Chords for Dave Edmunds - Interview / Girls Talk ( Live )
Tempo:
69.525 bpm
Chords used:
F
C
Bb
G
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
It is said that the good Captain Sensible, who was with us a little earlier in the program,
once fell asleep on a pavement outside a Soho night spot.
He was befriended by a passerby and put to bed in that passerby's front room.
Captain wakes up in the middle of the night to gaze upon walls covered with rare and expensive
guitars and gold records aplenty.
Captain assumes, naturally enough, Captain and Bibe a little too much, died perhaps and
somehow gone to heaven.
Because where else would you find such a fine collection?
The answer, of course, is in Dave Edmonds' front room.
Please welcome [G] Dave Edmonds.
Is this one?
Yeah, yeah, it is sort of.
You see, I knew that he had a gig in Ipswich the next day and they were leaving at nine
o'clock in the morning and he wasn't just lying on the floor, he was lying in his own
vomit or so.
Someone else's is even worse or something.
I'm sure this isn't true.
He was really drunk, you see, and I thought, he'll never make the gig tomorrow.
What a kind person.
Isn't Dave a kind person?
Wonderful man.
Now, why do you keep performing, Dave?
Why do you keep
because you're the only one tonight, the only producer who still keeps
doing his jigs.
Why?
Well, actually, the producing bit is sort of a sideline.
[G] It started because I wanted to learn to engineer my own records and I thought once you can
engineer your own records and you know just how you want your records to sound, then you
can craft it.
So, I learned to engineer so I could produce my own records and as a result of that, other
people started asking me to produce.
So, it's not really what I do for a living.
So, you're not really interested in being a producer as
I think it would drive me a bit loopy if I had to sort of spend 11 months out of the
year cooped up in a studio just producing people.
But you have produced what a lot of people consider to be a number of classic records for yourself.
Things like, you know, Going to Be With You and stuff like that.
Yeah.
That was fun.
But you're not really interested in doing it for other people.
You have, you've done a lot of rock and roll things.
People like the Stray Cats and stuff.
Yeah, I find, I think real producers, you know, like the two eminent [F] gentlemen you had here.
I mean, I think they could produce it, they're very good at it and they [G] could produce sort
of any style of music.
It doesn't have to be what they basically, their favorite style of music.
With me, I think it would have to be to get me interested.
I don't think I could contribute anything as a producer to a style of music that I didn't really like.
And your main style you're really interested in is rock and roll music.
I mean, that's the main
Now, I've listened to a lot of old rock and roll records and it seems like they sound
as good now as they did when they were made.
Why should we have made all these advances in technology now and still finish up not
sounding any better than Chuck Berry did?
It makes you think, doesn't it?
Yeah.
I know, you hear some of those old records and it does sound really good.
Why?
Why?
Playing or the sound?
I don't know, the equipment that was used then, I think, sort of lent itself to that
rough style of the music.
That's all I can think of.
Because I've had a couple of records that Cliff Richards recorded and often went Please, no.
Sorry, Cliff's not in the country, you know.
But it seems like if they play them on an oldies show and they play Move It and then
they play like Wire For Sound, it seems like Move It [N] just sounds as fresh as the new record.
Yeah, well, you picked on a good example there because that was one of the few rock and roll
records that came from Britain at that time that could match some of the stuff that was
coming out of America.
The rest, it just didn't work.
It didn't really happen, the English rock and roll.
And do you think English make
Do you think we make better rock and roll records now or do you not think
Do you still think we don't get it right?
Well, I don't think many people do make rock and roll records now.
So there's nothing really to compare it with, say, America.
I can't think of anyone who's doing the straight ahead rock and roll.
You just come back from America?
Yeah, not long ago.
Doing some jigs, you know, producing, playing dates.
You want to play a jig for us now?
I'd love to.
Ladies and gentlemen, welcome Dave Edmonds, Andersville.
[G] Ladies [Bb] and gentlemen, Dave Edmonds!
[Eb] [Bb]
[Abm] There [C] are some things you can't [F] double up, you're less than [C] half.
Oh, I heard you mention [Bb] my name [F] as you're talking [G] it out.
Won't come [Am] any closer, won't come [G] any nearer.
My vision [C] of you [Bb] can't come [F] any [C] nearer.
[F] [Bb] Just want to [C] hear a girl's heart.
[F] [G] Got [C] an open [Bb] imagination [C] inspired by a good one.
It's a moral [Bb] explanation [F] inspired [G] by a good one.
But I [A] can't say it, so if you [Bm] want to hear, I [C] suppose [Bb] you're gonna have [F] to pay it by
[B] the way you [C] stand now.
[F] [Bb] Do the song, [C] cause they want to know.
[F] Do the song, [C] they say, la-da-da.
[Bb] [F] Girls are just a pair of little souls, only thing that I don't [G] find out.
[C] I'm so worried I'm on [Bb] everyone's lips, [F] living your [C] daddy's days.
There may not be an old [Bb] fashioned girl, [F] but you're gonna [G] get me.
I should [A] really murder, no, you [G] better get me.
Baby, [C] I have heard [Bb] you are the [F] living dead.
[C] Do the song, [F] [C] they say, la-da-da.
[F] [Am] [C] They think they know [Bb] how.
[F] They say that it's so, so they think that I [G] [Bb]
[Ab] [G] [Bb] don't.
[Ab] [Eb] [F] [G] But I [A] can't say it, so if you [Bm] want to hear, I [C] suppose you're [Bb] gonna have [F] to pay [G] it by
[B] the way you [C] stand now.
There are some things you [Bb] can't cover up, [F] [C] mystic and foul.
All I heard in [Bb] tune, my [F] thing, ain't you [G] talking now.
So [A] come any closer, so [G] come any nearer.
[C] Nothing is a [Bb] cure, ain't [F] no need to [C] fear.
[F] Do the [C] song, cause they want to [F]
[C] know.
They say, la-da [F]-da.
[F] Do the [C] song, do the [F] song, [C] do the song, do the [F] song, [F] do the [C] song, do the [Bb] song, [F] do the song.
[C] Yeah, yeah, yeah, [Bb] yeah.
[F] Do the song, [C] yeah, yeah, yeah, [F] yeah.
Do the song, [C] yeah, yeah, yeah, [F] yeah.
Do the song.
[Bb] [C] [Bb] [G]
once fell asleep on a pavement outside a Soho night spot.
He was befriended by a passerby and put to bed in that passerby's front room.
Captain wakes up in the middle of the night to gaze upon walls covered with rare and expensive
guitars and gold records aplenty.
Captain assumes, naturally enough, Captain and Bibe a little too much, died perhaps and
somehow gone to heaven.
Because where else would you find such a fine collection?
The answer, of course, is in Dave Edmonds' front room.
Please welcome [G] Dave Edmonds.
Is this one?
Yeah, yeah, it is sort of.
You see, I knew that he had a gig in Ipswich the next day and they were leaving at nine
o'clock in the morning and he wasn't just lying on the floor, he was lying in his own
vomit or so.
Someone else's is even worse or something.
I'm sure this isn't true.
He was really drunk, you see, and I thought, he'll never make the gig tomorrow.
What a kind person.
Isn't Dave a kind person?
Wonderful man.
Now, why do you keep performing, Dave?
Why do you keep
because you're the only one tonight, the only producer who still keeps
doing his jigs.
Why?
Well, actually, the producing bit is sort of a sideline.
[G] It started because I wanted to learn to engineer my own records and I thought once you can
engineer your own records and you know just how you want your records to sound, then you
can craft it.
So, I learned to engineer so I could produce my own records and as a result of that, other
people started asking me to produce.
So, it's not really what I do for a living.
So, you're not really interested in being a producer as
I think it would drive me a bit loopy if I had to sort of spend 11 months out of the
year cooped up in a studio just producing people.
But you have produced what a lot of people consider to be a number of classic records for yourself.
Things like, you know, Going to Be With You and stuff like that.
Yeah.
That was fun.
But you're not really interested in doing it for other people.
You have, you've done a lot of rock and roll things.
People like the Stray Cats and stuff.
Yeah, I find, I think real producers, you know, like the two eminent [F] gentlemen you had here.
I mean, I think they could produce it, they're very good at it and they [G] could produce sort
of any style of music.
It doesn't have to be what they basically, their favorite style of music.
With me, I think it would have to be to get me interested.
I don't think I could contribute anything as a producer to a style of music that I didn't really like.
And your main style you're really interested in is rock and roll music.
I mean, that's the main
Now, I've listened to a lot of old rock and roll records and it seems like they sound
as good now as they did when they were made.
Why should we have made all these advances in technology now and still finish up not
sounding any better than Chuck Berry did?
It makes you think, doesn't it?
Yeah.
I know, you hear some of those old records and it does sound really good.
Why?
Why?
Playing or the sound?
I don't know, the equipment that was used then, I think, sort of lent itself to that
rough style of the music.
That's all I can think of.
Because I've had a couple of records that Cliff Richards recorded and often went Please, no.
Sorry, Cliff's not in the country, you know.
But it seems like if they play them on an oldies show and they play Move It and then
they play like Wire For Sound, it seems like Move It [N] just sounds as fresh as the new record.
Yeah, well, you picked on a good example there because that was one of the few rock and roll
records that came from Britain at that time that could match some of the stuff that was
coming out of America.
The rest, it just didn't work.
It didn't really happen, the English rock and roll.
And do you think English make
Do you think we make better rock and roll records now or do you not think
Do you still think we don't get it right?
Well, I don't think many people do make rock and roll records now.
So there's nothing really to compare it with, say, America.
I can't think of anyone who's doing the straight ahead rock and roll.
You just come back from America?
Yeah, not long ago.
Doing some jigs, you know, producing, playing dates.
You want to play a jig for us now?
I'd love to.
Ladies and gentlemen, welcome Dave Edmonds, Andersville.
[G] Ladies [Bb] and gentlemen, Dave Edmonds!
[Eb] [Bb]
[Abm] There [C] are some things you can't [F] double up, you're less than [C] half.
Oh, I heard you mention [Bb] my name [F] as you're talking [G] it out.
Won't come [Am] any closer, won't come [G] any nearer.
My vision [C] of you [Bb] can't come [F] any [C] nearer.
[F] [Bb] Just want to [C] hear a girl's heart.
[F] [G] Got [C] an open [Bb] imagination [C] inspired by a good one.
It's a moral [Bb] explanation [F] inspired [G] by a good one.
But I [A] can't say it, so if you [Bm] want to hear, I [C] suppose [Bb] you're gonna have [F] to pay it by
[B] the way you [C] stand now.
[F] [Bb] Do the song, [C] cause they want to know.
[F] Do the song, [C] they say, la-da-da.
[Bb] [F] Girls are just a pair of little souls, only thing that I don't [G] find out.
[C] I'm so worried I'm on [Bb] everyone's lips, [F] living your [C] daddy's days.
There may not be an old [Bb] fashioned girl, [F] but you're gonna [G] get me.
I should [A] really murder, no, you [G] better get me.
Baby, [C] I have heard [Bb] you are the [F] living dead.
[C] Do the song, [F] [C] they say, la-da-da.
[F] [Am] [C] They think they know [Bb] how.
[F] They say that it's so, so they think that I [G] [Bb]
[Ab] [G] [Bb] don't.
[Ab] [Eb] [F] [G] But I [A] can't say it, so if you [Bm] want to hear, I [C] suppose you're [Bb] gonna have [F] to pay [G] it by
[B] the way you [C] stand now.
There are some things you [Bb] can't cover up, [F] [C] mystic and foul.
All I heard in [Bb] tune, my [F] thing, ain't you [G] talking now.
So [A] come any closer, so [G] come any nearer.
[C] Nothing is a [Bb] cure, ain't [F] no need to [C] fear.
[F] Do the [C] song, cause they want to [F]
[C] know.
They say, la-da [F]-da.
[F] Do the [C] song, do the [F] song, [C] do the song, do the [F] song, [F] do the [C] song, do the [Bb] song, [F] do the song.
[C] Yeah, yeah, yeah, [Bb] yeah.
[F] Do the song, [C] yeah, yeah, yeah, [F] yeah.
Do the song, [C] yeah, yeah, yeah, [F] yeah.
Do the song.
[Bb] [C] [Bb] [G]
Key:
F
C
Bb
G
A
F
C
Bb
It is said that the good Captain Sensible, who was with us a little earlier in the program,
once fell asleep on a pavement outside a Soho night spot.
He was befriended by a passerby and put to bed in that passerby's front room.
Captain wakes up in the middle of the night to gaze upon walls covered with rare and expensive
guitars and gold records aplenty.
Captain assumes, naturally enough, Captain and Bibe a little too much, died perhaps and
somehow gone to heaven.
Because where else would you find such a fine collection?
The answer, of course, is in Dave Edmonds' front room.
Please welcome [G] Dave Edmonds.
_ _ Is this one?
_ Yeah, yeah, it is sort of.
You see, I knew that he had a gig in Ipswich the next day and they were leaving at nine
o'clock in the morning and he wasn't just lying on the floor, he was lying in his own
vomit or so.
Someone else's is even worse or something.
I'm sure this isn't true.
He was really drunk, you see, and I thought, he'll never make the gig tomorrow. _
What a kind person.
Isn't Dave a kind person?
Wonderful man.
Now, why do you keep performing, Dave?
Why do you keep_
because you're the only one tonight, the only producer who still keeps
doing his jigs.
Why?
Well, actually, the producing bit is sort of a sideline.
[G] It started because I wanted to learn to engineer my own records and I thought once you can
engineer your own records and you know just how you want your records to sound, then you
can craft it.
So, I learned to engineer so I could produce my own records and as a result of that, other
people started asking me to produce.
So, it's not really what I do for a living.
So, you're not really interested in being a producer as_
I think it would drive me a bit loopy if I had to sort of spend 11 months out of the
year cooped up in a studio just producing people.
But you have produced what a lot of people consider to be a number of classic records for yourself.
Things like, you know, Going to Be With You and stuff like that.
Yeah.
That was fun.
But you're not really interested in doing it for other people.
You have, you've done a lot of rock and roll things.
People like the Stray Cats and stuff.
Yeah, I find, I think real producers, you know, like the two eminent [F] gentlemen you had here.
I mean, I think they could produce it, they're very good at it and they [G] could produce sort
of any style of music.
It doesn't have to be what they basically, their favorite style of music.
With me, I think it would have to be to get me interested.
I don't think I could contribute anything as a producer to a style of music that I didn't really like.
And your main style you're really interested in is rock and roll music.
I mean, that's the main_
Now, I've listened to a lot of old rock and roll records and it seems like they sound
as good now as they did when they were made.
Why should we have made all these advances in technology now and still finish up not
sounding any better than Chuck Berry did?
It makes you think, doesn't it?
Yeah.
I know, you hear some of those old records and it does sound really good.
Why?
Why?
Playing or the sound?
I don't know, the equipment that was used then, I think, sort of lent itself to that
rough style of the music.
That's all I can think of.
Because I've had a couple of records that Cliff Richards recorded and often went_ Please, no.
Sorry, Cliff's not in the country, you know.
But it seems like if they play them on an oldies show and they play Move It and then
they play like Wire For Sound, it seems like Move It [N] just sounds as fresh as the new record.
Yeah, well, you picked on a good example there because that was one of the few rock and roll
records that came from Britain at that time that could match some of the stuff that was
coming out of America.
The rest, it just didn't work.
It didn't really happen, the English rock and roll.
And do you think English make_
Do you think we make better rock and roll records now or do you not think_
Do you still think we don't get it right?
Well, I don't think many people do make rock and roll records now.
So there's nothing really to compare it with, say, America.
I can't think of anyone who's doing the straight ahead rock and roll.
You just come back from America?
Yeah, not long ago.
Doing some jigs, you know, producing, playing dates.
You want to play a jig for us now?
I'd love to.
Ladies and gentlemen, welcome Dave Edmonds, Andersville.
_ [G] Ladies _ _ [Bb] and gentlemen, Dave Edmonds!
_ _ _ [Eb] _ [Bb] _ _ _
_ _ _ _ [Abm] There [C] are some things you can't [F] double up, you're less than [C] half.
_ Oh, I heard you mention [Bb] my name [F] as you're talking [G] it out.
Won't come [Am] any closer, won't come [G] any nearer.
My vision [C] of you [Bb] can't come [F] any [C] nearer. _ _
[F] [Bb] Just want to [C] hear a girl's heart.
[F] [G] Got [C] an open [Bb] imagination [C] inspired by a good one.
_ It's a moral [Bb] explanation [F] inspired [G] by a good one.
But I [A] can't say it, so if you [Bm] want to hear, I [C] suppose [Bb] you're gonna have [F] to pay it by
[B] the way you [C] stand now.
[F] [Bb] Do the song, [C] cause they want to know.
[F] Do the song, [C] they say, la-da-da.
[Bb] [F] Girls are just a pair of little souls, only thing that I don't [G] find out.
[C] I'm so worried I'm on [Bb] everyone's lips, [F] living your [C] daddy's days.
There may not be an old [Bb] fashioned girl, [F] but you're gonna [G] get me.
I should [A] really murder, no, you [G] better get me.
Baby, [C] I have heard [Bb] you are the [F] living dead.
[C] Do the song, _ [F] _ [C] they say, la-da-da.
[F] _ [Am] [C] They think they know [Bb] how.
[F] They say that it's so, so they think that I [G] _ _ _ _ [Bb] _
_ [Ab] _ [G] _ [Bb] _ don't. _ _
_ [Ab] _ [Eb] _ [F] _ _ [G] But I [A] can't say it, so if you [Bm] want to hear, I [C] suppose you're [Bb] gonna have [F] to pay [G] it by
[B] the way you [C] stand now.
There are some things you [Bb] can't cover up, [F] [C] mystic and foul. _
All I heard in [Bb] tune, my [F] thing, ain't you [G] talking now.
So [A] come any closer, so [G] come any nearer.
[C] Nothing is a [Bb] cure, ain't [F] no need to [C] fear.
_ _ [F] Do the [C] song, cause they want to [F] _
[C] know.
They say, la-da [F]-da.
[F] Do the [C] song, do the [F] song, [C] do the song, do the [F] song, [F] do the [C] song, do the [Bb] song, [F] do the song.
[C] Yeah, yeah, yeah, [Bb] yeah.
[F] Do the song, [C] yeah, yeah, yeah, [F] yeah.
Do the song, [C] yeah, yeah, yeah, [F] yeah.
Do the song.
[Bb] _ [C] _ _ _ _ _ [Bb] _ _ [G] _ _ _ _
_ _ _ _ _ _ _ _
once fell asleep on a pavement outside a Soho night spot.
He was befriended by a passerby and put to bed in that passerby's front room.
Captain wakes up in the middle of the night to gaze upon walls covered with rare and expensive
guitars and gold records aplenty.
Captain assumes, naturally enough, Captain and Bibe a little too much, died perhaps and
somehow gone to heaven.
Because where else would you find such a fine collection?
The answer, of course, is in Dave Edmonds' front room.
Please welcome [G] Dave Edmonds.
_ _ Is this one?
_ Yeah, yeah, it is sort of.
You see, I knew that he had a gig in Ipswich the next day and they were leaving at nine
o'clock in the morning and he wasn't just lying on the floor, he was lying in his own
vomit or so.
Someone else's is even worse or something.
I'm sure this isn't true.
He was really drunk, you see, and I thought, he'll never make the gig tomorrow. _
What a kind person.
Isn't Dave a kind person?
Wonderful man.
Now, why do you keep performing, Dave?
Why do you keep_
because you're the only one tonight, the only producer who still keeps
doing his jigs.
Why?
Well, actually, the producing bit is sort of a sideline.
[G] It started because I wanted to learn to engineer my own records and I thought once you can
engineer your own records and you know just how you want your records to sound, then you
can craft it.
So, I learned to engineer so I could produce my own records and as a result of that, other
people started asking me to produce.
So, it's not really what I do for a living.
So, you're not really interested in being a producer as_
I think it would drive me a bit loopy if I had to sort of spend 11 months out of the
year cooped up in a studio just producing people.
But you have produced what a lot of people consider to be a number of classic records for yourself.
Things like, you know, Going to Be With You and stuff like that.
Yeah.
That was fun.
But you're not really interested in doing it for other people.
You have, you've done a lot of rock and roll things.
People like the Stray Cats and stuff.
Yeah, I find, I think real producers, you know, like the two eminent [F] gentlemen you had here.
I mean, I think they could produce it, they're very good at it and they [G] could produce sort
of any style of music.
It doesn't have to be what they basically, their favorite style of music.
With me, I think it would have to be to get me interested.
I don't think I could contribute anything as a producer to a style of music that I didn't really like.
And your main style you're really interested in is rock and roll music.
I mean, that's the main_
Now, I've listened to a lot of old rock and roll records and it seems like they sound
as good now as they did when they were made.
Why should we have made all these advances in technology now and still finish up not
sounding any better than Chuck Berry did?
It makes you think, doesn't it?
Yeah.
I know, you hear some of those old records and it does sound really good.
Why?
Why?
Playing or the sound?
I don't know, the equipment that was used then, I think, sort of lent itself to that
rough style of the music.
That's all I can think of.
Because I've had a couple of records that Cliff Richards recorded and often went_ Please, no.
Sorry, Cliff's not in the country, you know.
But it seems like if they play them on an oldies show and they play Move It and then
they play like Wire For Sound, it seems like Move It [N] just sounds as fresh as the new record.
Yeah, well, you picked on a good example there because that was one of the few rock and roll
records that came from Britain at that time that could match some of the stuff that was
coming out of America.
The rest, it just didn't work.
It didn't really happen, the English rock and roll.
And do you think English make_
Do you think we make better rock and roll records now or do you not think_
Do you still think we don't get it right?
Well, I don't think many people do make rock and roll records now.
So there's nothing really to compare it with, say, America.
I can't think of anyone who's doing the straight ahead rock and roll.
You just come back from America?
Yeah, not long ago.
Doing some jigs, you know, producing, playing dates.
You want to play a jig for us now?
I'd love to.
Ladies and gentlemen, welcome Dave Edmonds, Andersville.
_ [G] Ladies _ _ [Bb] and gentlemen, Dave Edmonds!
_ _ _ [Eb] _ [Bb] _ _ _
_ _ _ _ [Abm] There [C] are some things you can't [F] double up, you're less than [C] half.
_ Oh, I heard you mention [Bb] my name [F] as you're talking [G] it out.
Won't come [Am] any closer, won't come [G] any nearer.
My vision [C] of you [Bb] can't come [F] any [C] nearer. _ _
[F] [Bb] Just want to [C] hear a girl's heart.
[F] [G] Got [C] an open [Bb] imagination [C] inspired by a good one.
_ It's a moral [Bb] explanation [F] inspired [G] by a good one.
But I [A] can't say it, so if you [Bm] want to hear, I [C] suppose [Bb] you're gonna have [F] to pay it by
[B] the way you [C] stand now.
[F] [Bb] Do the song, [C] cause they want to know.
[F] Do the song, [C] they say, la-da-da.
[Bb] [F] Girls are just a pair of little souls, only thing that I don't [G] find out.
[C] I'm so worried I'm on [Bb] everyone's lips, [F] living your [C] daddy's days.
There may not be an old [Bb] fashioned girl, [F] but you're gonna [G] get me.
I should [A] really murder, no, you [G] better get me.
Baby, [C] I have heard [Bb] you are the [F] living dead.
[C] Do the song, _ [F] _ [C] they say, la-da-da.
[F] _ [Am] [C] They think they know [Bb] how.
[F] They say that it's so, so they think that I [G] _ _ _ _ [Bb] _
_ [Ab] _ [G] _ [Bb] _ don't. _ _
_ [Ab] _ [Eb] _ [F] _ _ [G] But I [A] can't say it, so if you [Bm] want to hear, I [C] suppose you're [Bb] gonna have [F] to pay [G] it by
[B] the way you [C] stand now.
There are some things you [Bb] can't cover up, [F] [C] mystic and foul. _
All I heard in [Bb] tune, my [F] thing, ain't you [G] talking now.
So [A] come any closer, so [G] come any nearer.
[C] Nothing is a [Bb] cure, ain't [F] no need to [C] fear.
_ _ [F] Do the [C] song, cause they want to [F] _
[C] know.
They say, la-da [F]-da.
[F] Do the [C] song, do the [F] song, [C] do the song, do the [F] song, [F] do the [C] song, do the [Bb] song, [F] do the song.
[C] Yeah, yeah, yeah, [Bb] yeah.
[F] Do the song, [C] yeah, yeah, yeah, [F] yeah.
Do the song, [C] yeah, yeah, yeah, [F] yeah.
Do the song.
[Bb] _ [C] _ _ _ _ _ [Bb] _ _ [G] _ _ _ _
_ _ _ _ _ _ _ _