Chords for Frank Marino & Mahogany Rush - Eye of the Storm (EPK)

_ _ _ _ I don't think our brand of rock and roll will ever really go away.
If it was, it would have gone away a long, long time ago. _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [F#] _
_ _ _ We didn't really do a record that we thought would ever come out.
I just did that for fun, a record I would [N] like.
Actually, it was an album [A#] for us.
I really, [E] really didn't think it would ever [G] come out.
That's why the songs are [G#m] 15 minutes.
It [A#] was like, let's do an album that I really like.
[G] I like to think of it as the album [Em] I wanted to do when I was 16 years old,
but I didn't know [C#] how to do it.
This really is [A] my favorite record.
_ _ _ _ _ _ _ [E] _
_ [C#] I'm glad I had that particular album to come back with,
because I feel like I can stand behind [A#] it.
This goes really, really way back to the 60s.
[A] I mean, when I said that I was going to do a record that I liked,
I just drew on my own [G] experience from 67, you know, till [F#] 70.
And I basically made the [F#m] record of that time.
It's all of my influences in this [F#] record, very much from the late 60s. _ _
[F#m] _ _ _ _ _ _ _ [F#] _
_ _ _ _ _ _ [B] _ _
[F#m] _ _ _ _ _ _ _ _
_ _ _ _ We [G#] did Eye of the Storm, and then when I found the web page
dedicated to us by the Sky Willie Parsons,
[G] _ [A] I started talking to the fans on the [E] site,
and the fans on the site basically said,
you've got to go back on [F#] the road, we'd really like to see it.
So we decided to put the album out and go back on the road. _ _ _ _ _ _
_ _ I didn't really know I would ever come out [G#] again.
It's just because I saw that response on the page [C#] from the fans, _
basically I was talked [A] into it, and I'm glad they [F#] did. _ _ _
_ [F#m] _ _ _ [F#] _ [G#] I used to say that we made psychedelic music.
[E] What was psychedelic music?
Well, it was Eye of [G#m] the Storm in the 60s.
That was [C#] psychedelic music.
In [E] the 70s, bands came out that had keyboards,
Pink [G] Floyd, stuff like that.
They started doing a new class of psychedelic music,
and then what we did became classed as metal [B] or hard rock.
But in actuality, what we did was psychedelic music.
Hard rock and metal was something else,
like totally [G] something else.
It was more like Ozzy Osbourne or Black Sabbath [F#] or something.
_ _ _ _ I'm back to doing what I consider [A] psychedelic music. _ _ _ _ _
_ _ [F#] _ _ _ _ _ _
_ _ [D#m] _ _ _ [Bm] When [G#] I was coming up in the 60s, late 60s and early [F#] 70s,
Canada was the type of country where radio really dominated quite a bit.
The type of [F#m] bands that got on the radio,
right off the bat, they were bands that had harmony vocals.
This was number one.
You just didn't have blues [C#] or rock artists getting on the [F#] radio.
If bands did play a form of blues or rock,
they did it with three-part harmonies.
It was sort of pretty music. _ _ _ _
_ _ _ [G#] _ _ [F#] _ _ _
We were a very, very underground group,
playing [A] 60s rock, 60s blues, [G#] psychedelic music,
one vocal, [C#] three-piece band.
We were everything that radio didn't want to hear in Canada.
So what happened was we [Gm] were never part of that clique,
if you want to call it [B] that.
But in the problems of Quebec, things were always a little [D] different.
_ [Am] _
_ [E] _ _ [Cm] First people here to [G] get into different [Cm] kinds of music.
The audience [G] would go crazy for this kind of [D] music.
There would be thousands of people for it,
and they'd all be rocking and rolling.
_ _ [Am] _ _ [D] Consequently, it [E] was the fans of Quebec
that really gave us our chance to go to America.
Because when the American [B] guys came here
to watch us playing in [D#] the cornfield,
[E] _
they freaked out not on the band,
because those guys in the record companies
don't know anything about music,
but they freaked out on the crowds.
They freaked out on the reaction that we were getting from the crowds.
They said, hey, [G#] there's something going on here,
and that's why they signed us.
So without [G] the Quebec crowds,
I don't think we'd have ever left [A] Montreal.
I _ _
_ _ _ _ [C] _ _ [Am] could tell you about [D] the California Jam,
the Day on the [B] Green concerts for Bill [G] Graham.
These were all shows of 80,000, [C] 100,000.
One was 300,000 people.
[A#] Everyone was preening for cameras
and pretending to be something that they were not.
That is not what rock and roll was when we started it.
[G] It was not what Woodstock really was in 69,
but it's what people thought it [E] was in the 70s. _ _ _ _
The actual highlights for me
would be the [G#] times that we go on the road
and we just [A] play to the types of fans
in a second or third market
that never get that kind of rock and roll.
They're told that they have to live in New York
or they have to live in Montreal
or they have to live in Boston
in order [Em] to see a real [G] rock concert.
And so they travel to these cities to see them.
But when you take that show
out to some of these smaller markets
and you [A] play that kind of show [Am] for those markets,
this [E] is where you get the real fan [G#] appreciation.
You really get to [A] the grassroots.
And for me, that's always been a real [E] highlight.
Not many people would understand that
unless they've done it.
[Am] _ _ _ _ Rock and roll of the nature that we do
comes back all the time.
I look at it as the good wife, you know?
And the mistresses come and go in the good wife boat.
_ _ _ _ [E] _ _ _ _ _ _ _ _ _ _