean when you were recording stuff like that, and it's got all the lyrics on the back as well which is brilliant.
Yeah but you still don't understand even though you can read them.
You still don't understand, it's your brother's lyrics, I sing it but don't ask me to understand.
_ _ _ I think one [G] of the biggest influences on this album [Bm] and this track was probably Steve, because he [G] picked up the saxophone and percussion, you know what he's like, he just picks up instruments and learns to play them [Bm] as easy as anything.
But this whole record was a change for us wasn't it?
[G]
It took us away from [Bm] being that kind of cult [A] rock band.
Well if you look at Depeche [C] Mode and stuff like that, we were a club band, we were a synth band, [G] _ Cut Long Story Short, The Freeze, [Bm]
all that kind of stuff was like four on [Em] the floor.
And this was such a massive [Eb] massive departure.
[G] We had a nice holiday though.
Yeah it was nice.
_ [Bm]
Went to the Bahamas and [C] just went, oh that would be [Em] nice.
It took me about a day to put my bass lines down and then I had about three weeks, six days [G] off, so it was nice.
But _ [C] they're [G] lovely memories, these listen to this.
I'm [C] not being funny but this was the album and this [G] song was the one that just [C] really made it for us.
I [G] remember when Simon Bates, Radio One [C] Jocks, was saying, [Em] this album, you've got to buy this album and he played True [G] once, which is a long song, I [Bm] think it's five minutes, five minutes.
Five [G] thirty, something like that.
Or is it six?
I [Bm] think it might be six.
[G] Anyway, and then he played it again.
And [Bm] DJs, I'm not being funny, DJs today don't play records, they don't play what they want to play, everything's playlisted.
And he said if [G] this is not a number [C] one then there's no justice and stuff.
At that point everyone went, oh thanks very much, the record company are happy.
But it [F] was a massive change [Ab] for us, definitely.
You know the first time [F] I heard Gary play this, we shared bedrooms in that house in Elmore Street.
Elmore, she used to live there.
[C] _ And [Eb] we shared this bedroom and my [C] mum was upstairs [Eb] cooking or doing something _ and [C] Gary came into the bedroom with the acoustic [Eb] guitar, sat down on the floor and played this.
And it was absolutely one of those moments you go, yep, that's [Fm] the game changer.
[Eb] Because all the hairs go up on the back of my neck and I remember it as if it was yesterday.
[G] I wasn't sure because I remember when I first, I didn't think it was a single.
[C] Because I think we were so established, I mean [Em] I loved the kind of the four and four synths [C] kind of stuff.
[G] So this was such a massive departure for [C] us and this was our first ballad.
And all of a sudden, how were people going to [G] view Spanish Ballet doing a ballad?
[C] And for me I was thinking, is it a single?
Is this the way we should be going [G] or whatever?
A beautiful [Bm] song that it was.
Beautiful song, [G] terrible video.
I mean [Bm] it's not a terrible, it's a classic video, [G] people know it.
At [Bm] one point it was even worse wasn't it, to be honest.
[G] We had that cartoon man wandering around.
Running down the bottom [Bm] of the screen.
That we had taken out, do you remember?
Yeah, it was Russell Mulcahy did the video.
Yeah, but it [D] was right at the beginning [Em] wasn't it?
It wasn't [C] in that period where everyone was going away spending [D] 250, quarter [Em] of a million pounds on videos.
[C] It was just at the beginning of MTV.
It was just in a big sound stage or whatever.
And [G] it was [Bm] an awful video.
I mean it really [Em] was awful.
Well it was a [G] performance. _ _
[Bm] Half the money was spent on that cartoon [G] that didn't end up in the [Bm] final cut.
It was absolutely rubbish.
[G] It was what it was.
I'm just trying to remember, [Bm] because we went to the Bahamas to record [G] this album.
Which kind of had a big [Bm] influence on the sound of the album.
That [G] kind of laid back, young man.
We were [Bm] walking slow, the sun was shining.
And then with [G] Steve Sax and percussion.
But then [Bm] I did [G] the vocal for this at Red Bus Studios [Bm] in London, just off the church street.
I didn't do the [G] vocal for this in the Bahamas.
[Bm] And I got it.
It was _ [G] a hard vocal to do at the [Bm] time.
And even now it's not [G] like a breeze vocal.
I mean, like through [Bm] the [G] barricade.
I can sing that with my eyes closed.
But true [Bm] is the nuances in the lyrics [G] and the melody.
Yeah, kind of, well not tough.
But you _ have to know what you're doing.
But it's got [Bm] a bit of soul in it, hasn't it?
_ [G] It's not a rock song.
We went down a rocky route for this one.
But hey, listen, it was number one in 21 countries around the [Bm] world.
And thank you very [G] much.
And as I said in our film, it went from a Ford Cortina to a lovely Jaguar.
Congratulations.
Thank you very much. _ _ _ _ _ _