Chords for Fontaines D.C. on 'Dogrel' | 2019 Hyundai Mercury Prize
Tempo:
91.9 bpm
Chords used:
F#m
E
F#
A
Em
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
We're Fontaines DC and our album is called Dogwell.
Basically it's a reference to this kind of traditionally working class form of poetry
that was kind of carried on through, you know, like kind of like stand-up performances in
pubs and stuff like that.
So it was kind of like, it was an artistic tool basically to
establish within the Irish culture its own identity, you know.
The rain [E] is mine, a [F#m] pregnant city with a Catholic mind.
I think our album [D#] was largely inspired by sort of feeling like we were a bit
kicked to the curb by the state that we're living in.
We're just fed up of sort of feeling like all of our aspirations and ambitions could never
be realised or encouraged by the state that governed us, you know.
And that was probably partly what drove us to drinking and writing.
And we sort of, we use poetry as a medium through which we could express ourselves,
but also kind of discover ourselves through each other.
Our album was kind of inspired by that time, which was kind of like a [A] coming of age and
also a kind of rekindling of youth simultaneously.
My childhood was small, [Em]
my childhood was small.
It's a picture by
I have an eyelash.
Oh thanks man, make a wish.
I just blew it.
Does it count if you make it?
There was actually two, so you can have one of my wishes.
We wish for the same thing most of the time.
We do.
Yeah, the artwork, the picture is a picture by a photographer called Bruce Davidson.
And it's a picture taken in a circus in [F#] Ireland, I think it was the 60s, 50s, 60s?
60s I think, yeah.
Yeah, called [N] Duffy's.
And I guess it was an image that just came up most of, since we started releasing music,
all the artwork we used were old photographs taken in Ireland that represented a character
or a very small part of life, but that has a lot of meaning.
I like the album cover because it sort of encapsulates the facade of performance versus reality.
To me, the horses involved in the cover and the circus are distressed.
And the audience, I think there's a suspension of disbelief involved in order for the audience
to enjoy it.
So there's kind of like a temporary forgetting of reality in order to be able to kind of
exist and live.
You know, and that's a theme that we explore on a couple of the tunes in the album.
It's quite painful for me to discuss what the songs are about lyrically.
So I'll just tell you that the least meaningful and least painful one to discuss, which is
probably just The Lots, which is about a pub called The Lots on the end of a street called
the North Lot.
And we used to practice on the street and it was covered with syringes, you had to watch your step.
So the pub itself was a theatre for escape.
In another sense, the practice space, which was just a few rows down, was a theatre for
another form of escape.
And it was kind of just when we walk out of one or the other, the difference between the
two was nuanced and accentuated.
It was kind of just about what are you actually striving for?
You know what I mean?
Like, for what are you trying to live?
You know what I mean?
If you are trying to [A] live.
Yeah, that's not much of a story, but that's just me explaining it, I suppose.
[B] [F#m] Yeah, we did [E] it with Dan Carey and we did it all live.
So we had bits of tape because Dan thought it would be best for us to record and tape.
Basically, I'd be standing there without a mic, kind of just [F] looking everyone in the
eye, mouthing the [G] lyrics.
The rest of the lads would be
I [F#] mean, someone would say that the tape's rolling and then we'd perform three or four
tracks in a row with no stops.
[N] And what would happen is if someone made a mistake on the fourth take or the fourth track
of that four in a row, then we'd have to go back to the start of the whole tape and begin
the first song again.
There was a sense of immediacy in the room that we were hoping made it onto the record itself.
Yeah.
I think Dan tried to do that a lot, even with Liberty Bell.
That was probably the song that we could just play that in our sleep.
[Em] And Dan just felt like it was
It just felt like that.
There was no
That kind of urgency and that bit of anxiety that should be in that performance.
I think the important lesson was that nobody wants to listen to a band that sounds entirely comfortable.
[Bm]
[E] The idea of being nominated isn't something that we really aspired to when we wrote the album.
Now we're in a position in which we can enjoy it and appreciate it.
My mother's reaction when I [F] told her that we were nominated for a Mercury Prize was kind of
That's half the prize won for me.
My mother didn't really know what the prize was.
She was excited that we got in the In-Flight Magazine for an airline.
[D] That's pretty exciting now, isn't [F#m] it?
Yeah.
[F#] I'm gonna be [F#m] big!
I'm gonna be
Basically it's a reference to this kind of traditionally working class form of poetry
that was kind of carried on through, you know, like kind of like stand-up performances in
pubs and stuff like that.
So it was kind of like, it was an artistic tool basically to
establish within the Irish culture its own identity, you know.
The rain [E] is mine, a [F#m] pregnant city with a Catholic mind.
I think our album [D#] was largely inspired by sort of feeling like we were a bit
kicked to the curb by the state that we're living in.
We're just fed up of sort of feeling like all of our aspirations and ambitions could never
be realised or encouraged by the state that governed us, you know.
And that was probably partly what drove us to drinking and writing.
And we sort of, we use poetry as a medium through which we could express ourselves,
but also kind of discover ourselves through each other.
Our album was kind of inspired by that time, which was kind of like a [A] coming of age and
also a kind of rekindling of youth simultaneously.
My childhood was small, [Em]
my childhood was small.
It's a picture by
I have an eyelash.
Oh thanks man, make a wish.
I just blew it.
Does it count if you make it?
There was actually two, so you can have one of my wishes.
We wish for the same thing most of the time.
We do.
Yeah, the artwork, the picture is a picture by a photographer called Bruce Davidson.
And it's a picture taken in a circus in [F#] Ireland, I think it was the 60s, 50s, 60s?
60s I think, yeah.
Yeah, called [N] Duffy's.
And I guess it was an image that just came up most of, since we started releasing music,
all the artwork we used were old photographs taken in Ireland that represented a character
or a very small part of life, but that has a lot of meaning.
I like the album cover because it sort of encapsulates the facade of performance versus reality.
To me, the horses involved in the cover and the circus are distressed.
And the audience, I think there's a suspension of disbelief involved in order for the audience
to enjoy it.
So there's kind of like a temporary forgetting of reality in order to be able to kind of
exist and live.
You know, and that's a theme that we explore on a couple of the tunes in the album.
It's quite painful for me to discuss what the songs are about lyrically.
So I'll just tell you that the least meaningful and least painful one to discuss, which is
probably just The Lots, which is about a pub called The Lots on the end of a street called
the North Lot.
And we used to practice on the street and it was covered with syringes, you had to watch your step.
So the pub itself was a theatre for escape.
In another sense, the practice space, which was just a few rows down, was a theatre for
another form of escape.
And it was kind of just when we walk out of one or the other, the difference between the
two was nuanced and accentuated.
It was kind of just about what are you actually striving for?
You know what I mean?
Like, for what are you trying to live?
You know what I mean?
If you are trying to [A] live.
Yeah, that's not much of a story, but that's just me explaining it, I suppose.
[B] [F#m] Yeah, we did [E] it with Dan Carey and we did it all live.
So we had bits of tape because Dan thought it would be best for us to record and tape.
Basically, I'd be standing there without a mic, kind of just [F] looking everyone in the
eye, mouthing the [G] lyrics.
The rest of the lads would be
I [F#] mean, someone would say that the tape's rolling and then we'd perform three or four
tracks in a row with no stops.
[N] And what would happen is if someone made a mistake on the fourth take or the fourth track
of that four in a row, then we'd have to go back to the start of the whole tape and begin
the first song again.
There was a sense of immediacy in the room that we were hoping made it onto the record itself.
Yeah.
I think Dan tried to do that a lot, even with Liberty Bell.
That was probably the song that we could just play that in our sleep.
[Em] And Dan just felt like it was
It just felt like that.
There was no
That kind of urgency and that bit of anxiety that should be in that performance.
I think the important lesson was that nobody wants to listen to a band that sounds entirely comfortable.
[Bm]
[E] The idea of being nominated isn't something that we really aspired to when we wrote the album.
Now we're in a position in which we can enjoy it and appreciate it.
My mother's reaction when I [F] told her that we were nominated for a Mercury Prize was kind of
That's half the prize won for me.
My mother didn't really know what the prize was.
She was excited that we got in the In-Flight Magazine for an airline.
[D] That's pretty exciting now, isn't [F#m] it?
Yeah.
[F#] I'm gonna be [F#m] big!
I'm gonna be
Key:
F#m
E
F#
A
Em
F#m
E
F#
We're Fontaines DC and our album is called Dogwell. _ _ _ _
_ _ Basically it's a reference to this kind of traditionally working class form of poetry
that was kind of carried on through, you know, like kind of like stand-up performances in
pubs and stuff like that.
So it was kind of like, it was an artistic tool basically to
establish within the Irish culture its own identity, you know.
The rain [E] is mine, a [F#m] pregnant city with a Catholic mind.
I think our album [D#] was largely inspired by sort of feeling like we were a bit
kicked to the curb by the state that we're living in.
We're just fed up of sort of feeling like all of our _ aspirations and ambitions could never
be realised or encouraged by the state that governed us, you know.
And that was probably partly what drove us to drinking and writing.
And we sort of, we use poetry as a medium through which we could express ourselves,
but also kind of discover ourselves through each other.
Our album was kind of inspired by that time, which was kind of like a [A] coming of age and
also a kind of rekindling of youth simultaneously.
My childhood was small, [Em]
my childhood was small.
It's a picture by_
I have an eyelash.
Oh thanks man, make a wish.
I just blew it.
Does it count if you make it?
There was actually two, so you can have one of my wishes.
We wish for the same thing most of the time.
We do.
Yeah, the artwork, the picture is a picture by a photographer called Bruce Davidson.
And it's a picture taken in a circus in [F#] Ireland, I think it was the 60s, 50s, 60s?
60s I think, yeah.
Yeah, called [N] Duffy's.
_ And I guess it was an image that just came up most of, since we started releasing music,
all the artwork we used were old photographs taken in Ireland that represented a character
or a very small part of life, but that has a lot of meaning.
I like the album cover because it sort of encapsulates the facade of performance versus reality.
To me, the horses involved in the cover and the circus are distressed.
_ And the audience, I think there's a suspension of disbelief involved in order for the audience
to enjoy it.
So there's kind of like a temporary forgetting of reality in order to be able to kind of
exist and live.
You know, and that's a theme that we explore on a couple of the tunes in the album. _
_ _ _ _ It's quite painful for me to discuss what the songs are about lyrically.
So I'll just tell you that the least meaningful and least painful one to discuss, which is
probably just The Lots, which is about a pub _ called The Lots on the end of a street called
the North Lot.
And we used to practice on the street and it was covered with syringes, you had to watch your step.
So the pub itself was a theatre for escape.
In another sense, the practice space, which was just a few rows down, was a theatre for
another form of escape.
_ And it was kind of just when we walk out of one or the other, the difference between the
two was nuanced and accentuated.
It was kind of just about what are you actually striving for?
You know what I mean?
Like, for what are you trying to live?
You know what I mean?
If you are trying to [A] live.
Yeah, that's not much of a story, but that's just me explaining it, I suppose. _
[B] _ _ _ [F#m] _ _ Yeah, we did [E] it with Dan Carey and we did it all live.
_ So we had bits of tape because Dan thought it would be best for us to record and tape.
_ Basically, I'd be standing there without a mic, kind of just [F] looking everyone in the
eye, mouthing the [G] lyrics.
_ The rest of the lads would be_
I [F#] mean, someone would say that the tape's rolling and then we'd perform three or four
tracks in a row with no stops.
[N] And what would happen is if someone made a mistake on the fourth take or the fourth track
of that four in a row, then we'd have to go back to the start of the whole tape and begin
the first song again.
There was a sense of immediacy in the room that we were hoping made it onto the record itself.
Yeah.
I think Dan tried to do that a lot, even with Liberty Bell.
That was probably the song that we could just play that in our sleep.
[Em] _ And Dan just felt like it was_
It just felt like that.
There was no_
That kind of urgency and that bit of anxiety that should be in that performance.
I think the important lesson was that nobody wants to listen to a band that sounds entirely comfortable.
_ _ _ [Bm] _
_ [E] _ _ The idea of being nominated isn't something that we really aspired to when we wrote the album.
Now we're in a position in which we can enjoy it and appreciate it.
My mother's reaction when I [F] told her that we were nominated for a Mercury Prize was kind of_
That's half the prize won for me.
My mother didn't really know what the prize was.
She was excited that we got in the In-Flight Magazine for an airline.
_ [D] _ _ That's pretty exciting now, isn't [F#m] it?
Yeah.
[F#] I'm gonna be [F#m] big!
I'm gonna be
_ _ Basically it's a reference to this kind of traditionally working class form of poetry
that was kind of carried on through, you know, like kind of like stand-up performances in
pubs and stuff like that.
So it was kind of like, it was an artistic tool basically to
establish within the Irish culture its own identity, you know.
The rain [E] is mine, a [F#m] pregnant city with a Catholic mind.
I think our album [D#] was largely inspired by sort of feeling like we were a bit
kicked to the curb by the state that we're living in.
We're just fed up of sort of feeling like all of our _ aspirations and ambitions could never
be realised or encouraged by the state that governed us, you know.
And that was probably partly what drove us to drinking and writing.
And we sort of, we use poetry as a medium through which we could express ourselves,
but also kind of discover ourselves through each other.
Our album was kind of inspired by that time, which was kind of like a [A] coming of age and
also a kind of rekindling of youth simultaneously.
My childhood was small, [Em]
my childhood was small.
It's a picture by_
I have an eyelash.
Oh thanks man, make a wish.
I just blew it.
Does it count if you make it?
There was actually two, so you can have one of my wishes.
We wish for the same thing most of the time.
We do.
Yeah, the artwork, the picture is a picture by a photographer called Bruce Davidson.
And it's a picture taken in a circus in [F#] Ireland, I think it was the 60s, 50s, 60s?
60s I think, yeah.
Yeah, called [N] Duffy's.
_ And I guess it was an image that just came up most of, since we started releasing music,
all the artwork we used were old photographs taken in Ireland that represented a character
or a very small part of life, but that has a lot of meaning.
I like the album cover because it sort of encapsulates the facade of performance versus reality.
To me, the horses involved in the cover and the circus are distressed.
_ And the audience, I think there's a suspension of disbelief involved in order for the audience
to enjoy it.
So there's kind of like a temporary forgetting of reality in order to be able to kind of
exist and live.
You know, and that's a theme that we explore on a couple of the tunes in the album. _
_ _ _ _ It's quite painful for me to discuss what the songs are about lyrically.
So I'll just tell you that the least meaningful and least painful one to discuss, which is
probably just The Lots, which is about a pub _ called The Lots on the end of a street called
the North Lot.
And we used to practice on the street and it was covered with syringes, you had to watch your step.
So the pub itself was a theatre for escape.
In another sense, the practice space, which was just a few rows down, was a theatre for
another form of escape.
_ And it was kind of just when we walk out of one or the other, the difference between the
two was nuanced and accentuated.
It was kind of just about what are you actually striving for?
You know what I mean?
Like, for what are you trying to live?
You know what I mean?
If you are trying to [A] live.
Yeah, that's not much of a story, but that's just me explaining it, I suppose. _
[B] _ _ _ [F#m] _ _ Yeah, we did [E] it with Dan Carey and we did it all live.
_ So we had bits of tape because Dan thought it would be best for us to record and tape.
_ Basically, I'd be standing there without a mic, kind of just [F] looking everyone in the
eye, mouthing the [G] lyrics.
_ The rest of the lads would be_
I [F#] mean, someone would say that the tape's rolling and then we'd perform three or four
tracks in a row with no stops.
[N] And what would happen is if someone made a mistake on the fourth take or the fourth track
of that four in a row, then we'd have to go back to the start of the whole tape and begin
the first song again.
There was a sense of immediacy in the room that we were hoping made it onto the record itself.
Yeah.
I think Dan tried to do that a lot, even with Liberty Bell.
That was probably the song that we could just play that in our sleep.
[Em] _ And Dan just felt like it was_
It just felt like that.
There was no_
That kind of urgency and that bit of anxiety that should be in that performance.
I think the important lesson was that nobody wants to listen to a band that sounds entirely comfortable.
_ _ _ [Bm] _
_ [E] _ _ The idea of being nominated isn't something that we really aspired to when we wrote the album.
Now we're in a position in which we can enjoy it and appreciate it.
My mother's reaction when I [F] told her that we were nominated for a Mercury Prize was kind of_
That's half the prize won for me.
My mother didn't really know what the prize was.
She was excited that we got in the In-Flight Magazine for an airline.
_ [D] _ _ That's pretty exciting now, isn't [F#m] it?
Yeah.
[F#] I'm gonna be [F#m] big!
I'm gonna be