Chords for Billy Idol - Kings & Queens of the Underground - Episode #5
Tempo:
143.9 bpm
Chords used:
G
E
A
B
F#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Am] Seeking of [C] the [D] underground if [G] you hear my [Em] voice
[D] [B] I'm lucky I can do [G#] this.
[Am] People dream about doing the thing [E] they love for a job.
[B] Most people [F#m] don't do the thing they love.
[A] I'm really fucking lucky.
[E] When I was in the group Chelsea just before [Em] Generation X, we [A] rehearsed at [G] the far end of the [E] Portobello Road
and that's [G] very near to Salm Studios so it's very [D] much my old stomping ground.
[C] In [A] 1976 John Cravin, the [B] manager of Acme Attractions was starting a group up.
[E] I passed the audition because I had the right look.
[D#]
[A#] And I said look, you [F#] don't have a bass player.
I got Tony along and the thing that sealed it was
I said well we can write songs, although [D#] we'd never written a song together in our lives.
And they said okay go off and write [G] a song and prove to us you [C] can write a song.
And we came back with Ready Steady Go and I'm still performing that today.
37 [N] years later.
We started to rehearse on the third floor.
This is one of the first places I rehearsed in a group.
With the group Chelsea which became Generation X in six months.
I'd get up in the morning at 8, I'd work till 6 at my dad's place.
Then I'd get in the van that they lent me with my guitar.
I'd drive up here.
We'd rehearse from [G] 7.30, [D#] 8 o'clock till 11.30, 12.
Then I would drive to [F] Louisa's in [A] central London, West One [F#] and hang out with my friends.
I'd end up at Bromley at 4 in the morning.
[G] I'd get up at 6 and start again to go to work [A] at 8.
And that just shows you how [F#] much fucking [G] energy you have when you're young.
I couldn't do it now.
I couldn't do [F#] it now.
We left Chelsea after about [D#] four months and started Generation X.
We [N] continued on.
We went to the Roxy.
It's completely changed.
This was just a normal street.
The cars went up and down.
There wasn't a pedestrian.
It must be somewhere here, you know.
All the clubs in London were stopping punk playing.
So our idea was to start our own club.
Gene October knew about this place, Shaggaramas.
It was just here.
It was just a little shithole club.
There was no stage.
We actually built this tiny stage and I put up the black backdrop.
But it became the only place in London for a short time that could put on punk groups.
It gave a sort of rallying place for all the punks.
They knew they could come here.
They knew this was their club.
They knew they could wear their bondage trousers and their ripped up T-shirts
and wear their [G#] spiky hair with [E] joy and not get worried about anything.
They could [G#] drink themselves stupid, [E] take [B] speed all night long and dance like crazy.
Roxy was the home of punk for a little [C#] while.
I never thought I'd be even [F#] talking about this 50 years later.
This was all just for the moment.
We were living for the moment, in the moment.
That's all we cared [G] about.
There was no future.
We were really lucky.
[F#] Thank God for punk rock.
[E] Thank you.
[B] [A]
[E]
[B] [A]
[D] [B] I'm lucky I can do [G#] this.
[Am] People dream about doing the thing [E] they love for a job.
[B] Most people [F#m] don't do the thing they love.
[A] I'm really fucking lucky.
[E] When I was in the group Chelsea just before [Em] Generation X, we [A] rehearsed at [G] the far end of the [E] Portobello Road
and that's [G] very near to Salm Studios so it's very [D] much my old stomping ground.
[C] In [A] 1976 John Cravin, the [B] manager of Acme Attractions was starting a group up.
[E] I passed the audition because I had the right look.
[D#]
[A#] And I said look, you [F#] don't have a bass player.
I got Tony along and the thing that sealed it was
I said well we can write songs, although [D#] we'd never written a song together in our lives.
And they said okay go off and write [G] a song and prove to us you [C] can write a song.
And we came back with Ready Steady Go and I'm still performing that today.
37 [N] years later.
We started to rehearse on the third floor.
This is one of the first places I rehearsed in a group.
With the group Chelsea which became Generation X in six months.
I'd get up in the morning at 8, I'd work till 6 at my dad's place.
Then I'd get in the van that they lent me with my guitar.
I'd drive up here.
We'd rehearse from [G] 7.30, [D#] 8 o'clock till 11.30, 12.
Then I would drive to [F] Louisa's in [A] central London, West One [F#] and hang out with my friends.
I'd end up at Bromley at 4 in the morning.
[G] I'd get up at 6 and start again to go to work [A] at 8.
And that just shows you how [F#] much fucking [G] energy you have when you're young.
I couldn't do it now.
I couldn't do [F#] it now.
We left Chelsea after about [D#] four months and started Generation X.
We [N] continued on.
We went to the Roxy.
It's completely changed.
This was just a normal street.
The cars went up and down.
There wasn't a pedestrian.
It must be somewhere here, you know.
All the clubs in London were stopping punk playing.
So our idea was to start our own club.
Gene October knew about this place, Shaggaramas.
It was just here.
It was just a little shithole club.
There was no stage.
We actually built this tiny stage and I put up the black backdrop.
But it became the only place in London for a short time that could put on punk groups.
It gave a sort of rallying place for all the punks.
They knew they could come here.
They knew this was their club.
They knew they could wear their bondage trousers and their ripped up T-shirts
and wear their [G#] spiky hair with [E] joy and not get worried about anything.
They could [G#] drink themselves stupid, [E] take [B] speed all night long and dance like crazy.
Roxy was the home of punk for a little [C#] while.
I never thought I'd be even [F#] talking about this 50 years later.
This was all just for the moment.
We were living for the moment, in the moment.
That's all we cared [G] about.
There was no future.
We were really lucky.
[F#] Thank God for punk rock.
[E] Thank you.
[B] [A]
[E]
[B] [A]
Key:
G
E
A
B
F#
G
E
A
_ [Am] _ _ Seeking _ of [C] the _ [D] underground if [G] you hear my [Em] voice
_ [D] _ _ [B] I'm lucky I can do [G#] this.
_ [Am] People dream about doing the thing [E] they love for a job.
_ _ _ [B] Most people [F#m] don't do the thing they love.
[A] I'm really fucking lucky.
[E] _ When I was in the group Chelsea just before [Em] Generation X, we [A] rehearsed at [G] the far end of the [E] Portobello Road
and that's [G] very near to Salm Studios so it's very [D] much my old stomping ground.
[C] In _ [A] 1976 John Cravin, the [B] manager of Acme Attractions was starting a group up.
[E] I passed the audition because I had the right look.
_ [D#] _ _
[A#] And I said look, you [F#] don't have a bass player.
I got Tony along and the thing that sealed it was
I said well we can write songs, although [D#] we'd never written a song together in our lives.
And they said okay go off and write [G] a song and prove to us you [C] can write a song.
And we came back with Ready Steady Go and I'm still performing that today.
_ _ _ _ 37 [N] years _ later.
We started to rehearse on the third floor.
This is _ one of the first places I rehearsed in a group.
With the group Chelsea which became Generation X in six months.
I'd get up in the morning at 8, I'd work till 6 at my dad's place.
Then I'd get in the van that they lent me _ with my guitar.
I'd drive up here.
We'd rehearse _ _ from _ [G] 7.30, [D#] 8 o'clock till 11.30, 12.
Then I would drive to [F] Louisa's in [A] central London, West One [F#] and hang out with my friends.
I'd end up at Bromley at 4 in the morning.
[G] I'd get up at 6 and start again to go to work [A] at 8.
And that just shows you how [F#] much fucking [G] energy you have when you're young.
I couldn't do it now.
I couldn't do [F#] it now.
_ _ We left Chelsea after about [D#] four months and started Generation X.
We [N] continued on.
We went to the Roxy.
_ It's completely changed.
This was just a normal street.
_ The cars went up and down.
There wasn't a pedestrian. _ _ _ _
It must be somewhere here, you know. _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ All the clubs in London were stopping punk playing.
So our idea was to start our own club.
Gene October knew about this place, Shaggaramas.
It was just here.
It was just a little shithole club.
There was no stage.
We actually built this tiny stage and I put up the black backdrop.
But it became the only place in London for a short time that could put on punk groups. _ _
It gave a sort of rallying place for all the punks.
_ _ They knew they could come here.
They knew this was their club.
They knew they could wear their bondage trousers and their ripped up T-shirts
and wear their [G#] spiky hair with _ [E] joy and not get worried about anything.
They could [G#] _ drink themselves stupid, [E] take [B] speed all night long and dance like crazy.
Roxy was the home of punk for a little [C#] while.
I never thought I'd be even [F#] talking about this 50 years later.
This was all just for the moment.
We were living for the moment, in the moment.
That's all we cared [G] about.
There was no future.
_ We were really lucky.
[F#] _ _ _ Thank God for punk rock.
[E] _ _ _ _ Thank you.
_ [B] _ _ _ _ [A] _ _ _
[E] _ _ _ _ _ _ _ _
_ [B] _ _ _ _ [A] _ _ _
_ [D] _ _ [B] I'm lucky I can do [G#] this.
_ [Am] People dream about doing the thing [E] they love for a job.
_ _ _ [B] Most people [F#m] don't do the thing they love.
[A] I'm really fucking lucky.
[E] _ When I was in the group Chelsea just before [Em] Generation X, we [A] rehearsed at [G] the far end of the [E] Portobello Road
and that's [G] very near to Salm Studios so it's very [D] much my old stomping ground.
[C] In _ [A] 1976 John Cravin, the [B] manager of Acme Attractions was starting a group up.
[E] I passed the audition because I had the right look.
_ [D#] _ _
[A#] And I said look, you [F#] don't have a bass player.
I got Tony along and the thing that sealed it was
I said well we can write songs, although [D#] we'd never written a song together in our lives.
And they said okay go off and write [G] a song and prove to us you [C] can write a song.
And we came back with Ready Steady Go and I'm still performing that today.
_ _ _ _ 37 [N] years _ later.
We started to rehearse on the third floor.
This is _ one of the first places I rehearsed in a group.
With the group Chelsea which became Generation X in six months.
I'd get up in the morning at 8, I'd work till 6 at my dad's place.
Then I'd get in the van that they lent me _ with my guitar.
I'd drive up here.
We'd rehearse _ _ from _ [G] 7.30, [D#] 8 o'clock till 11.30, 12.
Then I would drive to [F] Louisa's in [A] central London, West One [F#] and hang out with my friends.
I'd end up at Bromley at 4 in the morning.
[G] I'd get up at 6 and start again to go to work [A] at 8.
And that just shows you how [F#] much fucking [G] energy you have when you're young.
I couldn't do it now.
I couldn't do [F#] it now.
_ _ We left Chelsea after about [D#] four months and started Generation X.
We [N] continued on.
We went to the Roxy.
_ It's completely changed.
This was just a normal street.
_ The cars went up and down.
There wasn't a pedestrian. _ _ _ _
It must be somewhere here, you know. _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ All the clubs in London were stopping punk playing.
So our idea was to start our own club.
Gene October knew about this place, Shaggaramas.
It was just here.
It was just a little shithole club.
There was no stage.
We actually built this tiny stage and I put up the black backdrop.
But it became the only place in London for a short time that could put on punk groups. _ _
It gave a sort of rallying place for all the punks.
_ _ They knew they could come here.
They knew this was their club.
They knew they could wear their bondage trousers and their ripped up T-shirts
and wear their [G#] spiky hair with _ [E] joy and not get worried about anything.
They could [G#] _ drink themselves stupid, [E] take [B] speed all night long and dance like crazy.
Roxy was the home of punk for a little [C#] while.
I never thought I'd be even [F#] talking about this 50 years later.
This was all just for the moment.
We were living for the moment, in the moment.
That's all we cared [G] about.
There was no future.
_ We were really lucky.
[F#] _ _ _ Thank God for punk rock.
[E] _ _ _ _ Thank you.
_ [B] _ _ _ _ [A] _ _ _
[E] _ _ _ _ _ _ _ _
_ [B] _ _ _ _ [A] _ _ _