Chords for David Baerwald Interview Preview w/ Katie Shorey for Songwriters Vantage
Tempo:
118.55 bpm
Chords used:
B
Em
G
Gb
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Em] I say [C] welcome, welcome to [Gb] Boomtown.
[Em] Pick a [G] habit, we got plenty to [Em] go around.
[G] David, I mean, obviously from David and David, [E] Boomtown was a huge record.
[B] But we'd love to know [N] what got you to the point where you were writing with David and the success you had there.
Just a little tidbit about your background.
Well, you know, pretty musical family.
My mother was a piano teacher.
My father played the violin.
So there was always a lot of music.
So it didn't seem like an unnatural thing to do, to pick up an instrument.
When I was probably about 13, I started playing in bands as a bass player.
Actually, that's not true.
I did play bass, but the first band I was in, I actually played drums.
I tried to keep on finding lighter things to play.
It's easier to transport.
Yeah, I finally ended up being a singer.
You just have a microphone.
You don't even really need a supply.
I'd never sung in my life.
The guy sets up a mic, and I start singing.
And all of a sudden this huge Elvis voice comes out.
And I was just like, what the hell is that?
And everybody's like, dude.
We went and did this lip sync tour in Europe.
So they could have all the full tracks behind you.
Right, exactly.
And they could just hire local fashion models on the ground to dance around behind us as we sang our songs of urban malaise.
Awesome.
Which was completely ridiculous.
Did you like it at the time?
No, I [B] was in hell.
This particular tour, I don't know.
I guess it's always like this.
[G]
It's basically the top 20 or 30 [B] of the time in Europe.
And it's a very disparate group, and I guess it works.
But everybody piles into these [Em] buses.
Somewhere between the cast of Fame and Lord of [B] Flies.
Awesome.
That's a nice description.
I [E] like that.
I get it.
It's an [G] extremely claustrophobic [B] environment.
And [N] the teenagers everywhere we went, we would be in a hotel.
And we'd be sitting there and there's press everywhere.
And there's all these other bands and all the egomania and blah blah blah.
And meanwhile there's teenagers pounding on the walls of the hotel.
And for me I was a little bit nervous to start out with.
Paranoid.
The combination.
Yeah, exactly.
I was a little bit on that side.
And the combination of the claustrophobia and the [Eb] tension and the violence in the air all the time.
[Gb] I went absolutely completely insane.
I actually [Ebm] bolted from the tour.
[F] Your first couple of solo records, which were just totally awesome.
At A&M, yeah.
Yes.
And Bedtime Stories was your first.
[Bb] With some just really brilliant songwriting.
Beautiful music.
I love We All Walk Through Fire, [Eb] Hello [B] Mary.
Just let us know maybe some songs that you [Gb] love or that jump out at you
and the [B] history of the lyrics are, you know, deep.
[Bb] We might have understood where some of that has come from.
[F] If anything jumped out at you from that record.
Well, it was a time of a lot of upheaval.
Personal upheaval.
In terms of songwriting, I was trying something kind of specific,
which was sort of a John Fante and these kind of minimalist
[Em] Pick a [G] habit, we got plenty to [Em] go around.
[G] David, I mean, obviously from David and David, [E] Boomtown was a huge record.
[B] But we'd love to know [N] what got you to the point where you were writing with David and the success you had there.
Just a little tidbit about your background.
Well, you know, pretty musical family.
My mother was a piano teacher.
My father played the violin.
So there was always a lot of music.
So it didn't seem like an unnatural thing to do, to pick up an instrument.
When I was probably about 13, I started playing in bands as a bass player.
Actually, that's not true.
I did play bass, but the first band I was in, I actually played drums.
I tried to keep on finding lighter things to play.
It's easier to transport.
Yeah, I finally ended up being a singer.
You just have a microphone.
You don't even really need a supply.
I'd never sung in my life.
The guy sets up a mic, and I start singing.
And all of a sudden this huge Elvis voice comes out.
And I was just like, what the hell is that?
And everybody's like, dude.
We went and did this lip sync tour in Europe.
So they could have all the full tracks behind you.
Right, exactly.
And they could just hire local fashion models on the ground to dance around behind us as we sang our songs of urban malaise.
Awesome.
Which was completely ridiculous.
Did you like it at the time?
No, I [B] was in hell.
This particular tour, I don't know.
I guess it's always like this.
[G]
It's basically the top 20 or 30 [B] of the time in Europe.
And it's a very disparate group, and I guess it works.
But everybody piles into these [Em] buses.
Somewhere between the cast of Fame and Lord of [B] Flies.
Awesome.
That's a nice description.
I [E] like that.
I get it.
It's an [G] extremely claustrophobic [B] environment.
And [N] the teenagers everywhere we went, we would be in a hotel.
And we'd be sitting there and there's press everywhere.
And there's all these other bands and all the egomania and blah blah blah.
And meanwhile there's teenagers pounding on the walls of the hotel.
And for me I was a little bit nervous to start out with.
Paranoid.
The combination.
Yeah, exactly.
I was a little bit on that side.
And the combination of the claustrophobia and the [Eb] tension and the violence in the air all the time.
[Gb] I went absolutely completely insane.
I actually [Ebm] bolted from the tour.
[F] Your first couple of solo records, which were just totally awesome.
At A&M, yeah.
Yes.
And Bedtime Stories was your first.
[Bb] With some just really brilliant songwriting.
Beautiful music.
I love We All Walk Through Fire, [Eb] Hello [B] Mary.
Just let us know maybe some songs that you [Gb] love or that jump out at you
and the [B] history of the lyrics are, you know, deep.
[Bb] We might have understood where some of that has come from.
[F] If anything jumped out at you from that record.
Well, it was a time of a lot of upheaval.
Personal upheaval.
In terms of songwriting, I was trying something kind of specific,
which was sort of a John Fante and these kind of minimalist
Key:
B
Em
G
Gb
E
B
Em
G
[Em] I say [C] welcome, _ _ _ welcome to [Gb] _ Boomtown. _ _
_ _ _ [Em] _ _ Pick a [G] habit, we got plenty to [Em] go around.
[G] David, I mean, obviously from David and David, [E] Boomtown was a huge record.
[B] But we'd love to know [N] what got you to the point where you were writing with David and the success you had there.
Just a little tidbit about your background.
Well, you know, _ _ _ pretty musical family.
My mother was a piano teacher. _
_ _ My father played the violin.
So there was always a lot of music.
So it didn't seem like an unnatural thing to do, to pick up an instrument.
When I was probably about 13, I started playing in bands as a bass player.
_ _ _ _ Actually, that's not true.
I did play bass, but _ the first band I was in, I actually played drums.
I tried to keep on finding lighter things to play.
It's easier to transport.
Yeah, I finally ended up being a singer.
You just have a microphone.
You don't even really need a supply.
I'd never sung in my life. _
The guy sets up a mic, _ and _ I start singing.
And all of a sudden this huge Elvis voice comes out.
And I was just like, what the hell is that?
And everybody's like, dude.
_ We went and did this lip sync tour in Europe. _ _ _
So they could have all the full tracks behind you.
Right, exactly.
And they could just hire local fashion models on the ground to dance around behind us as we sang our songs of urban malaise.
Awesome.
Which was completely ridiculous.
_ Did you like it at the time?
No, I [B] was in hell.
This particular tour, I don't know. _ _
_ I guess it's always like this.
_ [G]
It's basically the top 20 or 30 [B] of the time in Europe.
And it's a very disparate group, and I guess it works.
But _ everybody piles into these [Em] buses.
Somewhere between the cast of Fame and Lord of [B] Flies.
Awesome.
That's a nice description.
I [E] like that.
I get it.
_ _ It's an [G] extremely claustrophobic [B] environment.
And _ [N] the teenagers everywhere we went, _ we would be in a hotel.
_ And we'd be sitting there and there's press everywhere.
And there's all these other bands and all the egomania and blah blah blah.
And meanwhile there's teenagers pounding on the walls of the hotel.
_ _ _ And for me I was a little bit nervous to start out with. _ _ _
Paranoid.
The combination.
Yeah, exactly.
I was a little bit on that side.
And _ the combination of the claustrophobia and the _ _ _ _ [Eb] tension and the _ violence in the air all the time.
[Gb] I went absolutely completely insane.
I actually [Ebm] bolted from the tour.
[F] Your first couple of solo records, which were just totally awesome.
At A&M, yeah.
Yes.
And Bedtime Stories was your first.
_ [Bb] With some just really brilliant songwriting.
Beautiful music.
I love We All Walk Through Fire, _ [Eb] Hello [B] Mary.
Just let us know maybe some songs that you [Gb] love or that jump out at you
and the [B] history of the lyrics are, you know, _ deep.
[Bb] We might have understood where some of that has come from. _
[F] If anything jumped out at you from that record.
Well, it was a time of a lot of upheaval.
_ _ _ Personal upheaval.
_ _ _ _ In _ terms of songwriting, I was trying something kind of specific,
which was sort of a _ John Fante and _ _ _ these _ _ kind of minimalist _
_ _ _ [Em] _ _ Pick a [G] habit, we got plenty to [Em] go around.
[G] David, I mean, obviously from David and David, [E] Boomtown was a huge record.
[B] But we'd love to know [N] what got you to the point where you were writing with David and the success you had there.
Just a little tidbit about your background.
Well, you know, _ _ _ pretty musical family.
My mother was a piano teacher. _
_ _ My father played the violin.
So there was always a lot of music.
So it didn't seem like an unnatural thing to do, to pick up an instrument.
When I was probably about 13, I started playing in bands as a bass player.
_ _ _ _ Actually, that's not true.
I did play bass, but _ the first band I was in, I actually played drums.
I tried to keep on finding lighter things to play.
It's easier to transport.
Yeah, I finally ended up being a singer.
You just have a microphone.
You don't even really need a supply.
I'd never sung in my life. _
The guy sets up a mic, _ and _ I start singing.
And all of a sudden this huge Elvis voice comes out.
And I was just like, what the hell is that?
And everybody's like, dude.
_ We went and did this lip sync tour in Europe. _ _ _
So they could have all the full tracks behind you.
Right, exactly.
And they could just hire local fashion models on the ground to dance around behind us as we sang our songs of urban malaise.
Awesome.
Which was completely ridiculous.
_ Did you like it at the time?
No, I [B] was in hell.
This particular tour, I don't know. _ _
_ I guess it's always like this.
_ [G]
It's basically the top 20 or 30 [B] of the time in Europe.
And it's a very disparate group, and I guess it works.
But _ everybody piles into these [Em] buses.
Somewhere between the cast of Fame and Lord of [B] Flies.
Awesome.
That's a nice description.
I [E] like that.
I get it.
_ _ It's an [G] extremely claustrophobic [B] environment.
And _ [N] the teenagers everywhere we went, _ we would be in a hotel.
_ And we'd be sitting there and there's press everywhere.
And there's all these other bands and all the egomania and blah blah blah.
And meanwhile there's teenagers pounding on the walls of the hotel.
_ _ _ And for me I was a little bit nervous to start out with. _ _ _
Paranoid.
The combination.
Yeah, exactly.
I was a little bit on that side.
And _ the combination of the claustrophobia and the _ _ _ _ [Eb] tension and the _ violence in the air all the time.
[Gb] I went absolutely completely insane.
I actually [Ebm] bolted from the tour.
[F] Your first couple of solo records, which were just totally awesome.
At A&M, yeah.
Yes.
And Bedtime Stories was your first.
_ [Bb] With some just really brilliant songwriting.
Beautiful music.
I love We All Walk Through Fire, _ [Eb] Hello [B] Mary.
Just let us know maybe some songs that you [Gb] love or that jump out at you
and the [B] history of the lyrics are, you know, _ deep.
[Bb] We might have understood where some of that has come from. _
[F] If anything jumped out at you from that record.
Well, it was a time of a lot of upheaval.
_ _ _ Personal upheaval.
_ _ _ _ In _ terms of songwriting, I was trying something kind of specific,
which was sort of a _ John Fante and _ _ _ these _ _ kind of minimalist _