Chords for Graham Coxon Scoring The End Of The F***ing World Soundtrack
Tempo:
83.3 bpm
Chords used:
C
E
G
Am
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Jam Along & Learn...
Ta-da!
[C] [F#]
[Am] [C]
[E] It's kind of crazy to me that I recorded the stuff [Em] for the end of the effing world here.
But the whole [D] idea that you can actually do it in your spare room,
get over [A] how amazing that is actually.
[G] this boy who seems like a kind of a
[E] And he meets this girl who seems [F#] totally [G] despondent as well.
[C] [F#]
[Am] [C]
[E] It's kind of crazy to me that I recorded the stuff [Em] for the end of the effing world here.
But the whole [D] idea that you can actually do it in your spare room,
get over [A] how amazing that is actually.
[G] this boy who seems like a kind of a
[E] And he meets this girl who seems [F#] totally [G] despondent as well.
100% ➙ 83BPM
C
E
G
Am
A
C
E
G
_ Ta-da! _ _ _ _
_ [C] _ _ _ _ _ [F#] _ _
_ [Am] _ _ _ [C] _ _ _
[E] It's kind of crazy to me that I recorded the stuff [Em] for the end of the effing world here.
Recording [G] has always been a sort of miraculous thing to me anyway.
[C] It's always one of my favorite [A] things.
But the whole [D] idea that you can actually do it in your spare room,
I still can't get over [A] how amazing that is actually.
[E] Well yeah, the [B] end of the effing world starts out with [G] this boy who seems like a kind of a
dispassionate and [C] cruel kind of a lad, [A] teenager, school boy.
[E] And he meets this girl who seems [F#] totally [G] despondent as well.
They both have home lives [D] that they're not particularly happy [C] with.
And they go on a sort of [A] a crazy road trip [E] with many twists and turns,
many dark [G] moments, many comic moments, many [D] touching moments.
And [C] so off they go.
[E] But I wasn't really asked to do anything specific to start with.
But I was kind of inspired.
[D] So I did make a few [G#] pieces just on my own anyway, before we had any proper [G] meetings.
And a lot of it was quite un-Graham Coxon-like, I suppose, which was a [A] mistake.
Because [B] they wanted to hire me because it would be Graham Coxon-ish.
So it would be sounding like something else.
After we had a meeting, I got back on track.
And of course, in [G] TV shows and things like that,
they always put [Em] a temporary song in where they want some music.
And that's the sort of atmosphere they're trying to get across.
So [A] I would be [G] inspired by whatever [D] sound that had or whatever emotion that had.
[C] I quite liked working too [D] brief.
So maybe they'd had a scene where they wanted [A] something a bit sad and acoustic.
Then I'd spend maybe one or two days [D] just writing something around [D] that.
Four or five or six [G] songs that could fit that [A] bill, but they were all slightly [D] varying.
_ Walking All Day wasn't [A] really a brief.
It just sort of came out of watching the episode.
I think where it [C] appears in the program is when they're walking through some woods.
And it's kind of a nice image.
I don't think James has got a tough one for some reason.
I can't remember why he hasn't.
But they've been sort [Em] of failing to have any [Am] kind of a relationship
or any kind of chemistry as far as I [C] can see.
But I was trying to get a little further into the sort of emotional blockage going on there.
I kind of like that sort of country blues.
Yeah, sort of genre [G] and that sort of finger picking.
[E] It's a very fertile ground for [C] melody.
You know, a topless [E] lad in a pair of jeans in the woods for me, it's [G] a bit like_
[C] You know, it could be, you know, [F] deliverance kind of stuff.
[G#] So some kind [F] of country [E] folk thing that may have a slight American influence.
[Em] The lyrics would have been [C] improvised.
I would have started singing something [Am] to get some sort of melody.
[G] And it quite quickly became apparent that [Am] it was going to be Walking All Day.
It was going to [Fm] be kind of repetitive.
[Am] And then there was going to be some part of their body that was going to be on fire.
[G] And there was going to be a reason for that.
[C] _
I wanted it to be sort of jaunty.
I did have a couple of goes, actually.
[Em] There is a really fast version of it, [G] which isn't very good and didn't really [G#] develop.
So it didn't have a middle eight and solo [C] sections and [E]
all of those sorts of things.
[C] _ _ [F] [G#m] So I wanted it to have a good sort of shape and a good [C] build.
And that for me is what's interesting about songs,
is what happens on the journey through the song.
You know, it's just verse, [Em] chorus, verse, chorus.
And then it ends.
It's a bit_
It's [C] odd, you know.
I like songs to have a journey [F] and a dynamic.
I didn't want [E] everything to get too heavy and serious because
[C] as an English person, I can't sit in that [Em] world for too long without making a joke.
You know, so you've got to [C] [Em] lighten it up, [C] lighten it up a bit.
_ So I always [E] start with the acoustic guitar.
[C] And I'd just be playing around a little chord sequence as simple as I can. _
_ [G] _ _ [C] And then [Em] I'd record that.
Condenser mics that far away [E] from, what do they say?
12th, 14th fret [C] where the neck meets the body.
I suppose I just went with that really.
[F] _ _ [C]
I really wanted that sort of old-fashioned sort _ [G] [Am] of_
They [F] call it mixing bowls, sort of slight swingy drums.
And I can't really do that here.
So I had a cajon down there.
And I've never [C] mic'd a cajon before.
And I don't even know if I'm saying it right.
But that one has a bit [E] of a boom to it.
So that's_
I don't know.
I [Em] suppose that's about that far away from the [C] back.
_ _ _ [G] I kind of [E] like old-fashioned recordings.
Not at all perfect, quite [C] loose.
Although I was working to a sort of a metronome.
I was loosely keeping time.
_ _ _ But I don't really know how to play a cajon.
So I just did my best.
[E] You know.
And then I kind of wanted a [C] sort of an upright kind of bass sort of sound.
[E] So I used an old Fender 6 [C] bass.
Which is six strings.
And that's from the 60s.
_ [F] I don't know if the strings [E] have been actually changed.
They [Em] were old when I bought the guitar.
The strings.
So [C] they may not have been changed for 30 years.
[E] So pretty dead old strings.
[G] _ _ [C] _ _ [Am] _ _ [F] You know [G] that kind of [C] tea chest bass.
To get that [E] sort of atmosphere, you know.
There's the tambourine.
[G] And just things coming [C] in.
[Am] Being introduced after each sort of [G] verse.
Something new coming [Am] in.
Drums coming in.
Then a maracas coming in.
And also [C] there's the vocal. _ _
_ _ _ _ _ Walking all day with my mouth on fire.
That's what [Am] I've gotta do.
[F] Trying to get [Em] talking to you.
I wanted there to be parts that were girl and boy singing.
Obviously [C] because it was a kind of about this [G] relationship.
That was starting or maybe not [E] starting.
You know I don't have a backing vocalist sort of lounging around all the time.
So on most of the songs.
And this one included.
I just pitched my vocal up to get a girlish kind of [C] vocal.
_ [Am] _
_ [F] Make me happy.
[C] Talk [Am] to me.
_ It's so crappy.
The [E] one that went out on the TV show as you watch it.
Is the one before I got a proper female backing vocalist on it.
But I think with the bit of [E] reverb and balancing in.
[Am] You know you don't really notice it.
[F] It just sounds like a [C] girl. Over _ [Am] me.
Watch [G] this [Am] power.
_ _ Gonna tell you once [C] more.
[Em] And then I wanted to introduce [C] a few slides.
I'm not very good at slide guitar either.
[D] And none of the guitars that I use are particularly set [Am] up for it.
So there's a lot of clunking.
_ [C] _ _ _
_ _ _ [G] _ _ [C] I build it with different sort of [E] slide [C] lead parts.
Until it just sort of finishes.
And you know [Am] I think quite a clumsy way you know.
_ [C] _ So it's kind of a pretty rough woozy recording.
But I guess it has a sort of charm.
I like that imperfection of it.
Because I was recording it quite quickly.
It's almost as if there [E] are four or five blokes.
Who are [G] playing it live.
Because they're not exactly tight all [E] the time.
They're following each other.
I'm not a great engineer.
I'm you know I'm a bit EQ phobic and all the rest of it.
I like a bit of compression.
And I like a little bit of a spring reverb.
You know to make it sound a bit out.
And a bit of touch of that on everything really.
And that was it.
And if it sounded okay that would be it.
[G] So when I was like [E] sending all the audio files off.
And you know I like that [A] thing of anticipating [E] the reply to the email.
You know [F#] yeah this is [G] good but.
Or [D] _ _ _
[C] great [E] but can you do another one.
Or [B] you know something like that.
This was just [F#] wow you know this is fantastic.
[G] So it's great to get the sort of [C] feedback and [A] encouragement.
I was lucky because the [E] people who worked with me were always [F#] encouraging.
You know and I did [G] send them some pretty mad stuff.
But I [C] thought if I sent them some stuff that [A] they really liked.
I can afford to [E] send them something that was really ridiculous.
That [F#] was a sort of a risk you [G] know.
And they'd just ignore [D] it.
[A] _
[C] So a few _ [E] mad songs didn't make it.
[F#]
But I [G] definitely would like to [G#] carry on learning more about soundtracks.
Do some [C] more soundtracks.
[E] I'll definitely stay excited about recording.
And anything [F#] that helps getting [G] ideas musically.
[F#] Onto something that you can play back and [A] listen to.
So I'm up for [E] more yeah. _ _ _ _ _ _ _
_ _ _ _ _ _ [N] _ _
_ [C] _ _ _ _ _ [F#] _ _
_ [Am] _ _ _ [C] _ _ _
[E] It's kind of crazy to me that I recorded the stuff [Em] for the end of the effing world here.
Recording [G] has always been a sort of miraculous thing to me anyway.
[C] It's always one of my favorite [A] things.
But the whole [D] idea that you can actually do it in your spare room,
I still can't get over [A] how amazing that is actually.
[E] Well yeah, the [B] end of the effing world starts out with [G] this boy who seems like a kind of a
dispassionate and [C] cruel kind of a lad, [A] teenager, school boy.
[E] And he meets this girl who seems [F#] totally [G] despondent as well.
They both have home lives [D] that they're not particularly happy [C] with.
And they go on a sort of [A] a crazy road trip [E] with many twists and turns,
many dark [G] moments, many comic moments, many [D] touching moments.
And [C] so off they go.
[E] But I wasn't really asked to do anything specific to start with.
But I was kind of inspired.
[D] So I did make a few [G#] pieces just on my own anyway, before we had any proper [G] meetings.
And a lot of it was quite un-Graham Coxon-like, I suppose, which was a [A] mistake.
Because [B] they wanted to hire me because it would be Graham Coxon-ish.
So it would be sounding like something else.
After we had a meeting, I got back on track.
And of course, in [G] TV shows and things like that,
they always put [Em] a temporary song in where they want some music.
And that's the sort of atmosphere they're trying to get across.
So [A] I would be [G] inspired by whatever [D] sound that had or whatever emotion that had.
[C] I quite liked working too [D] brief.
So maybe they'd had a scene where they wanted [A] something a bit sad and acoustic.
Then I'd spend maybe one or two days [D] just writing something around [D] that.
Four or five or six [G] songs that could fit that [A] bill, but they were all slightly [D] varying.
_ Walking All Day wasn't [A] really a brief.
It just sort of came out of watching the episode.
I think where it [C] appears in the program is when they're walking through some woods.
And it's kind of a nice image.
I don't think James has got a tough one for some reason.
I can't remember why he hasn't.
But they've been sort [Em] of failing to have any [Am] kind of a relationship
or any kind of chemistry as far as I [C] can see.
But I was trying to get a little further into the sort of emotional blockage going on there.
I kind of like that sort of country blues.
Yeah, sort of genre [G] and that sort of finger picking.
[E] It's a very fertile ground for [C] melody.
You know, a topless [E] lad in a pair of jeans in the woods for me, it's [G] a bit like_
[C] You know, it could be, you know, [F] deliverance kind of stuff.
[G#] So some kind [F] of country [E] folk thing that may have a slight American influence.
[Em] The lyrics would have been [C] improvised.
I would have started singing something [Am] to get some sort of melody.
[G] And it quite quickly became apparent that [Am] it was going to be Walking All Day.
It was going to [Fm] be kind of repetitive.
[Am] And then there was going to be some part of their body that was going to be on fire.
[G] And there was going to be a reason for that.
[C] _
I wanted it to be sort of jaunty.
I did have a couple of goes, actually.
[Em] There is a really fast version of it, [G] which isn't very good and didn't really [G#] develop.
So it didn't have a middle eight and solo [C] sections and [E]
all of those sorts of things.
[C] _ _ [F] [G#m] So I wanted it to have a good sort of shape and a good [C] build.
And that for me is what's interesting about songs,
is what happens on the journey through the song.
You know, it's just verse, [Em] chorus, verse, chorus.
And then it ends.
It's a bit_
It's [C] odd, you know.
I like songs to have a journey [F] and a dynamic.
I didn't want [E] everything to get too heavy and serious because
[C] as an English person, I can't sit in that [Em] world for too long without making a joke.
You know, so you've got to [C] [Em] lighten it up, [C] lighten it up a bit.
_ So I always [E] start with the acoustic guitar.
[C] And I'd just be playing around a little chord sequence as simple as I can. _
_ [G] _ _ [C] And then [Em] I'd record that.
Condenser mics that far away [E] from, what do they say?
12th, 14th fret [C] where the neck meets the body.
I suppose I just went with that really.
[F] _ _ [C]
I really wanted that sort of old-fashioned sort _ [G] [Am] of_
They [F] call it mixing bowls, sort of slight swingy drums.
And I can't really do that here.
So I had a cajon down there.
And I've never [C] mic'd a cajon before.
And I don't even know if I'm saying it right.
But that one has a bit [E] of a boom to it.
So that's_
I don't know.
I [Em] suppose that's about that far away from the [C] back.
_ _ _ [G] I kind of [E] like old-fashioned recordings.
Not at all perfect, quite [C] loose.
Although I was working to a sort of a metronome.
I was loosely keeping time.
_ _ _ But I don't really know how to play a cajon.
So I just did my best.
[E] You know.
And then I kind of wanted a [C] sort of an upright kind of bass sort of sound.
[E] So I used an old Fender 6 [C] bass.
Which is six strings.
And that's from the 60s.
_ [F] I don't know if the strings [E] have been actually changed.
They [Em] were old when I bought the guitar.
The strings.
So [C] they may not have been changed for 30 years.
[E] So pretty dead old strings.
[G] _ _ [C] _ _ [Am] _ _ [F] You know [G] that kind of [C] tea chest bass.
To get that [E] sort of atmosphere, you know.
There's the tambourine.
[G] And just things coming [C] in.
[Am] Being introduced after each sort of [G] verse.
Something new coming [Am] in.
Drums coming in.
Then a maracas coming in.
And also [C] there's the vocal. _ _
_ _ _ _ _ Walking all day with my mouth on fire.
That's what [Am] I've gotta do.
[F] Trying to get [Em] talking to you.
I wanted there to be parts that were girl and boy singing.
Obviously [C] because it was a kind of about this [G] relationship.
That was starting or maybe not [E] starting.
You know I don't have a backing vocalist sort of lounging around all the time.
So on most of the songs.
And this one included.
I just pitched my vocal up to get a girlish kind of [C] vocal.
_ [Am] _
_ [F] Make me happy.
[C] Talk [Am] to me.
_ It's so crappy.
The [E] one that went out on the TV show as you watch it.
Is the one before I got a proper female backing vocalist on it.
But I think with the bit of [E] reverb and balancing in.
[Am] You know you don't really notice it.
[F] It just sounds like a [C] girl. Over _ [Am] me.
Watch [G] this [Am] power.
_ _ Gonna tell you once [C] more.
[Em] And then I wanted to introduce [C] a few slides.
I'm not very good at slide guitar either.
[D] And none of the guitars that I use are particularly set [Am] up for it.
So there's a lot of clunking.
_ [C] _ _ _
_ _ _ [G] _ _ [C] I build it with different sort of [E] slide [C] lead parts.
Until it just sort of finishes.
And you know [Am] I think quite a clumsy way you know.
_ [C] _ So it's kind of a pretty rough woozy recording.
But I guess it has a sort of charm.
I like that imperfection of it.
Because I was recording it quite quickly.
It's almost as if there [E] are four or five blokes.
Who are [G] playing it live.
Because they're not exactly tight all [E] the time.
They're following each other.
I'm not a great engineer.
I'm you know I'm a bit EQ phobic and all the rest of it.
I like a bit of compression.
And I like a little bit of a spring reverb.
You know to make it sound a bit out.
And a bit of touch of that on everything really.
And that was it.
And if it sounded okay that would be it.
[G] So when I was like [E] sending all the audio files off.
And you know I like that [A] thing of anticipating [E] the reply to the email.
You know [F#] yeah this is [G] good but.
Or [D] _ _ _
[C] great [E] but can you do another one.
Or [B] you know something like that.
This was just [F#] wow you know this is fantastic.
[G] So it's great to get the sort of [C] feedback and [A] encouragement.
I was lucky because the [E] people who worked with me were always [F#] encouraging.
You know and I did [G] send them some pretty mad stuff.
But I [C] thought if I sent them some stuff that [A] they really liked.
I can afford to [E] send them something that was really ridiculous.
That [F#] was a sort of a risk you [G] know.
And they'd just ignore [D] it.
[A] _
[C] So a few _ [E] mad songs didn't make it.
[F#]
But I [G] definitely would like to [G#] carry on learning more about soundtracks.
Do some [C] more soundtracks.
[E] I'll definitely stay excited about recording.
And anything [F#] that helps getting [G] ideas musically.
[F#] Onto something that you can play back and [A] listen to.
So I'm up for [E] more yeah. _ _ _ _ _ _ _
_ _ _ _ _ _ [N] _ _