Chords for bowie on Pixies
Tempo:
111.4 bpm
Chords used:
E
Ab
F
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[E] You can go [Ab] your way
[E]
The first time I heard the Pixies would have been around 1988.
I found it just about the most compelling [N] music outside of Sonic Youth in the entire 80s.
In America, they just didn't ignite people the way that they ignited them in Europe.
There was such a lot of sludge in America at the time.
I think Pixies had a real hard time pushing their way through to the surface.
Three elements I think made them important was the sound band.
One was their pure dynamics.
The very obvious now, but not obvious at the time, dynamic of keeping the verse extremely quiet
and then getting it erupting into a blaze of noise for the choruses.
That was one element.
The second element was the interesting juxtapositions that Charles brought together
of quite sordid material at times I suppose.
Charles's lyrics actually dealt with commoner garden kinds of subjects,
but the permutations that he created within the different subjects that he dealt with
were so unusual that it caught my ear immediately.
It was the sense of imagination, and I use imagination not lightly,
not in terms of it being a fantasy, which [F] most people define imagination as,
but being able to understand the affinities of [G] something
and have those affinities illuminate the subject.
It's done so effortlessly and it's done with such a sense of fun and enthusiasm.
There's a great sense of humor underlying everything that Charles does.
Three were the colours that Santiago provided as a guitarist.
I think as a guitar player he's terribly underrated.
It's much more about texture.
He supplies extraordinary texture.
One of the strongest songs that I heard at the time was Debasa.
The space of religion, two very basic American subjects.
The two subjects closest to the American heart I think.
The pure strength of him on stage, this kind of mass of screaming flesh,
this kind of very imposing figure.
I always thought there was a psychotic Beatles in there.
There's a great reverence for earlier rock music with Charles.
One of them was UMass, I like UMass.
What they've done is change the format for delivering harder rock.
I don't think that format really existed before they came along.
It's a cliche, but somebody once said that Velvet Underground didn't sell many albums,
but everybody who bought a Velvet Underground album formed a band.
I would have to suggest that the same thing really applied to the Pixies.
[E]
The first time I heard the Pixies would have been around 1988.
I found it just about the most compelling [N] music outside of Sonic Youth in the entire 80s.
In America, they just didn't ignite people the way that they ignited them in Europe.
There was such a lot of sludge in America at the time.
I think Pixies had a real hard time pushing their way through to the surface.
Three elements I think made them important was the sound band.
One was their pure dynamics.
The very obvious now, but not obvious at the time, dynamic of keeping the verse extremely quiet
and then getting it erupting into a blaze of noise for the choruses.
That was one element.
The second element was the interesting juxtapositions that Charles brought together
of quite sordid material at times I suppose.
Charles's lyrics actually dealt with commoner garden kinds of subjects,
but the permutations that he created within the different subjects that he dealt with
were so unusual that it caught my ear immediately.
It was the sense of imagination, and I use imagination not lightly,
not in terms of it being a fantasy, which [F] most people define imagination as,
but being able to understand the affinities of [G] something
and have those affinities illuminate the subject.
It's done so effortlessly and it's done with such a sense of fun and enthusiasm.
There's a great sense of humor underlying everything that Charles does.
Three were the colours that Santiago provided as a guitarist.
I think as a guitar player he's terribly underrated.
It's much more about texture.
He supplies extraordinary texture.
One of the strongest songs that I heard at the time was Debasa.
The space of religion, two very basic American subjects.
The two subjects closest to the American heart I think.
The pure strength of him on stage, this kind of mass of screaming flesh,
this kind of very imposing figure.
I always thought there was a psychotic Beatles in there.
There's a great reverence for earlier rock music with Charles.
One of them was UMass, I like UMass.
What they've done is change the format for delivering harder rock.
I don't think that format really existed before they came along.
It's a cliche, but somebody once said that Velvet Underground didn't sell many albums,
but everybody who bought a Velvet Underground album formed a band.
I would have to suggest that the same thing really applied to the Pixies.
Key:
E
Ab
F
G
E
Ab
F
G
[E] You can go [Ab] your way
_ _ [E]
The first time I heard the Pixies would have been around 1988.
I found it just about the most compelling [N] music outside of Sonic Youth in the entire 80s.
In America, they just didn't ignite people the way that they ignited them in Europe.
There was such a lot of sludge in America at the time.
I think Pixies had a real hard time _ pushing their way through to the surface.
Three elements I think made them important was the sound band.
One was their pure dynamics.
The very obvious now, but not obvious at the time, dynamic of keeping the verse _ extremely quiet
and then getting it _ erupting into a blaze of noise for the choruses.
That was one element.
The second element was the interesting juxtapositions that Charles brought together
_ _ of quite sordid material at times I suppose.
Charles's lyrics _ _ actually dealt with commoner garden kinds of subjects,
but the _ _ _ permutations that he created within the different subjects that he dealt with _
_ were so unusual that it caught my ear immediately.
It was the sense of imagination, and I use imagination not lightly,
not in terms of it being a fantasy, which [F] most people _ define _ imagination as,
but being able to understand the affinities of [G] something
and have those affinities illuminate the subject.
It's done so effortlessly and it's done with such a sense of fun and enthusiasm.
There's a great sense of humor underlying everything that Charles does.
Three were the _ _ colours that Santiago provided as a guitarist.
I think as a guitar player he's terribly underrated.
It's much more about _ _ texture.
He supplies extraordinary texture.
One of the strongest songs that I heard at the time was Debasa.
The space of religion, two very basic American subjects. _ _ _
The two subjects closest to the American heart I think.
The pure strength of him on stage, this kind of mass of _ screaming flesh,
this kind of very imposing figure.
I always thought there was a psychotic Beatles in there.
There's a great reverence for earlier rock music with Charles.
One of them was UMass, I like UMass.
What they've done is _ _ _ change the format for delivering harder rock.
I don't think that format really existed before they came along.
It's a cliche, but somebody once said that Velvet Underground didn't sell many albums,
_ _ but everybody who bought a Velvet Underground album formed a band.
I would have to suggest that the same thing really applied to the Pixies.
_ _ [E]
The first time I heard the Pixies would have been around 1988.
I found it just about the most compelling [N] music outside of Sonic Youth in the entire 80s.
In America, they just didn't ignite people the way that they ignited them in Europe.
There was such a lot of sludge in America at the time.
I think Pixies had a real hard time _ pushing their way through to the surface.
Three elements I think made them important was the sound band.
One was their pure dynamics.
The very obvious now, but not obvious at the time, dynamic of keeping the verse _ extremely quiet
and then getting it _ erupting into a blaze of noise for the choruses.
That was one element.
The second element was the interesting juxtapositions that Charles brought together
_ _ of quite sordid material at times I suppose.
Charles's lyrics _ _ actually dealt with commoner garden kinds of subjects,
but the _ _ _ permutations that he created within the different subjects that he dealt with _
_ were so unusual that it caught my ear immediately.
It was the sense of imagination, and I use imagination not lightly,
not in terms of it being a fantasy, which [F] most people _ define _ imagination as,
but being able to understand the affinities of [G] something
and have those affinities illuminate the subject.
It's done so effortlessly and it's done with such a sense of fun and enthusiasm.
There's a great sense of humor underlying everything that Charles does.
Three were the _ _ colours that Santiago provided as a guitarist.
I think as a guitar player he's terribly underrated.
It's much more about _ _ texture.
He supplies extraordinary texture.
One of the strongest songs that I heard at the time was Debasa.
The space of religion, two very basic American subjects. _ _ _
The two subjects closest to the American heart I think.
The pure strength of him on stage, this kind of mass of _ screaming flesh,
this kind of very imposing figure.
I always thought there was a psychotic Beatles in there.
There's a great reverence for earlier rock music with Charles.
One of them was UMass, I like UMass.
What they've done is _ _ _ change the format for delivering harder rock.
I don't think that format really existed before they came along.
It's a cliche, but somebody once said that Velvet Underground didn't sell many albums,
_ _ but everybody who bought a Velvet Underground album formed a band.
I would have to suggest that the same thing really applied to the Pixies.