Chords for DISTURBED's David Draiman explains the band's cover of The Sound of Silence
Tempo:
99.475 bpm
Chords used:
E
B
F
A
F#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[B]
[E] [F] [N] When we decided to cover
the Sound of Silence,
it was the culmination
of a pretty decent period
of searching for the right song.
We'd spent quite a bit of time
grabbing stuff from the 80s.
We did Land of Confusion
by Genesis, we did Shout
by Tears for Fears,
and still haven't found
what I'm looking for
by U2, so on and so forth.
I suggested we go further back,
60s, 70s, and Mikey made
the suggestion of
the Simon and Garfunkel
Sound of Silence,
and it immediately
resonated with everybody.
At first I thought we were
going to do what we typically
have done with our cover songs,
make it more upbeat,
aggressive, rhythmic,
in your face,
and it was Danny's
strong suggestion and vibe
to go in the opposite direction
that particular time
and to leave it ambient
and ethereal and acoustic,
orchestral, and let the
vulnerability of the vocal
stand out.
From a lyrical perspective,
I have the same appreciation,
I feel as Paul does,
in terms of trying to strive
for depth, big emotion,
and in terms of actually performing it,
that was much more
of a learning process.
The disturbed fan base
typically reacted in a
combination of elation and shock.
Lots of people
were very into it.
Some people immediately
called it a sellout move.
There's always going to be
people who are looking
to just take a crap
on whatever you just did.
That's just the nature
of the beast,
but I think that over
the course of time,
the thing that's been
incredible about it is that
even the hardcore,
staunch, old-school
disturbed fans have really
come to fall in love with it.
It's really been
very widely embraced.
Just seeing how it affects
the live audience
on a regular basis
is pretty overwhelming.
I mean, if I take a moment
to really scan the crowd
on any given night,
there are pockets of crying
and eyes welling up
with tears and lighters
and swaying back and forth.
It was all this sort of thing
that I didn't expect
from this career
and this style
that we had chosen,
but it's really nice
to be able to have it.
It introduced a whole
new generation of fans
to the brilliance
of Simon and Garfunkel.
All of a [A] sudden, fans that
would have never listened
to Disturbed in any situation
because typically what we had
written in the past
was a little too abrasive,
a little too aggressive for them.
This was their doorway
into our world,
and I think that as they
entered that doorway,
they found a lot more things
that they could fall in love with
because of the intensely
melodic nature of what we do.
[E] A song [F#] of [F#m] silence
Will say now you do [E] not know
[E] [F] [N] When we decided to cover
the Sound of Silence,
it was the culmination
of a pretty decent period
of searching for the right song.
We'd spent quite a bit of time
grabbing stuff from the 80s.
We did Land of Confusion
by Genesis, we did Shout
by Tears for Fears,
and still haven't found
what I'm looking for
by U2, so on and so forth.
I suggested we go further back,
60s, 70s, and Mikey made
the suggestion of
the Simon and Garfunkel
Sound of Silence,
and it immediately
resonated with everybody.
At first I thought we were
going to do what we typically
have done with our cover songs,
make it more upbeat,
aggressive, rhythmic,
in your face,
and it was Danny's
strong suggestion and vibe
to go in the opposite direction
that particular time
and to leave it ambient
and ethereal and acoustic,
orchestral, and let the
vulnerability of the vocal
stand out.
From a lyrical perspective,
I have the same appreciation,
I feel as Paul does,
in terms of trying to strive
for depth, big emotion,
and in terms of actually performing it,
that was much more
of a learning process.
The disturbed fan base
typically reacted in a
combination of elation and shock.
Lots of people
were very into it.
Some people immediately
called it a sellout move.
There's always going to be
people who are looking
to just take a crap
on whatever you just did.
That's just the nature
of the beast,
but I think that over
the course of time,
the thing that's been
incredible about it is that
even the hardcore,
staunch, old-school
disturbed fans have really
come to fall in love with it.
It's really been
very widely embraced.
Just seeing how it affects
the live audience
on a regular basis
is pretty overwhelming.
I mean, if I take a moment
to really scan the crowd
on any given night,
there are pockets of crying
and eyes welling up
with tears and lighters
and swaying back and forth.
It was all this sort of thing
that I didn't expect
from this career
and this style
that we had chosen,
but it's really nice
to be able to have it.
It introduced a whole
new generation of fans
to the brilliance
of Simon and Garfunkel.
All of a [A] sudden, fans that
would have never listened
to Disturbed in any situation
because typically what we had
written in the past
was a little too abrasive,
a little too aggressive for them.
This was their doorway
into our world,
and I think that as they
entered that doorway,
they found a lot more things
that they could fall in love with
because of the intensely
melodic nature of what we do.
[E] A song [F#] of [F#m] silence
Will say now you do [E] not know
Key:
E
B
F
A
F#
E
B
F
[B] _ _ _ _ _ _ _ _
_ [E] _ _ [F] _ [N] When we decided to cover
the Sound of Silence,
it was the culmination
of a _ _ pretty decent period
of searching for the right song.
We'd spent quite a bit of time
grabbing stuff from the 80s.
We did Land of Confusion
by Genesis, we did Shout
by Tears for Fears,
and still haven't found
what I'm looking for
by U2, so on and so forth. _
I suggested we go further back,
60s, 70s, and Mikey made
the suggestion of
the Simon and Garfunkel
Sound of Silence,
and it immediately
resonated with everybody. _ _
At first I thought we were
going to do what we typically
have done with our cover songs,
make it more upbeat,
aggressive, rhythmic,
in your face,
and it was Danny's
strong suggestion and vibe
to go in the opposite direction
that particular time
and to leave it ambient
and ethereal and acoustic,
orchestral, and let the
_ vulnerability of the vocal
stand out.
From a lyrical perspective,
I have _ the same appreciation,
I feel as Paul does,
in terms of trying to strive
for _ depth, big emotion,
_ _ and in terms of actually performing it,
that was much more
of a learning process.
The disturbed fan base
typically reacted in a
combination of elation and shock.
_ _ Lots of people
were very into it.
Some people immediately
called it a sellout move.
_ There's always going to be
people who are looking
to just take a crap
on whatever you just did.
That's just the nature
of the beast,
but I think that over
the course of time,
the thing that's been
incredible about it is that
even the hardcore, _
staunch, _ old-school
disturbed fans have really
come to fall in love with it.
It's really been
very widely embraced.
Just seeing how it affects
the live audience
on a regular basis
is _ pretty overwhelming.
I mean, if I take a moment
to really scan the crowd
on any given night,
there are pockets of crying
and _ _ eyes welling up
with tears and lighters
and swaying back and forth.
It was all this sort of thing
that I didn't expect
from this career
and this style
that we had chosen,
but it's really nice
to be able to have it.
It introduced a whole
new generation of fans
to the brilliance
of Simon and Garfunkel. _ _ _
All of a [A] sudden, fans that
would have never listened
to Disturbed in any situation
because typically what we had
written in the past
was a little too abrasive,
a little too aggressive for them. _ _
This was their doorway
into our world,
and I think that as they
entered that doorway,
they found a lot more things
that they could fall in love with
because of the intensely
melodic nature of what we do.
[E] A song _ [F#] of _ [F#m] silence
Will say now you do [E] not know _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ [E] _ _ [F] _ [N] When we decided to cover
the Sound of Silence,
it was the culmination
of a _ _ pretty decent period
of searching for the right song.
We'd spent quite a bit of time
grabbing stuff from the 80s.
We did Land of Confusion
by Genesis, we did Shout
by Tears for Fears,
and still haven't found
what I'm looking for
by U2, so on and so forth. _
I suggested we go further back,
60s, 70s, and Mikey made
the suggestion of
the Simon and Garfunkel
Sound of Silence,
and it immediately
resonated with everybody. _ _
At first I thought we were
going to do what we typically
have done with our cover songs,
make it more upbeat,
aggressive, rhythmic,
in your face,
and it was Danny's
strong suggestion and vibe
to go in the opposite direction
that particular time
and to leave it ambient
and ethereal and acoustic,
orchestral, and let the
_ vulnerability of the vocal
stand out.
From a lyrical perspective,
I have _ the same appreciation,
I feel as Paul does,
in terms of trying to strive
for _ depth, big emotion,
_ _ and in terms of actually performing it,
that was much more
of a learning process.
The disturbed fan base
typically reacted in a
combination of elation and shock.
_ _ Lots of people
were very into it.
Some people immediately
called it a sellout move.
_ There's always going to be
people who are looking
to just take a crap
on whatever you just did.
That's just the nature
of the beast,
but I think that over
the course of time,
the thing that's been
incredible about it is that
even the hardcore, _
staunch, _ old-school
disturbed fans have really
come to fall in love with it.
It's really been
very widely embraced.
Just seeing how it affects
the live audience
on a regular basis
is _ pretty overwhelming.
I mean, if I take a moment
to really scan the crowd
on any given night,
there are pockets of crying
and _ _ eyes welling up
with tears and lighters
and swaying back and forth.
It was all this sort of thing
that I didn't expect
from this career
and this style
that we had chosen,
but it's really nice
to be able to have it.
It introduced a whole
new generation of fans
to the brilliance
of Simon and Garfunkel. _ _ _
All of a [A] sudden, fans that
would have never listened
to Disturbed in any situation
because typically what we had
written in the past
was a little too abrasive,
a little too aggressive for them. _ _
This was their doorway
into our world,
and I think that as they
entered that doorway,
they found a lot more things
that they could fall in love with
because of the intensely
melodic nature of what we do.
[E] A song _ [F#] of _ [F#m] silence
Will say now you do [E] not know _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _