Chords for Electrospective John Foxx Interview Part 2 of 3
Tempo:
134.65 bpm
Chords used:
G
C
A
Gm
Eb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Do you have a favourite current piece of electronic music technology equipment?
I've been buying Korg Monosynths that are really cheap, £60 or [G] so.
But again, they've got the technology right, so it's a bit of digital with analogue filters.
And you can do lovely things [Gm] with them.
I've used them on, I've written about four or five songs already with those things.
Because they're so easy to use and so simple, they almost jump in your hand [A] when you switch them on and start to make things happen.
And that's the kind of equipment I like.
I don't want to have to deal with anything too difficult.
I just want it to start work before [G] me.
That's the criteria.
[G] Switch it on and it's got to start work before I do.
Great.
So what would you say was the most influential breakthrough in music technology throughout [C] your career?
The most important breakthrough, I think, was that availability of cheap synths, as I said.
Because without that, all the energy of the punk movement wouldn't have been able to be transferred into electronic music.
Because that's actually what happened.
People imagine that punk died in [G] 1978 or 7, in fact, about a year after it was born.
But that's not what happened.
In fact, what happened was all [A] the energy out of punk went into electronic music.
[C]
Because as Phil Oakey said, it was even more [A] of a punk statement to make music with one finger than it was to make music with a guitar, which needed both hands.
You know, it was even simpler to do it and you could make more [G] outrageous noises.
So that [C] single moment where the energy of all that stuff went into, of punk, [A] went into electronics and electronics became easy and [G] easily available, it just changed the world quite simply.
Can you tell us how, talk about the internet a little bit and what [C] you think, how that's influenced music over the years?
Well, it's ruined everyone financially.
The internet?
The internet's ruined everyone financially.
But it's also enabled a million [G] different sorts of music to coexist and to be available, which was never possible before.
I've discovered things on the net that I hadn't heard and wanted to hear for years and haven't been able to get on record or on CDs or anything like that.
But I can download them now and that's wonderful.
So it's made the language, it's made us all much more knowledgeable and fluent, but a lot poorer.
Which is maybe a good thing.
That Hollywood golden moment lasted about 25 years, which is a good run.
And it's still going on in various forms, but that immediate thing of selling records has disappeared for the time being.
So in your opinion, this is tricky or maybe you'll find it easy, who has been [C] the most influential person, artist, DJ, whatever you want to say, ever in electronic music?
The most important person was Robert Moog, without a doubt.
Or Robert Moog, as we have to call him, [G] according to the Moog Foundation.
Because he invented, not single-handedly, it was part of an evolution, it was the end of an evolution.
But I think what he made was the equivalent of a Georgian house.
In other words, you can't make it any better with the materials you have.
So it becomes the most beautiful form of those materials.
And that's it.
You can't get better than that.
You can't get better than a Georgian house.
You can't get better than that.
You [A] can't get better than a Cadillac with fins.
There are certain things that you want to [C] proceed and that you want to get better than a pair of jeans.
They're all design classics.
And this one is a music classic because nothing sounds better than that.
With Benj [G] operating it and us working on it together, it's [C]
transcendental.
There's nothing you can't do with it.
And it actually supplies you with ideas.
Again, it starts work before you do.
You know, Benj will patch and then something happens.
And then we take advantage of it.
So we're
the machine's the leader.
And we just follow it wherever it goes.
And that's really interesting, really exciting.
I think what happened at that period too, when digital took over and all this stuff got lost
and people [A] threw it away and gave it away, was
It was rediscovered by another generation during the dance [C] years in the 1990s.
And now it is like going back and finding a lost city in the Amazon [Gm] jungle.
You know, you're [C] rediscovering this civilization that [Eb] you only glimpsed before.
You [G] only glimpsed the possibilities of it.
And there's all kinds of life forms in that city.
And we're just rediscovering them now.
So that's very exciting for me in particular.
[A] And Benj is the guy who put all this stuff together and enabled that exploration to take place.
So I'm endlessly grateful for him.
I've been buying Korg Monosynths that are really cheap, £60 or [G] so.
But again, they've got the technology right, so it's a bit of digital with analogue filters.
And you can do lovely things [Gm] with them.
I've used them on, I've written about four or five songs already with those things.
Because they're so easy to use and so simple, they almost jump in your hand [A] when you switch them on and start to make things happen.
And that's the kind of equipment I like.
I don't want to have to deal with anything too difficult.
I just want it to start work before [G] me.
That's the criteria.
[G] Switch it on and it's got to start work before I do.
Great.
So what would you say was the most influential breakthrough in music technology throughout [C] your career?
The most important breakthrough, I think, was that availability of cheap synths, as I said.
Because without that, all the energy of the punk movement wouldn't have been able to be transferred into electronic music.
Because that's actually what happened.
People imagine that punk died in [G] 1978 or 7, in fact, about a year after it was born.
But that's not what happened.
In fact, what happened was all [A] the energy out of punk went into electronic music.
[C]
Because as Phil Oakey said, it was even more [A] of a punk statement to make music with one finger than it was to make music with a guitar, which needed both hands.
You know, it was even simpler to do it and you could make more [G] outrageous noises.
So that [C] single moment where the energy of all that stuff went into, of punk, [A] went into electronics and electronics became easy and [G] easily available, it just changed the world quite simply.
Can you tell us how, talk about the internet a little bit and what [C] you think, how that's influenced music over the years?
Well, it's ruined everyone financially.
The internet?
The internet's ruined everyone financially.
But it's also enabled a million [G] different sorts of music to coexist and to be available, which was never possible before.
I've discovered things on the net that I hadn't heard and wanted to hear for years and haven't been able to get on record or on CDs or anything like that.
But I can download them now and that's wonderful.
So it's made the language, it's made us all much more knowledgeable and fluent, but a lot poorer.
Which is maybe a good thing.
That Hollywood golden moment lasted about 25 years, which is a good run.
And it's still going on in various forms, but that immediate thing of selling records has disappeared for the time being.
So in your opinion, this is tricky or maybe you'll find it easy, who has been [C] the most influential person, artist, DJ, whatever you want to say, ever in electronic music?
The most important person was Robert Moog, without a doubt.
Or Robert Moog, as we have to call him, [G] according to the Moog Foundation.
Because he invented, not single-handedly, it was part of an evolution, it was the end of an evolution.
But I think what he made was the equivalent of a Georgian house.
In other words, you can't make it any better with the materials you have.
So it becomes the most beautiful form of those materials.
And that's it.
You can't get better than that.
You can't get better than a Georgian house.
You can't get better than that.
You [A] can't get better than a Cadillac with fins.
There are certain things that you want to [C] proceed and that you want to get better than a pair of jeans.
They're all design classics.
And this one is a music classic because nothing sounds better than that.
With Benj [G] operating it and us working on it together, it's [C]
transcendental.
There's nothing you can't do with it.
And it actually supplies you with ideas.
Again, it starts work before you do.
You know, Benj will patch and then something happens.
And then we take advantage of it.
So we're
the machine's the leader.
And we just follow it wherever it goes.
And that's really interesting, really exciting.
I think what happened at that period too, when digital took over and all this stuff got lost
and people [A] threw it away and gave it away, was
It was rediscovered by another generation during the dance [C] years in the 1990s.
And now it is like going back and finding a lost city in the Amazon [Gm] jungle.
You know, you're [C] rediscovering this civilization that [Eb] you only glimpsed before.
You [G] only glimpsed the possibilities of it.
And there's all kinds of life forms in that city.
And we're just rediscovering them now.
So that's very exciting for me in particular.
[A] And Benj is the guy who put all this stuff together and enabled that exploration to take place.
So I'm endlessly grateful for him.
Key:
G
C
A
Gm
Eb
G
C
A
_ _ _ _ _ _ _ _
_ _ Do you have a favourite current piece of _ _ electronic music technology equipment?
I've been buying Korg _ Monosynths that are really cheap, £60 or [G] so.
But again, they've got the technology right, so it's a bit of digital with analogue filters.
And you can do lovely things [Gm] with them.
I've used them on, I've written about four or five songs already with those things. _
Because they're so easy to use and so simple, they almost jump in your hand [A] when you switch them on and start to make things happen.
And that's the kind of equipment I like.
I don't want to have to deal with anything too difficult.
I just want it to start work before [G] me.
_ _ That's the criteria.
[G] Switch it on and it's got to start work before I do.
_ Great. _ _
_ So what would you say was the most influential breakthrough in music technology throughout [C] your career?
The most important breakthrough, _ I think, was that availability of cheap synths, as I said.
Because without that, _ _ _ all the energy of the punk movement wouldn't have been able to be transferred into electronic music.
Because that's actually what happened.
People imagine that punk died in [G] 1978 or 7, in fact, about a year after it was born.
But that's not what happened.
In fact, what happened was all [A] the energy out of punk went into electronic music.
[C] _
Because as Phil Oakey said, _ _ _ it was even more [A] of a punk statement to make music with one finger than it was to make music with a guitar, which needed both hands.
You know, it was even simpler to do it and you could make more [G] outrageous noises.
So that [C] single moment where the energy of all that stuff went into, of punk, [A] went into electronics and electronics became easy and [G] easily available, it just changed the world quite simply. _ _
Can you tell us how, talk about the internet a little bit and what [C] you think, how that's influenced _ music over the years?
Well, it's ruined everyone financially.
The internet?
The internet's ruined everyone financially.
_ _ _ _ But it's also enabled a million [G] different sorts of music to coexist and to be available, which was never possible before.
I've discovered things _ on the net that I hadn't heard and wanted to hear for years and haven't been able to get on record or on CDs or anything like that.
But I can download them now and that's wonderful.
So it's made the language, it's made us all much more knowledgeable and fluent, but a lot poorer.
_ Which is maybe a good thing.
That Hollywood golden moment lasted about 25 years, which is a good run.
And it's still going on in various forms, but that immediate thing of selling records has disappeared for the time being.
_ _ So in your opinion, this is tricky or maybe you'll find it easy, who has been [C] the most influential person, artist, DJ, whatever you want to say, ever in electronic music?
The most important person was Robert Moog, without a doubt.
Or Robert Moog, as we have to call him, [G] according to the Moog Foundation.
_ _ Because he invented, _ _ _ _ not single-handedly, it was part of an evolution, it was the end of an evolution.
But I think _ what he made was the equivalent of a Georgian house.
In other words, you can't make it any better with the materials you have.
So it becomes the most beautiful form of _ those materials. _
And that's it.
You can't get better than that.
You can't get better than a Georgian house.
You can't get better than that.
You [A] can't get better than a Cadillac with fins.
_ There are certain things that you want to [C] proceed and that you want to get better than a pair of jeans.
_ They're all design classics.
And this one is a music classic because nothing sounds better than that.
With Benj [G] operating it and us working on it together, _ it's [C] _ _
transcendental.
There's nothing you can't do with it.
And it actually supplies you with ideas.
Again, it starts work before you do.
You know, _ Benj will patch and then something happens.
And then we take advantage of it.
So we're_
the machine's the leader.
_ And we just follow it wherever it goes.
And that's really interesting, really exciting. _ _
I think what happened at that period too, when digital took over and all this stuff got lost
and people [A] threw it away and gave it away, _ _ _ was_
It was rediscovered by another generation during the dance [C] years in the 1990s.
_ And now it is like _ going back and finding a lost city in the Amazon [Gm] jungle.
You know, you're [C] rediscovering this civilization that [Eb] you only glimpsed before.
You [G] only glimpsed the possibilities of it.
And there's all kinds of life forms in that city.
And we're just rediscovering them now.
So that's very exciting for me in particular.
[A] And Benj is the guy who put all this stuff together and enabled that exploration to take place.
So I'm endlessly grateful for him. _ _ _
_ _ Do you have a favourite current piece of _ _ electronic music technology equipment?
I've been buying Korg _ Monosynths that are really cheap, £60 or [G] so.
But again, they've got the technology right, so it's a bit of digital with analogue filters.
And you can do lovely things [Gm] with them.
I've used them on, I've written about four or five songs already with those things. _
Because they're so easy to use and so simple, they almost jump in your hand [A] when you switch them on and start to make things happen.
And that's the kind of equipment I like.
I don't want to have to deal with anything too difficult.
I just want it to start work before [G] me.
_ _ That's the criteria.
[G] Switch it on and it's got to start work before I do.
_ Great. _ _
_ So what would you say was the most influential breakthrough in music technology throughout [C] your career?
The most important breakthrough, _ I think, was that availability of cheap synths, as I said.
Because without that, _ _ _ all the energy of the punk movement wouldn't have been able to be transferred into electronic music.
Because that's actually what happened.
People imagine that punk died in [G] 1978 or 7, in fact, about a year after it was born.
But that's not what happened.
In fact, what happened was all [A] the energy out of punk went into electronic music.
[C] _
Because as Phil Oakey said, _ _ _ it was even more [A] of a punk statement to make music with one finger than it was to make music with a guitar, which needed both hands.
You know, it was even simpler to do it and you could make more [G] outrageous noises.
So that [C] single moment where the energy of all that stuff went into, of punk, [A] went into electronics and electronics became easy and [G] easily available, it just changed the world quite simply. _ _
Can you tell us how, talk about the internet a little bit and what [C] you think, how that's influenced _ music over the years?
Well, it's ruined everyone financially.
The internet?
The internet's ruined everyone financially.
_ _ _ _ But it's also enabled a million [G] different sorts of music to coexist and to be available, which was never possible before.
I've discovered things _ on the net that I hadn't heard and wanted to hear for years and haven't been able to get on record or on CDs or anything like that.
But I can download them now and that's wonderful.
So it's made the language, it's made us all much more knowledgeable and fluent, but a lot poorer.
_ Which is maybe a good thing.
That Hollywood golden moment lasted about 25 years, which is a good run.
And it's still going on in various forms, but that immediate thing of selling records has disappeared for the time being.
_ _ So in your opinion, this is tricky or maybe you'll find it easy, who has been [C] the most influential person, artist, DJ, whatever you want to say, ever in electronic music?
The most important person was Robert Moog, without a doubt.
Or Robert Moog, as we have to call him, [G] according to the Moog Foundation.
_ _ Because he invented, _ _ _ _ not single-handedly, it was part of an evolution, it was the end of an evolution.
But I think _ what he made was the equivalent of a Georgian house.
In other words, you can't make it any better with the materials you have.
So it becomes the most beautiful form of _ those materials. _
And that's it.
You can't get better than that.
You can't get better than a Georgian house.
You can't get better than that.
You [A] can't get better than a Cadillac with fins.
_ There are certain things that you want to [C] proceed and that you want to get better than a pair of jeans.
_ They're all design classics.
And this one is a music classic because nothing sounds better than that.
With Benj [G] operating it and us working on it together, _ it's [C] _ _
transcendental.
There's nothing you can't do with it.
And it actually supplies you with ideas.
Again, it starts work before you do.
You know, _ Benj will patch and then something happens.
And then we take advantage of it.
So we're_
the machine's the leader.
_ And we just follow it wherever it goes.
And that's really interesting, really exciting. _ _
I think what happened at that period too, when digital took over and all this stuff got lost
and people [A] threw it away and gave it away, _ _ _ was_
It was rediscovered by another generation during the dance [C] years in the 1990s.
_ And now it is like _ going back and finding a lost city in the Amazon [Gm] jungle.
You know, you're [C] rediscovering this civilization that [Eb] you only glimpsed before.
You [G] only glimpsed the possibilities of it.
And there's all kinds of life forms in that city.
And we're just rediscovering them now.
So that's very exciting for me in particular.
[A] And Benj is the guy who put all this stuff together and enabled that exploration to take place.
So I'm endlessly grateful for him. _ _ _