Chords for El desayuno inglés de Coque Malla con Divine Comedy

Oh [G] my [C] god!
I don't believe it!
It's Koké!
When you say that [F] you're coming home, [D] how [Eb] can you leave?
[F] _ _ [G] _ _ [Bb] _
[C] How are you, [Gm] Neil?
I'm alright.
Yeah? _
[C] How do you pronounce [G] your first name exactly?
_ [Bb] Koké.
[C] Koké.
Oh, so it's K.
[Db] You can say Kok.
[Bb] _ _
_ [Dm] How do you write songs?
[G] How [Gm] do I write songs?
[C] Yeah.
Where do you start?
[G] I write with the [Bb] guitar, [C] piano sometimes, [D] but [Gm] especially guitar.
_ [Eb] _
[Gm] And, well, [C] I don't know, it's a mysterious [Eb] thing, no?
[Gm] It's like [F] something that [Eb] comes from nothing. _
[Gm] Yeah, [Fm] that's the best thing.
I don't know, it's a [Bb] feeling.
I _
[C] start with the [G] chords.
_ _ _ [Bb] _ _
[Gm] I don't know.
How do you [F] write songs?
[Bb] I find that if I do [C] it a lot, [Gm] then [A] things happen.
But if [Gm] I wait for inspiration [G] to come, it [Bb] doesn't happen.
[C] So I have to just keep [Gm] going into the room [Bb] and [C] making stuff up.
[Eb] And most of it's rubbish.
But I do [E] keep notebooks, you [Ebm] know, with [C] ideas.
And then the [F]
question of the million, no?
[G] Do you write the lyrics [C] first?
_ _ They are independent of each other, and then [G] they coalesce.
[Eb] Really? _
[D] You write [C] a whole lyric, [Eb] and you write a whole song, [Gm] and then you put it together?
No, [C] I never write a whole lyric or a [Eb] whole melody. _
I'd always [C] like, _ [D] _ you know, [C]
day-to-day life, [G] _ come up with [Bb] some kind of words,
[C] or hear [D] something from somebody, write [Bb] it down.
[C] Maybe a bit [Gm] of a verse.
Or quite [Dm] often [G] just titles.
Our [Gm] Mutual Friend.
[C] Yeah?
[G] It came from a title?
[Gm] Did that really [D] happen?
No, no, no.
It's all lies.
[Gm] _ _
[C] No, it's the name of [C] a Dickens [Gm] book.
[C] Charles Dickens.
[G] _ He's got a whole book called Our Mutual Friend.
And I thought, that is a great [C] title.
I'll have that.
[D] _ [C] _
_ But obviously my story is completely, you know, [G] I've not actually read his book.
[Eb] That's [G] one of the, for me, really, the _ _ best songs in history.
Shut up.
[Db] _ _ _
No, I mean the [Gm] connection between the [C] music and the lyric.
That's [Gm] something you do, it's [Fm] very [D] difficult.
_ _ _ [Bm] _ _ _ _ [Em] _
_ _ _ _ [A] No, I mean the whole point is to write a catchy tune at the end of the day.
If it's not kind of a good tune, [E] nobody will remember it, nobody [G] will care.
Yeah, that's it.
_ _ _ [A] _ _ _ [E] _
Oh [N] my God.
_ _ _ He knows my song.
_ _ _ _ My God.
I mean if it's in there, it's in there, you know?
You know what happened with that song?
It was very much [A] a rock song.
[Bb] Like Buddy Holly [Ab] or something.
With [E] _
the bass drum.
I love that song. _ _ _
But [G] it didn't work.
And I was about to take it out of the album.
And [B] Tony Brunette, [D] the guitar player, told me,
no, you can't take [C] this song out of the album.
It's a hit.
[E] It's an incredible song.
He said, why don't you relax it and make it [A] with an acoustic?
And he [E] said, I have some [Gbm] friends.
I said, [Em] hmm, I like that.
[E] _
It has a slight sort of feel of that song to begin with,
but then it [Em] goes to a completely different place.
And the [Gbm] amount of songs [E] where I've started with somebody else's song.
[Am] _
It's the first time [Gbm] that I do an album with [F] _ a lot [G] of strings.
Lovely arrangements.
[E] _ A problem that we have is that you're working with [D] a band.
And _ the band doesn't know what the [C] arrangements are going to do.
How do you do that?
[B] _ _
Well_
It's a problem we have.
We talk about it [Ab] and we said how the Beatles did.
_ And the producer, Jose Norte, said, well, the Beatles [Abm] had Abbey Road for them.
24 hours a day.
[Dbm] George Martin for them.
24 hours a day.
I have always been an excessive demoer.
[G] Sometimes [Gb] I let people hear my demos and they're kind of identical [G] to [Db] the record.
Just not as good because I'm playing all the _ instruments.
I'm not saying I do all the arrangements,
but I kind of usually get the arrangements to a [B] certain place.
So basically, _ [Db] if it's not working at home, [G] then it's not going to work.
[Gb] Actually, the most terrifying [F] thing is when you've hired [G] a very [F] expensive studio for the day.
[Gb] _ I'm sweating as we're [Abm] recording.
_ You're just hoping that these things are going to work.
_ Do [A] you record [B] live?
We've only done the kind of everybody together a couple of times.
Like on Victory for the Comic Muse, [Ab] the two albums ago.
[Gb]
With the orchestra _ _ [Gbm] and everything?
The instruments and the [B] drums and the bass and the guitar.
It was terrifying.
[E] But it worked?
It worked on [Ab] some songs and not so much on others.
I always thought [Dbm] that everything had to be live [A] and organic [B] and true
and everybody in the same room and not editing.
_ And [Dbm] Jose Norte, producer of the album, [A] told me, which I didn't know,
I'm a big, [B] big fan of the Rolling Stones.
And one of my [E] favorite albums is Tattoo You.
And it [Ab] sounds so, so organic, so [Dbm] true, so live.
And Jose Norte [Db] told me that that album is made with different [Ab] sessions, different [Abm] countries.
And Mick [Eb] Jagger went [B] with a technician, I don't [A] remember his name,
to a studio and [Abm] started chopping, editing, blah, blah, [Gb] blah.
And did that incredible, organic, [E] _ sound-like live album.
So when he told me that, I [Gbm] said, OK, [Ab] we can cheat.
_ _ _ I did [Abm] one, two records [Dbm] ago, I recorded Analog.
We wanted to get that sound.
_ And I listen to it now and [B] it's there.
[Ab] And it's [Gb] not only a technical thing, I think.
As a [E] musician, _ because you know _ you're recording [Db] on tape
and [B] you have that _ responsibility, no?
Responsibility?
[Abm] Sure.
No, [Db] we should definitely go back to tape, everybody.
Because, you know, everybody's going back to [Gbm] vinyl.
It makes sense to go [B] back to tape as well.
Yeah, yeah.
OK, Neil.
[E] It's been a pleasure.
It's been great.
Thank you so much.
Thank you so [Ab] much for your music.
I've learned a lot from [Dbm] your songs, really.
Thank [A] you.
[E] You should listen to other people, they'll tell you [B] much more.
_ [Abm] I just make it up as I go along.
_ _ _ [Dbm] _ _ _ _ _ _ [Gbm] _ _ _ [N] _ _