Chords for Bowie TV: Tony Visconti on first meeting David Bowie
Tempo:
89 bpm
Chords used:
G
D
C
E
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[D]
I had met [Gm] Mark Bolin prior to [G] meeting David, about a month earlier.
[D] And my boss was his publisher [C] also, [G] David Bowie's publisher.
[D] And he requested that I listen to David [C] Bowie's music, his very [G] first album.
[D] And he just wanted my opinion.
So I told him that I [G] really liked it.
I said, he's kind of all [E] over the place.
But I heard something, and [B] I said, the voice.
[G] The voice is magnificent, and his use of poetry is magnificent.
[Am] And [G] my boss said, would you like to meet him?
[D] And I said, of course.
He goes, well, he's in the next room.
So this was all a set up.
So first [G] of all, I saw this lovely man, very [E] handsome.
And I noticed that I had a choice [Am] of eyes [B] to look into.
[G] Was I going to look into the pale blue eye or [D] the dark blue eye?
That was [A] very strange.
[G] So we just [F#m] blabbed on [D] for about [Dm] four more hours until we were kicked [G] out.
The office was closing for the day.
We found out that we [C] had many things in common.
[G] He loved Anthony [F] Newey, the guy [C] who wrote What Kind of Fool [D] Am I?
But by the time I had met him, [G] he didn't drop that, but he just added [Cm] underground [G] music.
He was enamored of Frank [F] Zappa, The Fugs.
[C] And also, [Dm] this is really odd, a [G] radio announcer from Chicago [D] called Ken Nordin,
who made a spoken word [G] album [D] describing colors.
You know, puce was one of the colors.
[C] And he wrote a [G] little jazz word poem about [D] puce.
You know, David and I love the same [F#m] stuff.
[G] We couldn't [E] escape from being under the umbrella of the Beatles.
[A] You had to [G] do something that [D] was Beatlesque in a way
if it was [A] only to use a strange [G] instrument, like [D] did the Beatles [F#m] use an oboe?
No, they didn't, so [D] we're going to use an oboe, you know, something like that.
[F#m] But he [G] always, till [E] the end of his days, always listened to [A] what's out there.
He [G] always did research.
When [D] we approached an album, both [Am] David and I,
we would sit and [G] listen to a stack of records, the [D] records of the day,
listen to some old favorites, and just be [Cm] totally [C] inspired by that.
I [G] think he just [Cm] pulled things out of the air [G] to make his music,
[F] which ironically [C] made him very original, because [D] we even put a word to [G] this,
hybridization, that's what we were all about.
[C] We would mix this culture and [G] that culture, [F] and [C] only in Lady Is, we did it knowingly.
[G] I [Dm] wanted to play with rough and ready young guys who maybe weren't note perfect,
but they had the feel and they had the spirit and the [G] enthusiasm, and David [D] loved this.
David [Bm] loved playing with a band.
They [G] were all his age.
We [Dm] were all the young dudes, and we had the message.
[C] David [Bm] was a great performer [D] that, unlike today,
where a singer steps in [C] front of a mic and sings a song [G] 20 times,
and then it's [D] tuned and fixed and all that.
We had no tools like that in those days.
David Bowie got signed because he was a virtuoso, because he was a [G] great performer,
and that is evident, but [D] he sang so loud,
sometimes you could [C] hear the voice on the drum [D] track or even on the bass amp.
He's singing loud in the studio, and so what?
I had met [Gm] Mark Bolin prior to [G] meeting David, about a month earlier.
[D] And my boss was his publisher [C] also, [G] David Bowie's publisher.
[D] And he requested that I listen to David [C] Bowie's music, his very [G] first album.
[D] And he just wanted my opinion.
So I told him that I [G] really liked it.
I said, he's kind of all [E] over the place.
But I heard something, and [B] I said, the voice.
[G] The voice is magnificent, and his use of poetry is magnificent.
[Am] And [G] my boss said, would you like to meet him?
[D] And I said, of course.
He goes, well, he's in the next room.
So this was all a set up.
So first [G] of all, I saw this lovely man, very [E] handsome.
And I noticed that I had a choice [Am] of eyes [B] to look into.
[G] Was I going to look into the pale blue eye or [D] the dark blue eye?
That was [A] very strange.
[G] So we just [F#m] blabbed on [D] for about [Dm] four more hours until we were kicked [G] out.
The office was closing for the day.
We found out that we [C] had many things in common.
[G] He loved Anthony [F] Newey, the guy [C] who wrote What Kind of Fool [D] Am I?
But by the time I had met him, [G] he didn't drop that, but he just added [Cm] underground [G] music.
He was enamored of Frank [F] Zappa, The Fugs.
[C] And also, [Dm] this is really odd, a [G] radio announcer from Chicago [D] called Ken Nordin,
who made a spoken word [G] album [D] describing colors.
You know, puce was one of the colors.
[C] And he wrote a [G] little jazz word poem about [D] puce.
You know, David and I love the same [F#m] stuff.
[G] We couldn't [E] escape from being under the umbrella of the Beatles.
[A] You had to [G] do something that [D] was Beatlesque in a way
if it was [A] only to use a strange [G] instrument, like [D] did the Beatles [F#m] use an oboe?
No, they didn't, so [D] we're going to use an oboe, you know, something like that.
[F#m] But he [G] always, till [E] the end of his days, always listened to [A] what's out there.
He [G] always did research.
When [D] we approached an album, both [Am] David and I,
we would sit and [G] listen to a stack of records, the [D] records of the day,
listen to some old favorites, and just be [Cm] totally [C] inspired by that.
I [G] think he just [Cm] pulled things out of the air [G] to make his music,
[F] which ironically [C] made him very original, because [D] we even put a word to [G] this,
hybridization, that's what we were all about.
[C] We would mix this culture and [G] that culture, [F] and [C] only in Lady Is, we did it knowingly.
[G] I [Dm] wanted to play with rough and ready young guys who maybe weren't note perfect,
but they had the feel and they had the spirit and the [G] enthusiasm, and David [D] loved this.
David [Bm] loved playing with a band.
They [G] were all his age.
We [Dm] were all the young dudes, and we had the message.
[C] David [Bm] was a great performer [D] that, unlike today,
where a singer steps in [C] front of a mic and sings a song [G] 20 times,
and then it's [D] tuned and fixed and all that.
We had no tools like that in those days.
David Bowie got signed because he was a virtuoso, because he was a [G] great performer,
and that is evident, but [D] he sang so loud,
sometimes you could [C] hear the voice on the drum [D] track or even on the bass amp.
He's singing loud in the studio, and so what?
Key:
G
D
C
E
A
G
D
C
[D] _ _ _ _ _ _ _ _
_ _ I had met [Gm] Mark Bolin prior to [G] meeting David, about a month earlier.
[D] And my boss was his publisher [C] also, [G] David Bowie's publisher.
[D] And he requested that I listen to David [C] Bowie's music, his very [G] first album.
[D] And he just wanted my opinion.
So I told him that I [G] really liked it.
I said, he's kind of all [E] over the place.
But I heard something, and [B] I said, the voice.
[G] The voice is magnificent, and his use of poetry is magnificent.
[Am] And [G] my boss said, would you like to meet him?
[D] And I said, of course.
He goes, well, he's in the next room.
So this was all a set up.
So first [G] of all, I saw this lovely man, very [E] handsome.
And I noticed that I had a choice [Am] of eyes [B] to look into.
[G] Was I going to look into the pale blue eye or [D] the dark blue eye?
That was [A] very strange.
[G] So we just [F#m] blabbed on [D] for about [Dm] four more hours until we were kicked [G] out.
The office was closing for the day.
We found out that we [C] had many things in common.
[G] He loved Anthony [F] Newey, the guy [C] who wrote What Kind of Fool [D] Am I?
But by the time I had met him, [G] he didn't drop that, but he just added [Cm] underground [G] music.
He was enamored of Frank [F] Zappa, The Fugs.
[C] And also, [Dm] this is really odd, a [G] radio announcer from Chicago [D] called Ken Nordin,
who made a spoken word [G] album [D] describing colors.
You know, puce was one of the colors.
[C] And he wrote a [G] little jazz word poem about [D] _ puce.
You know, David and I love the same [F#m] stuff.
[G] We couldn't [E] escape from being under the umbrella of the Beatles.
[A] You had to [G] do something that [D] was Beatlesque in a way
if it was [A] only to use a strange [G] instrument, like [D] did the Beatles [F#m] use an oboe?
No, they didn't, so [D] we're going to use an oboe, you know, something like that.
[F#m] But he [G] always, till [E] the end of his days, always listened to [A] what's out there.
He [G] always did research.
When [D] we approached an album, both [Am] David and I,
we would sit and [G] listen to a stack of records, the [D] records of the day,
listen to some old favorites, and just be [Cm] totally [C] inspired by that.
I [G] think he just [Cm] pulled things out of the air [G] to make his music,
[F] which ironically [C] made him very original, because [D] we even put a word to [G] this,
hybridization, that's what we were all about.
[C] We would mix this culture and [G] that culture, [F] and [C] only in Lady Is, we did it knowingly.
[G] I [Dm] wanted to play with rough and ready young guys who maybe weren't note perfect,
but they had the feel and they had the spirit and the [G] enthusiasm, and David [D] loved this.
David [Bm] loved playing with a band.
They [G] were all his age.
We [Dm] were all the young dudes, and we had the message.
[C] David [Bm] was a great performer [D] that, unlike today,
where a singer steps in [C] front of a mic and sings a song [G] 20 times,
and then it's [D] tuned and fixed and all that.
We had no tools like that in those days.
David Bowie got signed because he was a virtuoso, because he was a [G] great performer,
and that is evident, but [D] he sang so loud,
sometimes you could [C] hear the voice on the drum [D] track or even on the bass amp.
He's singing loud in the studio, and so what? _
_ _ _ _ _ _ _ _
_ _ I had met [Gm] Mark Bolin prior to [G] meeting David, about a month earlier.
[D] And my boss was his publisher [C] also, [G] David Bowie's publisher.
[D] And he requested that I listen to David [C] Bowie's music, his very [G] first album.
[D] And he just wanted my opinion.
So I told him that I [G] really liked it.
I said, he's kind of all [E] over the place.
But I heard something, and [B] I said, the voice.
[G] The voice is magnificent, and his use of poetry is magnificent.
[Am] And [G] my boss said, would you like to meet him?
[D] And I said, of course.
He goes, well, he's in the next room.
So this was all a set up.
So first [G] of all, I saw this lovely man, very [E] handsome.
And I noticed that I had a choice [Am] of eyes [B] to look into.
[G] Was I going to look into the pale blue eye or [D] the dark blue eye?
That was [A] very strange.
[G] So we just [F#m] blabbed on [D] for about [Dm] four more hours until we were kicked [G] out.
The office was closing for the day.
We found out that we [C] had many things in common.
[G] He loved Anthony [F] Newey, the guy [C] who wrote What Kind of Fool [D] Am I?
But by the time I had met him, [G] he didn't drop that, but he just added [Cm] underground [G] music.
He was enamored of Frank [F] Zappa, The Fugs.
[C] And also, [Dm] this is really odd, a [G] radio announcer from Chicago [D] called Ken Nordin,
who made a spoken word [G] album [D] describing colors.
You know, puce was one of the colors.
[C] And he wrote a [G] little jazz word poem about [D] _ puce.
You know, David and I love the same [F#m] stuff.
[G] We couldn't [E] escape from being under the umbrella of the Beatles.
[A] You had to [G] do something that [D] was Beatlesque in a way
if it was [A] only to use a strange [G] instrument, like [D] did the Beatles [F#m] use an oboe?
No, they didn't, so [D] we're going to use an oboe, you know, something like that.
[F#m] But he [G] always, till [E] the end of his days, always listened to [A] what's out there.
He [G] always did research.
When [D] we approached an album, both [Am] David and I,
we would sit and [G] listen to a stack of records, the [D] records of the day,
listen to some old favorites, and just be [Cm] totally [C] inspired by that.
I [G] think he just [Cm] pulled things out of the air [G] to make his music,
[F] which ironically [C] made him very original, because [D] we even put a word to [G] this,
hybridization, that's what we were all about.
[C] We would mix this culture and [G] that culture, [F] and [C] only in Lady Is, we did it knowingly.
[G] I [Dm] wanted to play with rough and ready young guys who maybe weren't note perfect,
but they had the feel and they had the spirit and the [G] enthusiasm, and David [D] loved this.
David [Bm] loved playing with a band.
They [G] were all his age.
We [Dm] were all the young dudes, and we had the message.
[C] David [Bm] was a great performer [D] that, unlike today,
where a singer steps in [C] front of a mic and sings a song [G] 20 times,
and then it's [D] tuned and fixed and all that.
We had no tools like that in those days.
David Bowie got signed because he was a virtuoso, because he was a [G] great performer,
and that is evident, but [D] he sang so loud,
sometimes you could [C] hear the voice on the drum [D] track or even on the bass amp.
He's singing loud in the studio, and so what? _
_ _ _ _ _ _ _ _