Chords for Crash Test Dummies - Mmm Mmm Mmm Mmm | Het verhaal achter het nummer | Top 2000 a gogo
Tempo:
49.65 bpm
Chords used:
Eb
Bb
Ab
F
Dm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[F] [Ebm]
[Dm] [Ab]
We had just come out of the 1980s, which [F] was hair metal.
And all the singers in that genre are screamers.
And I always thought when I was a kid, [Eb] growing up and listening to like Alice Cooper and
the [Fm] Rolling Stones and everybody else, that I just couldn't sing because I couldn't sing
in their [Eb] range.
And it turned out I was just singing [Ab] and trying to sing to [Bb] people that had a different range than me.
Once [Eb] there was this kid [Ab] who got into [Eb] an accident and got him from the school.
But when he finally came back, [Eb] his [Ab] hair had turned from black [Bb] into bright white.
So when I was [B] in like grade four, I had this friend [D] who was kind of a little pervert, a
horny [Eb] little bastard.
He said, you know, we've got to go to this, [Gm] my parents' [F] friend's place because they got
[Bb] penthouse magazines and a bathroom there.
[F] So we went and I looked at these forbidden magazines.
And then on the way home, we got in a car accident.
And it was almost like I was being divinely punished for having witnessed this pornography
at such a young age.
And anyways, that didn't actually make it into the song.
The fact that I was in a car accident made it into the song.
And what I used was a composite of stories.
There's a story about a guy who was in a boat and he was sailing near Niagara Falls and
he got too close and he knew he was going to die or he thought he was going to die.
And his hair turned from black to white as snow.
And I just thought it was really intriguing that something that [Dm] physical [F] could manifest
in that brief a period of time.
And so I put it into the song.
[Bb] Once there was this girl who wouldn't go and change with the girls in the change [Ab] room.
And when the [Bb] phone rang, [Eb] they saw birthmarks all [Bb] over her body.
I have a birthmark at the base [B] of my spine called a giant hairy nevus.
Not a very flattering name.
[Bb] I didn't know that growing up.
I looked it up later.
[Ab] I was extremely self [Dm]-conscious about it as a child.
And when I went to swimming lessons, I was teased for it.
And anyways, it always stuck [Bb] with me that I was like this marked man.
Once again, this physical manifestation.
I had this birthmark [Dm] on me, just like the guy with the hair, had his hair change [Eb] color.
When I was writing the verses for Mm [C] Mm Mm, [Fm] I was reimagining childhood.
When people were interviewing me about this in the past,
I would insist that it had nothing [Eb] to do with my biography
because I wanted them to look at the lyrics and see the lyrics in their own context
and read them for what they were instead of what they might happen to have to do with my life.
But in truth, they're all about situations that arose in the course of my life.
And I stitched them all together to make a portrait of three different kids
who all lived as kind of outsiders, if you will.
[Gm] And [Bb] there [Eb] was this boy whose parents made him come directly home right after school
And [Ab] when they went to the after church, they shook and lurched all over [Bb] the church floor
The last verse [B] is about a friend of mine whose parents were fundamentalist [Bbm] Christians.
They would speak in [Eb] tongues and they also would roll around.
It was terrifying for this girl because of course these were her [Ab] parents.
These [Bb] were the authority figures in [F] her life and she thought they were losing their minds.
And I got a third verse out of it because here we had another story about a kid who was an outsider.
And that's really what stitches all three verses together.
[Gm] [Dm] For [F] many years people would ask me, so what's the matter?
Couldn't you think of any words for the chorus?
And I would say, oh no, no, no, no.
Less is more.
And mm-mm is a kind of way of reflecting on what has been said.
So the chorus, even though it had no words, was kind of like a commentary on the verses,
which is what a good chorus should do.
Having said all that, when I wrote the song, I couldn't think of any words for the chorus.
And I handed the demo around to the band and I said, listen, the lyrics are all there for the verses,
but I don't know what I'm going to do about the chorus yet.
We'll just have to see, but go with this for now.
And they all came back to me and said, what are you, crazy?
It's perfect as it is.
You don't want to add [Ab] words?
And I was like, thank God.
[Fm] [Eb] [Bb] [E]
[Dm] [Ab]
We had just come out of the 1980s, which [F] was hair metal.
And all the singers in that genre are screamers.
And I always thought when I was a kid, [Eb] growing up and listening to like Alice Cooper and
the [Fm] Rolling Stones and everybody else, that I just couldn't sing because I couldn't sing
in their [Eb] range.
And it turned out I was just singing [Ab] and trying to sing to [Bb] people that had a different range than me.
Once [Eb] there was this kid [Ab] who got into [Eb] an accident and got him from the school.
But when he finally came back, [Eb] his [Ab] hair had turned from black [Bb] into bright white.
So when I was [B] in like grade four, I had this friend [D] who was kind of a little pervert, a
horny [Eb] little bastard.
He said, you know, we've got to go to this, [Gm] my parents' [F] friend's place because they got
[Bb] penthouse magazines and a bathroom there.
[F] So we went and I looked at these forbidden magazines.
And then on the way home, we got in a car accident.
And it was almost like I was being divinely punished for having witnessed this pornography
at such a young age.
And anyways, that didn't actually make it into the song.
The fact that I was in a car accident made it into the song.
And what I used was a composite of stories.
There's a story about a guy who was in a boat and he was sailing near Niagara Falls and
he got too close and he knew he was going to die or he thought he was going to die.
And his hair turned from black to white as snow.
And I just thought it was really intriguing that something that [Dm] physical [F] could manifest
in that brief a period of time.
And so I put it into the song.
[Bb] Once there was this girl who wouldn't go and change with the girls in the change [Ab] room.
And when the [Bb] phone rang, [Eb] they saw birthmarks all [Bb] over her body.
I have a birthmark at the base [B] of my spine called a giant hairy nevus.
Not a very flattering name.
[Bb] I didn't know that growing up.
I looked it up later.
[Ab] I was extremely self [Dm]-conscious about it as a child.
And when I went to swimming lessons, I was teased for it.
And anyways, it always stuck [Bb] with me that I was like this marked man.
Once again, this physical manifestation.
I had this birthmark [Dm] on me, just like the guy with the hair, had his hair change [Eb] color.
When I was writing the verses for Mm [C] Mm Mm, [Fm] I was reimagining childhood.
When people were interviewing me about this in the past,
I would insist that it had nothing [Eb] to do with my biography
because I wanted them to look at the lyrics and see the lyrics in their own context
and read them for what they were instead of what they might happen to have to do with my life.
But in truth, they're all about situations that arose in the course of my life.
And I stitched them all together to make a portrait of three different kids
who all lived as kind of outsiders, if you will.
[Gm] And [Bb] there [Eb] was this boy whose parents made him come directly home right after school
And [Ab] when they went to the after church, they shook and lurched all over [Bb] the church floor
The last verse [B] is about a friend of mine whose parents were fundamentalist [Bbm] Christians.
They would speak in [Eb] tongues and they also would roll around.
It was terrifying for this girl because of course these were her [Ab] parents.
These [Bb] were the authority figures in [F] her life and she thought they were losing their minds.
And I got a third verse out of it because here we had another story about a kid who was an outsider.
And that's really what stitches all three verses together.
[Gm] [Dm] For [F] many years people would ask me, so what's the matter?
Couldn't you think of any words for the chorus?
And I would say, oh no, no, no, no.
Less is more.
And mm-mm is a kind of way of reflecting on what has been said.
So the chorus, even though it had no words, was kind of like a commentary on the verses,
which is what a good chorus should do.
Having said all that, when I wrote the song, I couldn't think of any words for the chorus.
And I handed the demo around to the band and I said, listen, the lyrics are all there for the verses,
but I don't know what I'm going to do about the chorus yet.
We'll just have to see, but go with this for now.
And they all came back to me and said, what are you, crazy?
It's perfect as it is.
You don't want to add [Ab] words?
And I was like, thank God.
[Fm] [Eb] [Bb] [E]
Key:
Eb
Bb
Ab
F
Dm
Eb
Bb
Ab
_ _ _ _ [F] _ [Ebm] _ _ _
_ _ _ [Dm] _ _ [Ab] _ _ _
_ _ We had just come out of the 1980s, which [F] was hair metal.
And all the singers in that genre are screamers.
And I always thought when I was a kid, [Eb] growing up and listening to like Alice Cooper and
the [Fm] Rolling Stones and everybody else, that I just couldn't sing because I couldn't sing
in their [Eb] range.
And it turned out I was just singing [Ab] and trying to sing to [Bb] people that had a different range than me.
Once [Eb] there was this kid [Ab] who got into [Eb] an accident and got him from the school.
But when he finally came back, [Eb] his [Ab] hair had turned from black [Bb] into bright white.
So when I was [B] in like grade four, I had this friend [D] who was kind of a little pervert, a
horny [Eb] little bastard.
He said, you know, we've got to go to this, [Gm] my parents' [F] friend's place because they got
[Bb] penthouse magazines and a bathroom there.
[F] So we went and I looked at these forbidden magazines.
And then on the way home, we got in a car accident.
And it was almost like I was being divinely punished for having witnessed this pornography
at such a young age.
And anyways, that didn't actually make it into the song.
The fact that I was in a car accident made it into the song.
And what I used was a composite of stories.
There's a story about a guy who was in a boat and he was sailing near Niagara Falls and
he got too close and he knew he was going to die or he thought he was going to die.
And his hair turned from black to white as snow.
And I just thought it was really intriguing that something that [Dm] physical [F] could manifest
in that brief a period of time.
And so I put it into the song.
[Bb] Once there was this girl who wouldn't go and change with the girls in the change [Ab] room.
And when the [Bb] phone rang, [Eb] they saw birthmarks all [Bb] over her body.
I have a birthmark at the base [B] of my spine called a giant hairy nevus.
Not a very flattering name.
[Bb] I didn't know that growing up.
I looked it up later.
[Ab] I was extremely self [Dm]-conscious about it as a child.
And when I went to swimming lessons, I was teased for it.
And anyways, it always stuck [Bb] with me that I was like this marked man.
Once again, this physical manifestation.
I had this birthmark [Dm] on me, just like the guy with the hair, had his hair change [Eb] color.
When I was writing the verses for Mm [C] Mm Mm, [Fm] I was reimagining childhood.
When people were interviewing me about this in the past,
I would insist that it had nothing [Eb] to do with my biography
because I wanted them to look at the lyrics and see the lyrics in their own context
and read them for what they were instead of what they might happen to have to do with my life.
But in truth, they're all about situations that arose in the course of my life.
And I stitched them all together to make a portrait of three different kids
who all lived as kind of outsiders, if you will.
[Gm] And [Bb] there [Eb] was this boy whose parents made him come directly home right after school
And [Ab] when they went to the after church, they shook and lurched all over [Bb] the church floor
The last verse [B] is about a friend of mine whose parents were fundamentalist [Bbm] Christians.
They would speak in [Eb] tongues and they also would roll around.
It was terrifying for this girl because of course these were her [Ab] parents.
These [Bb] were the authority figures in [F] her life and she thought they were losing their minds.
And I got a third verse out of it because here we had another story about a kid who was an outsider.
And that's really what stitches all three verses together.
[Gm] _ _ _ _ [Dm] _ For [F] many years people would ask me, so what's the matter?
Couldn't you think of any words for the chorus?
And I would say, oh no, no, no, no.
Less is more.
And mm-mm is a kind of way of reflecting on what has been said.
So the chorus, even though it had no words, was kind of like a commentary on the verses,
which is what a good chorus should do.
Having said all that, when I wrote the song, I couldn't think of any words for the chorus.
_ And I handed the demo around to the band and I said, listen, the lyrics are all there for the verses,
but I don't know what I'm going to do about the chorus yet.
We'll just have to see, but go with this for now.
And they all came back to me and said, what are you, crazy?
It's perfect as it is.
You don't want to add [Ab] words?
And I was like, thank God.
[Fm] _ _ [Eb] _ [Bb] _ _ [E] _
_ _ _ [Dm] _ _ [Ab] _ _ _
_ _ We had just come out of the 1980s, which [F] was hair metal.
And all the singers in that genre are screamers.
And I always thought when I was a kid, [Eb] growing up and listening to like Alice Cooper and
the [Fm] Rolling Stones and everybody else, that I just couldn't sing because I couldn't sing
in their [Eb] range.
And it turned out I was just singing [Ab] and trying to sing to [Bb] people that had a different range than me.
Once [Eb] there was this kid [Ab] who got into [Eb] an accident and got him from the school.
But when he finally came back, [Eb] his [Ab] hair had turned from black [Bb] into bright white.
So when I was [B] in like grade four, I had this friend [D] who was kind of a little pervert, a
horny [Eb] little bastard.
He said, you know, we've got to go to this, [Gm] my parents' [F] friend's place because they got
[Bb] penthouse magazines and a bathroom there.
[F] So we went and I looked at these forbidden magazines.
And then on the way home, we got in a car accident.
And it was almost like I was being divinely punished for having witnessed this pornography
at such a young age.
And anyways, that didn't actually make it into the song.
The fact that I was in a car accident made it into the song.
And what I used was a composite of stories.
There's a story about a guy who was in a boat and he was sailing near Niagara Falls and
he got too close and he knew he was going to die or he thought he was going to die.
And his hair turned from black to white as snow.
And I just thought it was really intriguing that something that [Dm] physical [F] could manifest
in that brief a period of time.
And so I put it into the song.
[Bb] Once there was this girl who wouldn't go and change with the girls in the change [Ab] room.
And when the [Bb] phone rang, [Eb] they saw birthmarks all [Bb] over her body.
I have a birthmark at the base [B] of my spine called a giant hairy nevus.
Not a very flattering name.
[Bb] I didn't know that growing up.
I looked it up later.
[Ab] I was extremely self [Dm]-conscious about it as a child.
And when I went to swimming lessons, I was teased for it.
And anyways, it always stuck [Bb] with me that I was like this marked man.
Once again, this physical manifestation.
I had this birthmark [Dm] on me, just like the guy with the hair, had his hair change [Eb] color.
When I was writing the verses for Mm [C] Mm Mm, [Fm] I was reimagining childhood.
When people were interviewing me about this in the past,
I would insist that it had nothing [Eb] to do with my biography
because I wanted them to look at the lyrics and see the lyrics in their own context
and read them for what they were instead of what they might happen to have to do with my life.
But in truth, they're all about situations that arose in the course of my life.
And I stitched them all together to make a portrait of three different kids
who all lived as kind of outsiders, if you will.
[Gm] And [Bb] there [Eb] was this boy whose parents made him come directly home right after school
And [Ab] when they went to the after church, they shook and lurched all over [Bb] the church floor
The last verse [B] is about a friend of mine whose parents were fundamentalist [Bbm] Christians.
They would speak in [Eb] tongues and they also would roll around.
It was terrifying for this girl because of course these were her [Ab] parents.
These [Bb] were the authority figures in [F] her life and she thought they were losing their minds.
And I got a third verse out of it because here we had another story about a kid who was an outsider.
And that's really what stitches all three verses together.
[Gm] _ _ _ _ [Dm] _ For [F] many years people would ask me, so what's the matter?
Couldn't you think of any words for the chorus?
And I would say, oh no, no, no, no.
Less is more.
And mm-mm is a kind of way of reflecting on what has been said.
So the chorus, even though it had no words, was kind of like a commentary on the verses,
which is what a good chorus should do.
Having said all that, when I wrote the song, I couldn't think of any words for the chorus.
_ And I handed the demo around to the band and I said, listen, the lyrics are all there for the verses,
but I don't know what I'm going to do about the chorus yet.
We'll just have to see, but go with this for now.
And they all came back to me and said, what are you, crazy?
It's perfect as it is.
You don't want to add [Ab] words?
And I was like, thank God.
[Fm] _ _ [Eb] _ [Bb] _ _ [E] _