Chords for ELO - Rockpalast interview 1974 (GerSub.VobRip.Storm)
Tempo:
144 bpm
Chords used:
G
Ab
E
Gb
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Could you introduce yourselves and talking a bit about your past?
My name is Michael [G] Albuquerque and [Gb] I worked for two or three days before I joined the L.A.
[Ab] I was absolutely knackered when [G] our manager
You're not that slow.
I can't honestly remember I joined the group [Eb] other than the fact that there was a phone call from somebody saying that I gave somewhere to meet a load of people.
And I went down to these television studios [A] and walked in and [B] I've never seen anything [Ab] like it in my life.
I couldn't believe it and I remember it vividly to this day.
[E] [F]
And you got in?
And I got in, [G] but don't ask me [Ab] how.
Okay, and what [G] you're playing?
I'm playing bass, yes.
And a bit of warbling.
Say no more.
[Ab] My name is Mick [G] Kaminski.
[E] I play violin.
I sold the advert for the job in the sporting [B] life.
I drink a lot of beer [A] and
Farts a lot.
That's about it really.
Say no more.
[N]
Pass it on to Mr.
Edwards.
I'm Mike Edwards and I was studying at the Royal Academy of Music.
Yeah, well Lies.
[E] And I got this weird phone call one day, you know, would I like to join the [Gb] band?
I never got a phone call.
I play cello.
Over to Geoff Linn.
Ah, hello there.
My name's Geoff Linn.
And I didn't have any auditions because I was a cheat and I sort of founded the [N] group, so I didn't have to go through any of those things.
Where did you find it, Geoff?
Where did I find it?
And so there was none of that problem for me.
I sort of sneaked in.
Because I grew up in Bever
as well as Bev's there.
Big Bev.
Later, later.
Later, Jerry.
And so I'd like to hand over to Rick Pennell, who's the star of the show.
Ah, hello.
I'm Rick Pennell, as you've heard [Ab] before.
And I'm sound engineer and [Db] hair dryer repairer.
I have played here in [Ab] Hamburg two years ago.
Yeah.
But now it's a pleasure to be on television.
[G] Well, I'm Hugh [Db] McDowell.
I play electric [A] cello.
[Bb] I've been playing [G] cello longer than I can remember.
And how old are you?
How old?
[C] Twenty
I can't remember.
[Ab] Twenty-one.
[B] Twenty-one.
Yeah.
Okay.
Have you finished?
Yeah, I've finished.
Ah, my name's Dave Bevan.
[G] I'm the other founder member with Geoffrey [F] of the band,
which we formed out of the [G] move before this.
And I'm the drummist in the band.
There's only one more [Gb] left, and that's the keyboard player.
He was [E] a founder member too.
Richard Tame.
[C] Oh, I was a founder member too.
We're all founder members.
Oh, I don't think there's going to be an argument now.
Come on, pan in on this lad.
[N]
We're all founder members.
Where's Roy Wood?
[G] Shh, shh, shh.
Okay, Richard.
My name's Richard Tande.
I play the moog and the piano.
And I joined the group from the start,
[Ab] and since then I've [G] never looked back.
With all these founder members [Ab] around you,
could you tell us something about the [G] evolution of cello
and the idea behind [Ab] it?
Someone?
Geoffrey.
[Gb] Well, the evolution, of course, was [G] due to the fact that
it was me, [E] Roy Wood, Dave Bevan,
and [Em] Richard Tande.
[G] We were sort of fed up with playing the usual style of [E] rock and roll,
you know, the three guitars, [G] bass, you know, all this sort of stuff.
And we got sort of fed up with doing that,
and [B] so we said, [Eb] ba [E]-bam, let's bring the strings into the scene.
[G] You know, like cellos and violin, which hadn't been used at the [Abm] time.
This is two years ago.
[G] And we never looked forward since, [N] backwards.
Never looked back since.
Sideways.
Sideways, of course.
Never looked back.
And that's why we did it, you know,
[F] because we were fed up with doing the usual thing that all the groups play,
[E] the same as every other group.
So we wanted to do something [Ab] different.
The sound is a very big problem with three string players,
which are playing wooden instruments.
Oh, it's incredible string, actually.
[G] How did you manage that?
[Abm] To have a real full sound.
It's taken two years, you know, of solid work
to get it to come like it is now.
We started off [G] using contact microphones,
but we got rather bad sound and feedback.
At the moment we're using [Gm] special bridges with [A] transducers
actually built into the bridge.
[Abm] And I've also stuffed [Bm] my cello full of expanded polystyrene
and a bunch of [Em] shit like that.
[N]
My name is Michael [G] Albuquerque and [Gb] I worked for two or three days before I joined the L.A.
[Ab] I was absolutely knackered when [G] our manager
You're not that slow.
I can't honestly remember I joined the group [Eb] other than the fact that there was a phone call from somebody saying that I gave somewhere to meet a load of people.
And I went down to these television studios [A] and walked in and [B] I've never seen anything [Ab] like it in my life.
I couldn't believe it and I remember it vividly to this day.
[E] [F]
And you got in?
And I got in, [G] but don't ask me [Ab] how.
Okay, and what [G] you're playing?
I'm playing bass, yes.
And a bit of warbling.
Say no more.
[Ab] My name is Mick [G] Kaminski.
[E] I play violin.
I sold the advert for the job in the sporting [B] life.
I drink a lot of beer [A] and
Farts a lot.
That's about it really.
Say no more.
[N]
Pass it on to Mr.
Edwards.
I'm Mike Edwards and I was studying at the Royal Academy of Music.
Yeah, well Lies.
[E] And I got this weird phone call one day, you know, would I like to join the [Gb] band?
I never got a phone call.
I play cello.
Over to Geoff Linn.
Ah, hello there.
My name's Geoff Linn.
And I didn't have any auditions because I was a cheat and I sort of founded the [N] group, so I didn't have to go through any of those things.
Where did you find it, Geoff?
Where did I find it?
And so there was none of that problem for me.
I sort of sneaked in.
Because I grew up in Bever
as well as Bev's there.
Big Bev.
Later, later.
Later, Jerry.
And so I'd like to hand over to Rick Pennell, who's the star of the show.
Ah, hello.
I'm Rick Pennell, as you've heard [Ab] before.
And I'm sound engineer and [Db] hair dryer repairer.
I have played here in [Ab] Hamburg two years ago.
Yeah.
But now it's a pleasure to be on television.
[G] Well, I'm Hugh [Db] McDowell.
I play electric [A] cello.
[Bb] I've been playing [G] cello longer than I can remember.
And how old are you?
How old?
[C] Twenty
I can't remember.
[Ab] Twenty-one.
[B] Twenty-one.
Yeah.
Okay.
Have you finished?
Yeah, I've finished.
Ah, my name's Dave Bevan.
[G] I'm the other founder member with Geoffrey [F] of the band,
which we formed out of the [G] move before this.
And I'm the drummist in the band.
There's only one more [Gb] left, and that's the keyboard player.
He was [E] a founder member too.
Richard Tame.
[C] Oh, I was a founder member too.
We're all founder members.
Oh, I don't think there's going to be an argument now.
Come on, pan in on this lad.
[N]
We're all founder members.
Where's Roy Wood?
[G] Shh, shh, shh.
Okay, Richard.
My name's Richard Tande.
I play the moog and the piano.
And I joined the group from the start,
[Ab] and since then I've [G] never looked back.
With all these founder members [Ab] around you,
could you tell us something about the [G] evolution of cello
and the idea behind [Ab] it?
Someone?
Geoffrey.
[Gb] Well, the evolution, of course, was [G] due to the fact that
it was me, [E] Roy Wood, Dave Bevan,
and [Em] Richard Tande.
[G] We were sort of fed up with playing the usual style of [E] rock and roll,
you know, the three guitars, [G] bass, you know, all this sort of stuff.
And we got sort of fed up with doing that,
and [B] so we said, [Eb] ba [E]-bam, let's bring the strings into the scene.
[G] You know, like cellos and violin, which hadn't been used at the [Abm] time.
This is two years ago.
[G] And we never looked forward since, [N] backwards.
Never looked back since.
Sideways.
Sideways, of course.
Never looked back.
And that's why we did it, you know,
[F] because we were fed up with doing the usual thing that all the groups play,
[E] the same as every other group.
So we wanted to do something [Ab] different.
The sound is a very big problem with three string players,
which are playing wooden instruments.
Oh, it's incredible string, actually.
[G] How did you manage that?
[Abm] To have a real full sound.
It's taken two years, you know, of solid work
to get it to come like it is now.
We started off [G] using contact microphones,
but we got rather bad sound and feedback.
At the moment we're using [Gm] special bridges with [A] transducers
actually built into the bridge.
[Abm] And I've also stuffed [Bm] my cello full of expanded polystyrene
and a bunch of [Em] shit like that.
[N]
Key:
G
Ab
E
Gb
A
G
Ab
E
_ _ _ _ _ _ _ _
_ _ _ _ _ _ Could you introduce yourselves and talking a bit about your past?
_ My name is Michael [G] Albuquerque _ _ and _ [Gb] _ I worked _ for two or three days before I joined the L.A.
[Ab] I was _ _ _ _ absolutely knackered when _ _ _ [G] our _ _ manager_ _ _
_ You're not that slow.
_ _ I can't honestly remember I joined the group [Eb] other than the fact that there was a phone call from somebody saying that I gave somewhere to meet _ a load of people.
And I went down to these television studios _ [A] and _ _ walked in and [B] I've never seen anything [Ab] like it in my life.
I couldn't believe it and I remember it vividly to this day.
[E] _ _ [F] _
And you got in?
And I got in, [G] but don't ask me [Ab] how.
Okay, and what [G] you're playing?
I'm playing bass, yes.
_ _ And a bit of warbling.
_ _ _ _ _ Say no more.
_ [Ab] My name is Mick [G] Kaminski. _ _
[E] I play violin.
I sold the advert for the job in the sporting [B] life. _
_ _ _ _ _ _ _
I drink a lot of beer _ [A] and_
Farts a lot.
That's about it really.
_ _ Say no more.
[N]
Pass it on to Mr.
Edwards.
I'm Mike Edwards and I was studying at the Royal Academy of Music.
Yeah, _ _ well_ Lies.
[E] And _ I got this weird phone call one day, you know, would I like to join the [Gb] band?
I never got a phone call.
I play cello.
Over to Geoff Linn.
Ah, hello there.
My name's Geoff Linn.
And I didn't have any auditions because I was a cheat and I sort of founded the [N] group, so I didn't have to go through any of those things.
Where did you find it, Geoff?
Where did I find it?
And _ _ _ so there was none of that problem for me.
I sort of sneaked in.
Because I grew up in Bever_
as well as Bev's there. _
Big Bev.
Later, later.
Later, Jerry.
And so I'd like to hand over to Rick Pennell, who's the star of the show.
Ah, hello.
I'm Rick Pennell, as you've heard [Ab] before.
And I'm sound engineer and [Db] hair dryer repairer.
_ I have played _ here in [Ab] Hamburg two years ago.
Yeah.
But now it's a pleasure to be on television.
_ _ [G] _ Well, I'm Hugh [Db] McDowell.
I play electric [A] cello. _
[Bb] I've been playing [G] cello _ longer than I can remember.
_ And how old are you? _
_ How old?
[C] Twenty_
I can't remember.
_ _ _ [Ab] Twenty-one.
[B] Twenty-one.
Yeah.
Okay.
_ _ Have you finished?
Yeah, I've finished.
Ah, my name's Dave Bevan.
[G] I'm the other founder member with Geoffrey [F] of the band,
which we formed out of the [G] move before this.
And I'm the drummist in the band.
_ There's only one more [Gb] left, and that's the keyboard player.
He was [E] a founder member too.
Richard Tame.
[C] Oh, I was a founder member too.
We're all founder members.
Oh, I don't think there's going to be an argument now.
Come on, pan in on this lad.
[N] _
We're all founder members. _ _ _ _ _
Where's Roy Wood?
_ [G] Shh, shh, shh.
_ _ Okay, Richard.
My name's Richard Tande.
_ _ I play the moog and the piano.
_ _ _ _ And I joined the group from the start,
[Ab] and since then I've [G] never looked back. _
With all these founder members [Ab] around you,
could you tell us something about the [G] evolution of cello
and the idea behind [Ab] it?
Someone?
_ Geoffrey. _ _
[Gb] Well, the evolution, of course, was [G] due to the fact that _
it was me, [E] Roy Wood, Dave Bevan,
and [Em] Richard Tande.
_ [G] We were sort of fed up with playing the usual style of _ _ [E] rock and roll,
you know, the three guitars, [G] bass, you know, all this sort of stuff.
And we got sort of fed up with doing that,
and [B] so we said, [Eb] ba _ [E]-bam, let's bring the strings into the scene.
[G] You know, like cellos and violin, which hadn't been used at the [Abm] time.
This is two years ago.
[G] _ _ _ And we never looked forward since, [N] _ backwards.
Never looked back since.
_ Sideways.
Sideways, of course.
Never looked back.
And that's why we did it, you know,
[F] because we were fed up with doing the usual thing that all the groups play,
[E] the same as every other group.
So we wanted to do something [Ab] different.
The sound is a very big problem with three string players,
which are playing wooden instruments.
Oh, it's incredible string, actually.
_ _ _ [G] How did you manage that?
_ [Abm] _ To have a real full _ sound.
It's taken two years, you know, of solid work
to get it to come like it is now.
We started off [G] using contact microphones,
but we got rather bad sound and feedback. _
_ At the moment we're using [Gm] _ special bridges with _ _ [A] transducers _
actually built into the bridge.
[Abm] And I've also stuffed [Bm] my cello full of expanded polystyrene
and a bunch of [Em] shit like that.
_ _ _ _ [N] _
_ _ _ _ _ _ Could you introduce yourselves and talking a bit about your past?
_ My name is Michael [G] Albuquerque _ _ and _ [Gb] _ I worked _ for two or three days before I joined the L.A.
[Ab] I was _ _ _ _ absolutely knackered when _ _ _ [G] our _ _ manager_ _ _
_ You're not that slow.
_ _ I can't honestly remember I joined the group [Eb] other than the fact that there was a phone call from somebody saying that I gave somewhere to meet _ a load of people.
And I went down to these television studios _ [A] and _ _ walked in and [B] I've never seen anything [Ab] like it in my life.
I couldn't believe it and I remember it vividly to this day.
[E] _ _ [F] _
And you got in?
And I got in, [G] but don't ask me [Ab] how.
Okay, and what [G] you're playing?
I'm playing bass, yes.
_ _ And a bit of warbling.
_ _ _ _ _ Say no more.
_ [Ab] My name is Mick [G] Kaminski. _ _
[E] I play violin.
I sold the advert for the job in the sporting [B] life. _
_ _ _ _ _ _ _
I drink a lot of beer _ [A] and_
Farts a lot.
That's about it really.
_ _ Say no more.
[N]
Pass it on to Mr.
Edwards.
I'm Mike Edwards and I was studying at the Royal Academy of Music.
Yeah, _ _ well_ Lies.
[E] And _ I got this weird phone call one day, you know, would I like to join the [Gb] band?
I never got a phone call.
I play cello.
Over to Geoff Linn.
Ah, hello there.
My name's Geoff Linn.
And I didn't have any auditions because I was a cheat and I sort of founded the [N] group, so I didn't have to go through any of those things.
Where did you find it, Geoff?
Where did I find it?
And _ _ _ so there was none of that problem for me.
I sort of sneaked in.
Because I grew up in Bever_
as well as Bev's there. _
Big Bev.
Later, later.
Later, Jerry.
And so I'd like to hand over to Rick Pennell, who's the star of the show.
Ah, hello.
I'm Rick Pennell, as you've heard [Ab] before.
And I'm sound engineer and [Db] hair dryer repairer.
_ I have played _ here in [Ab] Hamburg two years ago.
Yeah.
But now it's a pleasure to be on television.
_ _ [G] _ Well, I'm Hugh [Db] McDowell.
I play electric [A] cello. _
[Bb] I've been playing [G] cello _ longer than I can remember.
_ And how old are you? _
_ How old?
[C] Twenty_
I can't remember.
_ _ _ [Ab] Twenty-one.
[B] Twenty-one.
Yeah.
Okay.
_ _ Have you finished?
Yeah, I've finished.
Ah, my name's Dave Bevan.
[G] I'm the other founder member with Geoffrey [F] of the band,
which we formed out of the [G] move before this.
And I'm the drummist in the band.
_ There's only one more [Gb] left, and that's the keyboard player.
He was [E] a founder member too.
Richard Tame.
[C] Oh, I was a founder member too.
We're all founder members.
Oh, I don't think there's going to be an argument now.
Come on, pan in on this lad.
[N] _
We're all founder members. _ _ _ _ _
Where's Roy Wood?
_ [G] Shh, shh, shh.
_ _ Okay, Richard.
My name's Richard Tande.
_ _ I play the moog and the piano.
_ _ _ _ And I joined the group from the start,
[Ab] and since then I've [G] never looked back. _
With all these founder members [Ab] around you,
could you tell us something about the [G] evolution of cello
and the idea behind [Ab] it?
Someone?
_ Geoffrey. _ _
[Gb] Well, the evolution, of course, was [G] due to the fact that _
it was me, [E] Roy Wood, Dave Bevan,
and [Em] Richard Tande.
_ [G] We were sort of fed up with playing the usual style of _ _ [E] rock and roll,
you know, the three guitars, [G] bass, you know, all this sort of stuff.
And we got sort of fed up with doing that,
and [B] so we said, [Eb] ba _ [E]-bam, let's bring the strings into the scene.
[G] You know, like cellos and violin, which hadn't been used at the [Abm] time.
This is two years ago.
[G] _ _ _ And we never looked forward since, [N] _ backwards.
Never looked back since.
_ Sideways.
Sideways, of course.
Never looked back.
And that's why we did it, you know,
[F] because we were fed up with doing the usual thing that all the groups play,
[E] the same as every other group.
So we wanted to do something [Ab] different.
The sound is a very big problem with three string players,
which are playing wooden instruments.
Oh, it's incredible string, actually.
_ _ _ [G] How did you manage that?
_ [Abm] _ To have a real full _ sound.
It's taken two years, you know, of solid work
to get it to come like it is now.
We started off [G] using contact microphones,
but we got rather bad sound and feedback. _
_ At the moment we're using [Gm] _ special bridges with _ _ [A] transducers _
actually built into the bridge.
[Abm] And I've also stuffed [Bm] my cello full of expanded polystyrene
and a bunch of [Em] shit like that.
_ _ _ _ [N] _