Chords for Ian Hunter - Mick Ronson Interview
Tempo:
79.2 bpm
Chords used:
F#
C#
E
G#
A#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[F#] Just me, I'm not [G#] like a dragon in a magic
[C#] Tom Hunter and Mick Ronson have been friends and cohorts since the final days of the glitter rock group Mata Hoopal.
When the band dissolved in late 1974, vocalist Hunter and guitarist Ronson struck out on tour by [F#] themselves.
Since that [C#] time, they have continued an off-and-on collaboration, with Ronson producing a number of Hunter's albums, and occasionally touring with him.
Now they've recorded a new album together called Why [F#] You I Oughta, and Studio Sounds caught up with them during [C#] soundcheck for one of their shows.
[G#] Well, it was, um, I was living down in [E] Nashville at the time, and [G] I was talking to Wayne on the telephone, and I was kind of getting a bit fed up with it down in Nashville.
I was thinking to myself that I might be stuck there for the rest of my life if I'm in the [E] studio, be out of bed, you know, and I said to Wayne, look, I've got to go out and start playing the guitar again.
And Ian said to me, well, let's go to Canada and start a few things up there and let's see what happens.
And [F#] that's what we did, and that's what brings us here right now.
It's as simple as that.
[A#] Both Hunter and Ronson are rockers of the highest [Fm] caliber.
Both have produced albums for others, with Ian [G] handling the boards for the likes of Generation [Bm] X, and Mick for Roger McGuinn and David Johansson.
And both of them have produced albums for Ellen Foley.
[A#]
[G] [A#]
When directing the course of another's project, both men agree on the best way to approach it.
[D] I think what you look for, really, is, uh, you try and look for the strong [Em] points in the group or the [E] artist, find out what they do best, [C#] and try and bring out all the strong points and leave all the weak ones behind.
It's surprising to learn that with such a great wealth of talent and experience behind them, that they hired Bernard Edwards to produce their album instead [F#] of handling the chores themselves.
In this real [B] opinion area, though, in my mind, [D#] that's alright in my time, but there's a big point [C#] in the area there where, [D#] uh, it'd be great if we wanted one.
[E] There's a lot of, there's a lot of such kind of folk core producers that really aren't, you know.
And [A#] Bernard's the first one that came to my mind.
[N]
[E] I enjoyed it.
[C#]
The songs on the album were penned by Hunter over a couple of years.
Then Ian and Mick hit the [F#] road from September of 1988 to February of 1989, [G#] playing them for a live audience.
This touring helped when it came time to commit the cuts to tape.
[N] You know, we never really thought about the album so much.
We did the album very quickly.
It was recorded very quickly.
So we didn't spend [D] months and months and days doing all this thing.
The main thing [N] was to get this album out and the record company wanted it out in September this year, September, October.
And really we had, you know, in mind that we wanted to get out there and get on the road and get this album working so we can do another album and get further on again in Algeria's.
And that's what happened.
I mean, it's all been so quick really.
[F#] Most of Ian Hunter's influences growing up came from listening to early American rockers on the radio and wishing to be where the action [C#] was.
[Gm] I love to do shows where you really listen to what [C] I like.
I mean, what single Americans can [E] do.
It wasn't much of anything.
I was trying to figure [Gm] out mostly what the population was like.
[F#] A couple of times a week they'd launch into a whole lot of stations and you kind of had to wait for it.
They never told us [G] when it would be coming.
And I thought, [Gm] you know, I'd love to live somewhere else, [E] you know, where the place is so forth and so on.
And [F] eventually we got out of doing that.
[D#] [F#] Mick Ronson [G#] found influence and inspiration much later in his career.
[D#] First as a guitarist with David Bowie, then as [C#] part of Bob Dylan's Rolling Thunder review.
Yeah, it was a circus really.
It was a big [C#m] circus.
There were so many people.
It was a great experience, you know.
[C] It exposed me to a lot of music [A] that I wasn't really aware of so much.
[D#] That I kind of ignored, you know, living in England.
I wasn't really into the American folk music at all, you know, when I [E] was growing up.
I wasn't really interested [C#m] in it at all.
[C#] So I did get to see a lot of things that [E] probably would have passed me by, you know.
[F#] Hunter's songwriting [G#] ability has been attested to by [Fm] such artists as Blue [C#] Oyster Cult, Status Quo,
The Pointer Sisters and even The Monkees and Barry Manilow.
[F#] It is perhaps ironic that while Ian and Mick were in the studio [G#] recording Why You I Oughta,
the group Great White had a [C#] top five hit with Once Been in Poiche,
which Ian had written and recorded years earlier [F#] with Mick on guitar.
[A#] It's great in one way.
I mean, it's great [Am] financially.
In other ways, you know, you [C#m] kind of wonder why that was a hit.
New American, I mean, what company had it out with [Gm] them?
What's my guess?
[C#] Telling music
I heard it [F#] all just me
[G#]
[C#] Tom Hunter and Mick Ronson have been friends and cohorts since the final days of the glitter rock group Mata Hoopal.
When the band dissolved in late 1974, vocalist Hunter and guitarist Ronson struck out on tour by [F#] themselves.
Since that [C#] time, they have continued an off-and-on collaboration, with Ronson producing a number of Hunter's albums, and occasionally touring with him.
Now they've recorded a new album together called Why [F#] You I Oughta, and Studio Sounds caught up with them during [C#] soundcheck for one of their shows.
[G#] Well, it was, um, I was living down in [E] Nashville at the time, and [G] I was talking to Wayne on the telephone, and I was kind of getting a bit fed up with it down in Nashville.
I was thinking to myself that I might be stuck there for the rest of my life if I'm in the [E] studio, be out of bed, you know, and I said to Wayne, look, I've got to go out and start playing the guitar again.
And Ian said to me, well, let's go to Canada and start a few things up there and let's see what happens.
And [F#] that's what we did, and that's what brings us here right now.
It's as simple as that.
[A#] Both Hunter and Ronson are rockers of the highest [Fm] caliber.
Both have produced albums for others, with Ian [G] handling the boards for the likes of Generation [Bm] X, and Mick for Roger McGuinn and David Johansson.
And both of them have produced albums for Ellen Foley.
[A#]
[G] [A#]
When directing the course of another's project, both men agree on the best way to approach it.
[D] I think what you look for, really, is, uh, you try and look for the strong [Em] points in the group or the [E] artist, find out what they do best, [C#] and try and bring out all the strong points and leave all the weak ones behind.
It's surprising to learn that with such a great wealth of talent and experience behind them, that they hired Bernard Edwards to produce their album instead [F#] of handling the chores themselves.
In this real [B] opinion area, though, in my mind, [D#] that's alright in my time, but there's a big point [C#] in the area there where, [D#] uh, it'd be great if we wanted one.
[E] There's a lot of, there's a lot of such kind of folk core producers that really aren't, you know.
And [A#] Bernard's the first one that came to my mind.
[N]
[E] I enjoyed it.
[C#]
The songs on the album were penned by Hunter over a couple of years.
Then Ian and Mick hit the [F#] road from September of 1988 to February of 1989, [G#] playing them for a live audience.
This touring helped when it came time to commit the cuts to tape.
[N] You know, we never really thought about the album so much.
We did the album very quickly.
It was recorded very quickly.
So we didn't spend [D] months and months and days doing all this thing.
The main thing [N] was to get this album out and the record company wanted it out in September this year, September, October.
And really we had, you know, in mind that we wanted to get out there and get on the road and get this album working so we can do another album and get further on again in Algeria's.
And that's what happened.
I mean, it's all been so quick really.
[F#] Most of Ian Hunter's influences growing up came from listening to early American rockers on the radio and wishing to be where the action [C#] was.
[Gm] I love to do shows where you really listen to what [C] I like.
I mean, what single Americans can [E] do.
It wasn't much of anything.
I was trying to figure [Gm] out mostly what the population was like.
[F#] A couple of times a week they'd launch into a whole lot of stations and you kind of had to wait for it.
They never told us [G] when it would be coming.
And I thought, [Gm] you know, I'd love to live somewhere else, [E] you know, where the place is so forth and so on.
And [F] eventually we got out of doing that.
[D#] [F#] Mick Ronson [G#] found influence and inspiration much later in his career.
[D#] First as a guitarist with David Bowie, then as [C#] part of Bob Dylan's Rolling Thunder review.
Yeah, it was a circus really.
It was a big [C#m] circus.
There were so many people.
It was a great experience, you know.
[C] It exposed me to a lot of music [A] that I wasn't really aware of so much.
[D#] That I kind of ignored, you know, living in England.
I wasn't really into the American folk music at all, you know, when I [E] was growing up.
I wasn't really interested [C#m] in it at all.
[C#] So I did get to see a lot of things that [E] probably would have passed me by, you know.
[F#] Hunter's songwriting [G#] ability has been attested to by [Fm] such artists as Blue [C#] Oyster Cult, Status Quo,
The Pointer Sisters and even The Monkees and Barry Manilow.
[F#] It is perhaps ironic that while Ian and Mick were in the studio [G#] recording Why You I Oughta,
the group Great White had a [C#] top five hit with Once Been in Poiche,
which Ian had written and recorded years earlier [F#] with Mick on guitar.
[A#] It's great in one way.
I mean, it's great [Am] financially.
In other ways, you know, you [C#m] kind of wonder why that was a hit.
New American, I mean, what company had it out with [Gm] them?
What's my guess?
[C#] Telling music
I heard it [F#] all just me
[G#]
Key:
F#
C#
E
G#
A#
F#
C#
E
_ _ _ _ _ _ _ _
_ [F#] Just me, I'm not [G#] like a dragon in a magic_
[C#] Tom Hunter and Mick Ronson have been friends and cohorts since the final days of the glitter rock group Mata Hoopal.
When the band dissolved in late 1974, vocalist Hunter and guitarist Ronson struck out on tour by [F#] themselves.
Since that [C#] time, they have continued an off-and-on collaboration, with Ronson producing a number of Hunter's albums, and occasionally touring with him.
Now they've recorded a new album together called Why [F#] You I Oughta, and Studio Sounds caught up with them during [C#] soundcheck for one of their shows.
_ [G#] Well, it was, um, I was living down in [E] Nashville at the time, and [G] I was talking to Wayne on the telephone, and I was kind of getting a bit fed up with it down in Nashville.
I was thinking to myself that I might be stuck there for the rest of my life if I'm in the [E] studio, be out of bed, you know, and I said to Wayne, look, I've got to go out and start playing the guitar again.
And Ian said to me, well, let's go to Canada and start a few things up there and let's see what happens.
And [F#] that's what we did, and that's what brings us here right now.
It's as simple as that.
[A#] Both Hunter and Ronson are rockers of the highest [Fm] caliber.
Both have produced albums for others, with Ian [G] handling the boards for the likes of Generation [Bm] X, and Mick for Roger McGuinn and David Johansson.
And both of them have produced albums for Ellen Foley.
_ [A#] _
_ _ [G] _ _ _ [A#] _ _ _
When directing the course of another's project, both men agree on the best way to approach it.
[D] I think what you look for, really, is, uh, you try and look for the strong [Em] points in the group or the [E] artist, find out what they do best, _ [C#] and try and bring out all the strong points and leave all the weak ones behind.
It's surprising to learn that with such a great wealth of talent and experience behind them, that they hired Bernard Edwards to produce their album instead [F#] of handling the chores themselves. _
In this real [B] opinion area, though, in my mind, [D#] that's alright in my time, but there's a big point [C#] in the area there where, _ [D#] uh, it'd be great if we _ wanted one. _ _ _ _
_ [E] There's a lot of, there's a lot of such kind of folk core producers that really aren't, you know.
And [A#] Bernard's the first one that came to my mind.
[N] _ _ _
_ _ _ _ _ _ _ _
_ _ [E] _ I enjoyed it.
_ _ [C#]
The songs on the album were penned by Hunter over a couple of years.
Then Ian and Mick hit the [F#] road from September of 1988 to February of 1989, [G#] playing them for a live audience.
This touring helped when it came time to commit the cuts to tape.
[N] _ You know, we never really thought about the album so much.
We did the album very quickly.
It was recorded very quickly.
So we didn't spend [D] months and months and days doing all this thing.
_ The main thing [N] was to get this album out and the record company wanted it out in September this year, September, October.
And really we had, you know, in mind that we wanted to get out there and get on the road and get this album working so we can do another album and get further on again in Algeria's.
And that's what happened.
I mean, it's all been so quick really.
[F#] Most of Ian Hunter's influences growing up came from listening to early American rockers on the radio and wishing to be where the action [C#] was.
[Gm] I love to do shows where you really listen to what _ _ [C] I like.
I mean, what single Americans can [E] do.
_ It wasn't much of anything.
I was trying to figure [Gm] out mostly what the population was like.
_ _ [F#] A couple of times a week they'd launch into a whole lot of stations and you kind of had to wait for it.
They never told us [G] when it would be coming.
And I thought, [Gm] you know, I'd love to live somewhere else, [E] you know, where the place is so forth and so on.
And [F] eventually we got out of doing that.
[D#] _ _ [F#] Mick Ronson [G#] found influence and inspiration much later in his career.
[D#] First as a guitarist with David Bowie, then as [C#] part of Bob Dylan's Rolling Thunder review.
Yeah, it was a circus really.
It was a big [C#m] circus.
There were so many people. _
It was a great experience, you know.
[C] It exposed me to a lot of music [A] that I wasn't really aware of so much.
[D#] That I kind of ignored, you know, living in England.
I wasn't really into the American folk music at all, you know, when I [E] was growing up.
I wasn't really interested [C#m] in it at all.
_ _ [C#] So I did get to see a lot of things that [E] probably would have passed me by, you know.
[F#] Hunter's songwriting [G#] ability has been attested to by [Fm] such artists as Blue [C#] Oyster Cult, Status Quo,
The Pointer Sisters and even The Monkees and Barry Manilow.
[F#] It is perhaps ironic that while Ian and Mick were in the studio [G#] recording Why You I Oughta,
the group Great White had a [C#] top five hit with Once Been in Poiche,
which Ian had written and recorded years earlier [F#] with Mick on guitar.
[A#] It's great in one way.
I mean, it's great [Am] financially.
_ In other ways, you know, you [C#m] kind of wonder why that was a hit.
New American, I mean, what company had it out with [Gm] them?
What's my guess? _ _
_ [C#] _ _ _ Telling music
I heard it [F#] _ all just me
[G#] _ _
_ [F#] Just me, I'm not [G#] like a dragon in a magic_
[C#] Tom Hunter and Mick Ronson have been friends and cohorts since the final days of the glitter rock group Mata Hoopal.
When the band dissolved in late 1974, vocalist Hunter and guitarist Ronson struck out on tour by [F#] themselves.
Since that [C#] time, they have continued an off-and-on collaboration, with Ronson producing a number of Hunter's albums, and occasionally touring with him.
Now they've recorded a new album together called Why [F#] You I Oughta, and Studio Sounds caught up with them during [C#] soundcheck for one of their shows.
_ [G#] Well, it was, um, I was living down in [E] Nashville at the time, and [G] I was talking to Wayne on the telephone, and I was kind of getting a bit fed up with it down in Nashville.
I was thinking to myself that I might be stuck there for the rest of my life if I'm in the [E] studio, be out of bed, you know, and I said to Wayne, look, I've got to go out and start playing the guitar again.
And Ian said to me, well, let's go to Canada and start a few things up there and let's see what happens.
And [F#] that's what we did, and that's what brings us here right now.
It's as simple as that.
[A#] Both Hunter and Ronson are rockers of the highest [Fm] caliber.
Both have produced albums for others, with Ian [G] handling the boards for the likes of Generation [Bm] X, and Mick for Roger McGuinn and David Johansson.
And both of them have produced albums for Ellen Foley.
_ [A#] _
_ _ [G] _ _ _ [A#] _ _ _
When directing the course of another's project, both men agree on the best way to approach it.
[D] I think what you look for, really, is, uh, you try and look for the strong [Em] points in the group or the [E] artist, find out what they do best, _ [C#] and try and bring out all the strong points and leave all the weak ones behind.
It's surprising to learn that with such a great wealth of talent and experience behind them, that they hired Bernard Edwards to produce their album instead [F#] of handling the chores themselves. _
In this real [B] opinion area, though, in my mind, [D#] that's alright in my time, but there's a big point [C#] in the area there where, _ [D#] uh, it'd be great if we _ wanted one. _ _ _ _
_ [E] There's a lot of, there's a lot of such kind of folk core producers that really aren't, you know.
And [A#] Bernard's the first one that came to my mind.
[N] _ _ _
_ _ _ _ _ _ _ _
_ _ [E] _ I enjoyed it.
_ _ [C#]
The songs on the album were penned by Hunter over a couple of years.
Then Ian and Mick hit the [F#] road from September of 1988 to February of 1989, [G#] playing them for a live audience.
This touring helped when it came time to commit the cuts to tape.
[N] _ You know, we never really thought about the album so much.
We did the album very quickly.
It was recorded very quickly.
So we didn't spend [D] months and months and days doing all this thing.
_ The main thing [N] was to get this album out and the record company wanted it out in September this year, September, October.
And really we had, you know, in mind that we wanted to get out there and get on the road and get this album working so we can do another album and get further on again in Algeria's.
And that's what happened.
I mean, it's all been so quick really.
[F#] Most of Ian Hunter's influences growing up came from listening to early American rockers on the radio and wishing to be where the action [C#] was.
[Gm] I love to do shows where you really listen to what _ _ [C] I like.
I mean, what single Americans can [E] do.
_ It wasn't much of anything.
I was trying to figure [Gm] out mostly what the population was like.
_ _ [F#] A couple of times a week they'd launch into a whole lot of stations and you kind of had to wait for it.
They never told us [G] when it would be coming.
And I thought, [Gm] you know, I'd love to live somewhere else, [E] you know, where the place is so forth and so on.
And [F] eventually we got out of doing that.
[D#] _ _ [F#] Mick Ronson [G#] found influence and inspiration much later in his career.
[D#] First as a guitarist with David Bowie, then as [C#] part of Bob Dylan's Rolling Thunder review.
Yeah, it was a circus really.
It was a big [C#m] circus.
There were so many people. _
It was a great experience, you know.
[C] It exposed me to a lot of music [A] that I wasn't really aware of so much.
[D#] That I kind of ignored, you know, living in England.
I wasn't really into the American folk music at all, you know, when I [E] was growing up.
I wasn't really interested [C#m] in it at all.
_ _ [C#] So I did get to see a lot of things that [E] probably would have passed me by, you know.
[F#] Hunter's songwriting [G#] ability has been attested to by [Fm] such artists as Blue [C#] Oyster Cult, Status Quo,
The Pointer Sisters and even The Monkees and Barry Manilow.
[F#] It is perhaps ironic that while Ian and Mick were in the studio [G#] recording Why You I Oughta,
the group Great White had a [C#] top five hit with Once Been in Poiche,
which Ian had written and recorded years earlier [F#] with Mick on guitar.
[A#] It's great in one way.
I mean, it's great [Am] financially.
_ In other ways, you know, you [C#m] kind of wonder why that was a hit.
New American, I mean, what company had it out with [Gm] them?
What's my guess? _ _
_ [C#] _ _ _ Telling music
I heard it [F#] _ all just me
[G#] _ _