Chords for Dr Feelgood Wilko Johnson Will Birch
Tempo:
122.45 bpm
Chords used:
E
A
G
F#
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[C#m] London's pubs have long been [F#m] the breeding ground [C#m] for generations of great [D#] bands.
In dark, dingy back rooms and [G#] bars, bands like Dr Feelgood, [A] Squeeze and [G#] Madness developed their individual sounds.
[F#m] [E] [D#m] In the [C#m] early 70s, [F#] London's pub rock circuit was dominated [N] by bands from Southend and Canby Island.
Based 30 miles from London at the mouth of the Thames, these bands laid the [C] foundations for punk.
[A]
Leaders of the pack were Dr [F#] Feelgood with their brand of raw, aggressive R&B.
They featured ace guitarist Wilco [A] Johnson.
[E] [A]
[F#] [E] [D] [A] Wilco's machine gun guitar style is still enthralling London audiences.
[F#] When I was growing [Em] up in the 50s and 60s, [Bm] Canby Island was an isolated place.
It was, [B] it's reclaimed marshland.
We were all born below sea level, you know, Dutch people built this place.
[B] It [Bm] was kind of [B] mysterious then.
[Bm] You know, you get very misty in the autumn time.
This is where all the oil installations are.
You know, this is the coming of a child.
[D] Southend boy Wil Birch was [E] the drummer in the Curzle Flyers.
[F#] From his perspective both as a writer and as a musician, he's documented the Canby [Bm] Island and Southend scene.
This local scene, [E] particularly Canby, is often [Bm] jokingly referred to as the Thames Delta.
Where blues men such as Wilco Johnson cut their teeth.
Certain parts of Canby do look a little bit like the [Em] south, the deep south of [E] America.
[F#] Bluesy sort of atmosphere.
[C#] Wilco definitely [Bm] derived a lot of inspiration from that, I think, in his songwriting.
I always grew up feeling like, you know, [Am] Canby Island was really a dull [C] little backwater.
[Bm] [G] You know, when I got into my [C] teens and I became [Bm] interested in music, [F#m] it seemed dreadful really.
It wasn't, you know, you didn't get [B] here on a freight train.
[Dm] It wasn't down in [F#] Alabama.
It was Canby Island.
[G]
We always wanted to play in London.
[D] And really Southend [G] was the place where we [C] did [G] our apprenticeship, I guess.
Local bands dreamed of fame and the road to fame was the dirty A13.
Night after night, these bands cruised the 30 miles to London in their beat-up transit [D] vans.
And they soon became major draws on [C] the pub rock circuit.
They used to get packed out of this place.
It was free [Cm] to get in and the band [A#] would get [G] about 25 quid from the publican for filling this pub up.
And that was the arrangement.
So you'd sit in the van afterwards and you'd all get about three quid each out of it.
But it was very exciting.
Pub rock is a confusing term really because people think it's a kind of music.
So I always call it what we do, rhythm and blows.
I mean, nowadays that means something else [C] altogether, doesn't it?
Pub rock was really a kind of [G] venue, which, you know, people played in pubs.
Certain [D] pubs in London were [G] hot.
[D] In fact, it was Will Birch who first [G] told us about the pub rock scene.
In London, the key pub rock venues were the Kensington, the Hope and Anchor, the Tally Ho and a club called Dingle.
The [E] music wasn't anything particularly new.
They were playing rhythm and blues, but they did play at a frenetic pace.
[A] But [Em] what was [F#] new or fresh about the Feel Goods was [D#] their look.
The very, very radical [B] short haircut, which nobody had seen since the 60s.
It was a beetle haircut in a way.
[E] [Em]
[Dm] And at a very mean [Am] stage act.
[E] And this was largely achieved because of the interaction [A] between the singer Lee Brillo and guitarist Wilco Johnson.
He darted across the stage left to right.
Audiences would just be completely agape at that.
They [B] would bounce off of each other, literally.
[A]
[G] First of all, if we're playing either to small or in different [E] audiences, we just want to have a good time.
So we just started leaping about a lot and injecting a lot of energy into it.
I think [B] Lee Brillo was really great to work with.
[D] [A]
[E] [C] The [E] kind of guy everyone focuses on.
It's the two of us that worked around with him.
[Bm] The year after that, the punk thing started, but I think a lot of those guys had seen Dr.
Feel Good.
And they were all kind of a bit [D] younger.
The Feel Goods audience was precisely the same people that would, six months, nine months later, be going to see The Clash [A] and the Buzzcocks and groups like that.
They were teenagers, [E] these guys, and they didn't really know about American music [Em] or anything.
But I think the thing that picked up from Dr.
Feel Good was the energy.
I think it would be really exciting without any elaboration.
In fact, the lack of elaboration made it more exciting.
I don't think really [F] that the Sex Pistols and The Clash could have achieved what they did [F#] unless their audience had been given a little bit of a clue [Fm] in the preceding year.
And [N] the Feel Goods gave the audience the clue [F] as to how things might go.
[Cm] In 1974, shortly after achieving a number one [C] album, Wilco left Dr.
[F] Feel Good to pursue his own musical journey.
You can still catch him in venues around London, captivating audiences [G] with his unique brand of R [F]&B.
[D]
In dark, dingy back rooms and [G#] bars, bands like Dr Feelgood, [A] Squeeze and [G#] Madness developed their individual sounds.
[F#m] [E] [D#m] In the [C#m] early 70s, [F#] London's pub rock circuit was dominated [N] by bands from Southend and Canby Island.
Based 30 miles from London at the mouth of the Thames, these bands laid the [C] foundations for punk.
[A]
Leaders of the pack were Dr [F#] Feelgood with their brand of raw, aggressive R&B.
They featured ace guitarist Wilco [A] Johnson.
[E] [A]
[F#] [E] [D] [A] Wilco's machine gun guitar style is still enthralling London audiences.
[F#] When I was growing [Em] up in the 50s and 60s, [Bm] Canby Island was an isolated place.
It was, [B] it's reclaimed marshland.
We were all born below sea level, you know, Dutch people built this place.
[B] It [Bm] was kind of [B] mysterious then.
[Bm] You know, you get very misty in the autumn time.
This is where all the oil installations are.
You know, this is the coming of a child.
[D] Southend boy Wil Birch was [E] the drummer in the Curzle Flyers.
[F#] From his perspective both as a writer and as a musician, he's documented the Canby [Bm] Island and Southend scene.
This local scene, [E] particularly Canby, is often [Bm] jokingly referred to as the Thames Delta.
Where blues men such as Wilco Johnson cut their teeth.
Certain parts of Canby do look a little bit like the [Em] south, the deep south of [E] America.
[F#] Bluesy sort of atmosphere.
[C#] Wilco definitely [Bm] derived a lot of inspiration from that, I think, in his songwriting.
I always grew up feeling like, you know, [Am] Canby Island was really a dull [C] little backwater.
[Bm] [G] You know, when I got into my [C] teens and I became [Bm] interested in music, [F#m] it seemed dreadful really.
It wasn't, you know, you didn't get [B] here on a freight train.
[Dm] It wasn't down in [F#] Alabama.
It was Canby Island.
[G]
We always wanted to play in London.
[D] And really Southend [G] was the place where we [C] did [G] our apprenticeship, I guess.
Local bands dreamed of fame and the road to fame was the dirty A13.
Night after night, these bands cruised the 30 miles to London in their beat-up transit [D] vans.
And they soon became major draws on [C] the pub rock circuit.
They used to get packed out of this place.
It was free [Cm] to get in and the band [A#] would get [G] about 25 quid from the publican for filling this pub up.
And that was the arrangement.
So you'd sit in the van afterwards and you'd all get about three quid each out of it.
But it was very exciting.
Pub rock is a confusing term really because people think it's a kind of music.
So I always call it what we do, rhythm and blows.
I mean, nowadays that means something else [C] altogether, doesn't it?
Pub rock was really a kind of [G] venue, which, you know, people played in pubs.
Certain [D] pubs in London were [G] hot.
[D] In fact, it was Will Birch who first [G] told us about the pub rock scene.
In London, the key pub rock venues were the Kensington, the Hope and Anchor, the Tally Ho and a club called Dingle.
The [E] music wasn't anything particularly new.
They were playing rhythm and blues, but they did play at a frenetic pace.
[A] But [Em] what was [F#] new or fresh about the Feel Goods was [D#] their look.
The very, very radical [B] short haircut, which nobody had seen since the 60s.
It was a beetle haircut in a way.
[E] [Em]
[Dm] And at a very mean [Am] stage act.
[E] And this was largely achieved because of the interaction [A] between the singer Lee Brillo and guitarist Wilco Johnson.
He darted across the stage left to right.
Audiences would just be completely agape at that.
They [B] would bounce off of each other, literally.
[A]
[G] First of all, if we're playing either to small or in different [E] audiences, we just want to have a good time.
So we just started leaping about a lot and injecting a lot of energy into it.
I think [B] Lee Brillo was really great to work with.
[D] [A]
[E] [C] The [E] kind of guy everyone focuses on.
It's the two of us that worked around with him.
[Bm] The year after that, the punk thing started, but I think a lot of those guys had seen Dr.
Feel Good.
And they were all kind of a bit [D] younger.
The Feel Goods audience was precisely the same people that would, six months, nine months later, be going to see The Clash [A] and the Buzzcocks and groups like that.
They were teenagers, [E] these guys, and they didn't really know about American music [Em] or anything.
But I think the thing that picked up from Dr.
Feel Good was the energy.
I think it would be really exciting without any elaboration.
In fact, the lack of elaboration made it more exciting.
I don't think really [F] that the Sex Pistols and The Clash could have achieved what they did [F#] unless their audience had been given a little bit of a clue [Fm] in the preceding year.
And [N] the Feel Goods gave the audience the clue [F] as to how things might go.
[Cm] In 1974, shortly after achieving a number one [C] album, Wilco left Dr.
[F] Feel Good to pursue his own musical journey.
You can still catch him in venues around London, captivating audiences [G] with his unique brand of R [F]&B.
[D]
Key:
E
A
G
F#
D
E
A
G
_ _ [C#m] _ _ _ London's pubs have long been [F#m] the breeding ground [C#m] for generations of great [D#] bands.
In dark, dingy back rooms and [G#] bars, bands like Dr Feelgood, [A] Squeeze and [G#] Madness developed their individual sounds. _ _
[F#m] _ _ [E] _ _ [D#m] In the [C#m] early 70s, [F#] London's pub rock circuit was dominated [N] by bands from Southend and Canby Island.
Based 30 miles from London at the mouth of the Thames, these bands laid the [C] foundations for punk.
[A] _ _ _
_ _ _ _ _ _ Leaders of the pack were Dr [F#] Feelgood with their brand of raw, aggressive R&B.
They featured ace guitarist Wilco [A] Johnson. _ _
_ [E] _ _ [A] _ _ _ _ _
[F#] _ _ _ _ [E] _ _ [D] [A] Wilco's machine gun guitar style is still enthralling London audiences. _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ [F#] When I was growing [Em] up in the 50s and 60s, [Bm] Canby Island was an isolated place.
It was, [B] it's reclaimed marshland.
We were all born below sea level, you know, Dutch people built this place. _
_ _ _ _ _ _ [B] It [Bm] was kind _ of [B] mysterious then.
[Bm] You know, you get very misty in the autumn time. _ _ _ _
_ This is where all the oil installations are.
You know, this is the coming of a child. _ _ _ _
[D] Southend boy Wil Birch was [E] the drummer in the Curzle Flyers.
[F#] From his perspective both as a writer and as a musician, he's documented the Canby [Bm] Island and Southend scene. _ _ _
_ _ _ This local scene, [E] particularly Canby, is often [Bm] _ _ jokingly referred to as the Thames Delta. _ _ _ _ _
Where blues men such as Wilco Johnson cut their teeth.
_ _ _ _ Certain parts of Canby do look a little bit like the [Em] south, the deep south of [E] America. _ _
_ [F#] Bluesy sort of atmosphere.
_ [C#] Wilco definitely [Bm] _ derived a lot of inspiration from that, I think, in his songwriting. _
_ _ _ _ I always grew up feeling like, you know, [Am] Canby Island was really a dull [C] little backwater. _
[Bm] _ [G] You know, when I got into my [C] teens and I became [Bm] interested in music, [F#m] it seemed dreadful really.
It wasn't, you know, you didn't get [B] here on a freight train.
_ [Dm] It wasn't down in [F#] Alabama.
It was Canby Island.
[G] _ _ _ _ _ _
_ _ We always wanted to play in London. _
[D] And really Southend [G] was the place where we [C] did [G] our apprenticeship, I guess.
_ _ _ _ Local bands dreamed of fame and the road to fame was the dirty A13.
_ Night after night, these bands cruised the 30 miles to London in their beat-up transit [D] vans.
And they soon became major draws on [C] the pub rock circuit.
They used to get packed out of this place.
It was free [Cm] to get in and the band [A#] would get [G] about 25 quid from the publican for filling this pub up.
And that was the arrangement.
So you'd sit in the van afterwards and you'd all get about three quid each out of it.
But it was very exciting. _ _ _ _
Pub rock is a confusing term really because people think it's a kind of music.
So I always call it what we do, rhythm and blows.
I mean, nowadays that means something else [C] altogether, doesn't it?
_ Pub rock was really a kind of [G] venue, which, you know, people played in pubs.
Certain [D] pubs in London were [G] hot.
_ _ [D] _ In fact, it was Will Birch who first [G] told us about the pub rock scene.
In London, the key pub rock venues were the Kensington, _ the Hope and Anchor, the Tally Ho and a club called Dingle. _ _ _
The [E] music wasn't anything particularly new.
They were playing rhythm and blues, but they did play at a frenetic pace. _ _
_ _ _ _ [A] But [Em] what was [F#] new or fresh about the Feel Goods was [D#] their look.
The very, very radical [B] short haircut, which nobody had seen since the 60s.
It was a beetle haircut in a way.
[E] _ _ [Em] _
_ _ [Dm] And at a very mean [Am] stage act.
[E] And this was largely achieved because of the interaction [A] between the singer Lee Brillo and guitarist Wilco Johnson.
He darted across the stage left to right.
Audiences would just be completely _ agape at that.
They [B] would bounce off of each other, literally.
[A] _ _ _ _ _ _
_ [G] First of all, if we're playing either to small or in different [E] audiences, we just want to have a good time.
So we just started leaping about a lot and injecting a lot of energy into it.
I think [B] Lee Brillo was really great to work with.
_ [D] _ _ [A] _ _
[E] _ _ [C] The [E] kind of guy everyone focuses on.
It's the two of us that worked around with him. _ _ _ _
[Bm] The year after that, the punk thing started, but I think a lot of those guys had seen Dr.
Feel Good.
And they were all kind of a bit [D] younger.
The Feel Goods audience was precisely the same people that would, six months, nine months later, be going to see The Clash [A] and the Buzzcocks and groups like that.
They were teenagers, [E] these guys, and they didn't really know _ _ about American music [Em] or anything.
But I think the thing that picked up from Dr.
Feel Good was the energy. _ _ _
_ _ _ I think it would be really exciting without _ any elaboration.
In fact, the lack of elaboration made it more exciting.
I don't think really [F] that the Sex Pistols and The Clash could have achieved what they did [F#] unless their audience had been given a little bit of a clue [Fm] in the preceding year.
And [N] the Feel Goods gave the audience the clue [F] as to how things might go.
[Cm] In 1974, shortly after achieving a number one [C] album, Wilco left Dr.
[F] Feel Good to pursue his own musical journey.
You can still catch him in venues around London, captivating audiences [G] with his unique brand of R [F]&B. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [D] _ _ _ _
In dark, dingy back rooms and [G#] bars, bands like Dr Feelgood, [A] Squeeze and [G#] Madness developed their individual sounds. _ _
[F#m] _ _ [E] _ _ [D#m] In the [C#m] early 70s, [F#] London's pub rock circuit was dominated [N] by bands from Southend and Canby Island.
Based 30 miles from London at the mouth of the Thames, these bands laid the [C] foundations for punk.
[A] _ _ _
_ _ _ _ _ _ Leaders of the pack were Dr [F#] Feelgood with their brand of raw, aggressive R&B.
They featured ace guitarist Wilco [A] Johnson. _ _
_ [E] _ _ [A] _ _ _ _ _
[F#] _ _ _ _ [E] _ _ [D] [A] Wilco's machine gun guitar style is still enthralling London audiences. _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ [F#] When I was growing [Em] up in the 50s and 60s, [Bm] Canby Island was an isolated place.
It was, [B] it's reclaimed marshland.
We were all born below sea level, you know, Dutch people built this place. _
_ _ _ _ _ _ [B] It [Bm] was kind _ of [B] mysterious then.
[Bm] You know, you get very misty in the autumn time. _ _ _ _
_ This is where all the oil installations are.
You know, this is the coming of a child. _ _ _ _
[D] Southend boy Wil Birch was [E] the drummer in the Curzle Flyers.
[F#] From his perspective both as a writer and as a musician, he's documented the Canby [Bm] Island and Southend scene. _ _ _
_ _ _ This local scene, [E] particularly Canby, is often [Bm] _ _ jokingly referred to as the Thames Delta. _ _ _ _ _
Where blues men such as Wilco Johnson cut their teeth.
_ _ _ _ Certain parts of Canby do look a little bit like the [Em] south, the deep south of [E] America. _ _
_ [F#] Bluesy sort of atmosphere.
_ [C#] Wilco definitely [Bm] _ derived a lot of inspiration from that, I think, in his songwriting. _
_ _ _ _ I always grew up feeling like, you know, [Am] Canby Island was really a dull [C] little backwater. _
[Bm] _ [G] You know, when I got into my [C] teens and I became [Bm] interested in music, [F#m] it seemed dreadful really.
It wasn't, you know, you didn't get [B] here on a freight train.
_ [Dm] It wasn't down in [F#] Alabama.
It was Canby Island.
[G] _ _ _ _ _ _
_ _ We always wanted to play in London. _
[D] And really Southend [G] was the place where we [C] did [G] our apprenticeship, I guess.
_ _ _ _ Local bands dreamed of fame and the road to fame was the dirty A13.
_ Night after night, these bands cruised the 30 miles to London in their beat-up transit [D] vans.
And they soon became major draws on [C] the pub rock circuit.
They used to get packed out of this place.
It was free [Cm] to get in and the band [A#] would get [G] about 25 quid from the publican for filling this pub up.
And that was the arrangement.
So you'd sit in the van afterwards and you'd all get about three quid each out of it.
But it was very exciting. _ _ _ _
Pub rock is a confusing term really because people think it's a kind of music.
So I always call it what we do, rhythm and blows.
I mean, nowadays that means something else [C] altogether, doesn't it?
_ Pub rock was really a kind of [G] venue, which, you know, people played in pubs.
Certain [D] pubs in London were [G] hot.
_ _ [D] _ In fact, it was Will Birch who first [G] told us about the pub rock scene.
In London, the key pub rock venues were the Kensington, _ the Hope and Anchor, the Tally Ho and a club called Dingle. _ _ _
The [E] music wasn't anything particularly new.
They were playing rhythm and blues, but they did play at a frenetic pace. _ _
_ _ _ _ [A] But [Em] what was [F#] new or fresh about the Feel Goods was [D#] their look.
The very, very radical [B] short haircut, which nobody had seen since the 60s.
It was a beetle haircut in a way.
[E] _ _ [Em] _
_ _ [Dm] And at a very mean [Am] stage act.
[E] And this was largely achieved because of the interaction [A] between the singer Lee Brillo and guitarist Wilco Johnson.
He darted across the stage left to right.
Audiences would just be completely _ agape at that.
They [B] would bounce off of each other, literally.
[A] _ _ _ _ _ _
_ [G] First of all, if we're playing either to small or in different [E] audiences, we just want to have a good time.
So we just started leaping about a lot and injecting a lot of energy into it.
I think [B] Lee Brillo was really great to work with.
_ [D] _ _ [A] _ _
[E] _ _ [C] The [E] kind of guy everyone focuses on.
It's the two of us that worked around with him. _ _ _ _
[Bm] The year after that, the punk thing started, but I think a lot of those guys had seen Dr.
Feel Good.
And they were all kind of a bit [D] younger.
The Feel Goods audience was precisely the same people that would, six months, nine months later, be going to see The Clash [A] and the Buzzcocks and groups like that.
They were teenagers, [E] these guys, and they didn't really know _ _ about American music [Em] or anything.
But I think the thing that picked up from Dr.
Feel Good was the energy. _ _ _
_ _ _ I think it would be really exciting without _ any elaboration.
In fact, the lack of elaboration made it more exciting.
I don't think really [F] that the Sex Pistols and The Clash could have achieved what they did [F#] unless their audience had been given a little bit of a clue [Fm] in the preceding year.
And [N] the Feel Goods gave the audience the clue [F] as to how things might go.
[Cm] In 1974, shortly after achieving a number one [C] album, Wilco left Dr.
[F] Feel Good to pursue his own musical journey.
You can still catch him in venues around London, captivating audiences [G] with his unique brand of R [F]&B. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [D] _ _ _ _