Chords for Incubus' Brandon Boyd on Secrets Behind "Drive," "Wish You Were Here" & "Pardon Me": Fan First
Tempo:
100.9 bpm
Chords used:
E
Eb
F
G
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Incubus, Drive, what fed, I'm sure you've talked about this at Noisyum, but like, what
was kind of, what were you listening to, what were you feeling at that time?
We were kind of at the tail end of writing what became the record Make Yourself, and
it was mostly, you know, like more refined, but like [G] heavier songs.
And I remember I was [E] driving with Mikey and he, we were talking about songs that we had
written so far and things that we liked and things we wanted to, you [Eb] know, improve upon and stuff.
And then he's like, I wrote this guitar riff.
I think it's supposed to be for his, he had a friend who was doing this independent film
and Mikey was going to write some score music for it.
I'm like, let me hear it.
You know, I'm down for anything.
So let me hear it.
And he played me the riff kind of as it exists, you know, that kind of classic acoustic guitar thing.
And I listened to it once through and I was like, you can't give this to this film.
You got to let me play with this.
You know, this is like, it was such a cool kind of classic, iconic sounding guitar riff.
I just, I was desperate to climb all over that jungle gym, so to speak.
So he was like, all right, cool.
I think he thought I wasn't going to respond to it, but I [F] responded to it within like a
day or two.
And I showed him what was like basically the same verse pre-chorus and chorus that exists now.
And I remember he was really excited by it.
He was like, this is awesome, dude.
And we didn't know what the kind of like, what the rhythmic treatment was going to be.
[E] The kind of like [Eb] breakbeat sounding treatment came a little bit later in the studio, but
the song for all intents and purposes, as it exists, kind of like happened pretty quick.
And it almost didn't happen because he was going to give the riff to this friend of his
that was doing the indie film.
I'm pretty glad you claimed that.
Sometimes you have to.
Mindless.
Sorry, I'm going to call lead singer on this shit.
That's my material.
OK, wish you were here.
It's an interesting story on that one.
We were celebrating in a way, we were celebrating the success of the record
Make Yourself.
We had been on tour for almost two years and then the last kind of year and
a [E] half of it, things were going better than they'd ever gone before.
At that point, we sold a couple million records and we were seeing success for the first
time.
And then we came home from I think it was it was almost two years being out on the
road supporting that record.
[F] And we came home, we rented the house that was the Morning View house and we all moved
into it and we brought all our gear into this living room and we were having this
experience.
And us being gone so much that period in my life made being in
relationships like really challenging.
Relationships are challenging to begin with.
But then you put one of the people being gone all the time on top of it.
Not really going to work.
So the relationship that I'd been in for a few years, just I came home from the tour and
started writing right away with the guys and it just fell apart completely.
And so I remember being with the house, the Morning View house was right on the beach
and it's right across the street from the beach on PCH up in Malibu.
And we were having this incredible time and celebrating the successes we were having and
but also keeping our heads down and writing music.
And then there was one moment where I kind of we weren't writing one night and I just
walked down to the beach by myself.
And it was a beautiful moon and it was a super clear night.
And [E] winter in California is very beautiful.
It's like the air is cleaner.
It was less people around.
And the moon was just reflecting off of the water in a really beautiful way.
And I was excited about the things that were happening in our career [Eb] and in my life.
And I was also in a quasi-depressive state because my relationship and the person that
I loved sort of falling through and was crumbling.
So I was sitting on the beach by myself, admiring the beauty.
And I had this just sort of cheesy postcard moment where I was like, wow, this is really
beautiful.
I kind of wish you were here to celebrate it with me.
But [F] she wasn't.
So there's something positive about the song, but also kind of sad at the same time.
Well, it's got that mournful, joyous thing that all great love songs or songs.
And it's got that mournful, joyous thing.
I love a song that you can listen to when you're having a heart ripped out and you can
also listen to when you're falling in love.
Like that's some good songwriting.
Like that's right there.
I agree.
It's the sweet and the sour.
Yeah.
Yeah.
Oh, that adds depth to it.
Thank you.
That's great.
Pardon me.
This is the last one of this weird deep dive into the history of. [E] Yeah.
I'm enjoying it.
I'm not going to lie.
Yeah.
That's it was a funny one.
We were that song obviously comes from the record Make Yourself.
And we were writing Make Yourself having toured through Europe and the UK a couple of times.
We opened up for Korn across Europe and the UK.
We were we were spending like months at a time overseas.
[N] And so we became kind of collectively enamored of drum and bass and jungle music.
Because we were.
It was pretty rad like mid to late 90s.
There was like a thing all across.
It was like the rhythm section.
It was like the rhythm section of Gone Ape Shit.
It was great.
Yeah.
They were sampling real drums too.
Oh, I know.
Yeah.
These were like fed up jazz beats.
And we would watch.
So we opened up for like Ronnie Size and Represent and the Chemical Brothers.
Yeah, we were opening up for these.
And I don't think those guys know either.
But we would Mikey and Jose and I would be we do our set on the festival.
We were like at noon and then we'd have the rest of the day to fuck off or whatever.
And we were watching.
We would go and watch all these different bands.
And but we always meet up and watch Ronnie Size or the Chemical Brothers or whoever we're playing with.
And we'd be in the front of like 50,000 people in front of the barricade right in front of the subs.
And it's like it resonated.
So we were filtering all these influences like you and I talked about before.
But then we were like it was unshakable.
It was like what if we played with some of those those rhythms, some of those reference
some of those rhythms and then combine them somehow with all of this other music that
we know and love and have [D] been influenced by.
And so Pardon Me was kind of a result of that.
So the sped up like jazz drumbeat in the yeah and then the slower half time thing with the heavy guitars.
And that's kind of how that stuff emerged.
Same with Nice to Know You from Morning View.
A lot of stuff has that kind of where the drums are kind of like all the snares are
pitched up really high.
And it was fun playing with those references
was kind of, what were you listening to, what were you feeling at that time?
We were kind of at the tail end of writing what became the record Make Yourself, and
it was mostly, you know, like more refined, but like [G] heavier songs.
And I remember I was [E] driving with Mikey and he, we were talking about songs that we had
written so far and things that we liked and things we wanted to, you [Eb] know, improve upon and stuff.
And then he's like, I wrote this guitar riff.
I think it's supposed to be for his, he had a friend who was doing this independent film
and Mikey was going to write some score music for it.
I'm like, let me hear it.
You know, I'm down for anything.
So let me hear it.
And he played me the riff kind of as it exists, you know, that kind of classic acoustic guitar thing.
And I listened to it once through and I was like, you can't give this to this film.
You got to let me play with this.
You know, this is like, it was such a cool kind of classic, iconic sounding guitar riff.
I just, I was desperate to climb all over that jungle gym, so to speak.
So he was like, all right, cool.
I think he thought I wasn't going to respond to it, but I [F] responded to it within like a
day or two.
And I showed him what was like basically the same verse pre-chorus and chorus that exists now.
And I remember he was really excited by it.
He was like, this is awesome, dude.
And we didn't know what the kind of like, what the rhythmic treatment was going to be.
[E] The kind of like [Eb] breakbeat sounding treatment came a little bit later in the studio, but
the song for all intents and purposes, as it exists, kind of like happened pretty quick.
And it almost didn't happen because he was going to give the riff to this friend of his
that was doing the indie film.
I'm pretty glad you claimed that.
Sometimes you have to.
Mindless.
Sorry, I'm going to call lead singer on this shit.
That's my material.
OK, wish you were here.
It's an interesting story on that one.
We were celebrating in a way, we were celebrating the success of the record
Make Yourself.
We had been on tour for almost two years and then the last kind of year and
a [E] half of it, things were going better than they'd ever gone before.
At that point, we sold a couple million records and we were seeing success for the first
time.
And then we came home from I think it was it was almost two years being out on the
road supporting that record.
[F] And we came home, we rented the house that was the Morning View house and we all moved
into it and we brought all our gear into this living room and we were having this
experience.
And us being gone so much that period in my life made being in
relationships like really challenging.
Relationships are challenging to begin with.
But then you put one of the people being gone all the time on top of it.
Not really going to work.
So the relationship that I'd been in for a few years, just I came home from the tour and
started writing right away with the guys and it just fell apart completely.
And so I remember being with the house, the Morning View house was right on the beach
and it's right across the street from the beach on PCH up in Malibu.
And we were having this incredible time and celebrating the successes we were having and
but also keeping our heads down and writing music.
And then there was one moment where I kind of we weren't writing one night and I just
walked down to the beach by myself.
And it was a beautiful moon and it was a super clear night.
And [E] winter in California is very beautiful.
It's like the air is cleaner.
It was less people around.
And the moon was just reflecting off of the water in a really beautiful way.
And I was excited about the things that were happening in our career [Eb] and in my life.
And I was also in a quasi-depressive state because my relationship and the person that
I loved sort of falling through and was crumbling.
So I was sitting on the beach by myself, admiring the beauty.
And I had this just sort of cheesy postcard moment where I was like, wow, this is really
beautiful.
I kind of wish you were here to celebrate it with me.
But [F] she wasn't.
So there's something positive about the song, but also kind of sad at the same time.
Well, it's got that mournful, joyous thing that all great love songs or songs.
And it's got that mournful, joyous thing.
I love a song that you can listen to when you're having a heart ripped out and you can
also listen to when you're falling in love.
Like that's some good songwriting.
Like that's right there.
I agree.
It's the sweet and the sour.
Yeah.
Yeah.
Oh, that adds depth to it.
Thank you.
That's great.
Pardon me.
This is the last one of this weird deep dive into the history of. [E] Yeah.
I'm enjoying it.
I'm not going to lie.
Yeah.
That's it was a funny one.
We were that song obviously comes from the record Make Yourself.
And we were writing Make Yourself having toured through Europe and the UK a couple of times.
We opened up for Korn across Europe and the UK.
We were we were spending like months at a time overseas.
[N] And so we became kind of collectively enamored of drum and bass and jungle music.
Because we were.
It was pretty rad like mid to late 90s.
There was like a thing all across.
It was like the rhythm section.
It was like the rhythm section of Gone Ape Shit.
It was great.
Yeah.
They were sampling real drums too.
Oh, I know.
Yeah.
These were like fed up jazz beats.
And we would watch.
So we opened up for like Ronnie Size and Represent and the Chemical Brothers.
Yeah, we were opening up for these.
And I don't think those guys know either.
But we would Mikey and Jose and I would be we do our set on the festival.
We were like at noon and then we'd have the rest of the day to fuck off or whatever.
And we were watching.
We would go and watch all these different bands.
And but we always meet up and watch Ronnie Size or the Chemical Brothers or whoever we're playing with.
And we'd be in the front of like 50,000 people in front of the barricade right in front of the subs.
And it's like it resonated.
So we were filtering all these influences like you and I talked about before.
But then we were like it was unshakable.
It was like what if we played with some of those those rhythms, some of those reference
some of those rhythms and then combine them somehow with all of this other music that
we know and love and have [D] been influenced by.
And so Pardon Me was kind of a result of that.
So the sped up like jazz drumbeat in the yeah and then the slower half time thing with the heavy guitars.
And that's kind of how that stuff emerged.
Same with Nice to Know You from Morning View.
A lot of stuff has that kind of where the drums are kind of like all the snares are
pitched up really high.
And it was fun playing with those references
Key:
E
Eb
F
G
D
E
Eb
F
_ _ _ _ _ _ Incubus, Drive, what fed, I'm sure you've talked about this at Noisyum, but like, what
was kind of, what were you listening to, what were you feeling at that time?
_ We were kind of at the tail end of writing what became the record Make Yourself, and _ _
it was mostly, _ you know, like more refined, but like [G] heavier songs.
And I remember I was [E] driving with Mikey and he, we were talking about songs that we had
written so far and things that we liked and things we wanted to, you [Eb] know, improve upon and stuff.
And then he's like, I wrote this guitar riff.
I think it's supposed to be for his, he had a friend who was doing this independent film
and Mikey was going to write some score music for it.
I'm like, let me hear it.
You know, I'm down for anything.
So let me hear it.
And he played me the riff kind of as it exists, you know, that kind of classic acoustic guitar thing.
And I listened to it once through and I was like, you can't give this to this film.
You got to let me play with this.
You know, this is like, it was such a cool kind of classic, iconic sounding guitar riff.
I just, I was desperate to climb all over that jungle gym, so to speak.
So he was like, all right, cool.
I think he thought I wasn't going to respond to it, but I [F] responded to it within like a
day or two.
And I showed him what was like basically the same verse pre-chorus and chorus that exists now.
And I remember he was really excited by it.
He was like, this is awesome, dude.
And we didn't know what the kind of like, what the rhythmic treatment was going to be.
[E] _ The kind of like [Eb] breakbeat sounding treatment came a little bit later in the studio, but
the song for all intents and purposes, as it exists, kind of like happened pretty quick.
And it almost didn't happen because he was going to give the riff to this friend of his
that was doing the indie film.
_ I'm pretty glad you claimed that.
Sometimes you have to. _ _
Mindless.
Sorry, I'm going to call lead singer on this shit.
That's my material.
OK, wish you were here.
_ It's an interesting story on that one.
We were _ celebrating in a way, we were celebrating the success of the record
Make Yourself.
We had been on tour for almost two years and then the last kind of year and
a [E] half of it, things were going better than they'd ever gone before.
At that point, we sold a couple million records and we were seeing success for the first
time.
And then we came home _ from I think it was it was almost two years being out on the
road supporting that record.
[F] And we came home, we rented the house that was the Morning View house and we all moved
into it and we brought all our gear into this living room and we were having this
experience.
And _ _ _ _ _ _ us being gone so much that period in my life made being in _
relationships like really challenging.
Relationships are challenging to begin with.
But then you put _ one of the people being gone all the time on top of it.
Not really going to work.
So _ the relationship that I'd been in for a few years, just I came home from the tour and
started writing right away with the guys and it just fell apart completely.
And so _ _ I remember _ _ being with the house, the Morning View house was right on the beach
and it's right across the street from the beach on PCH up in Malibu.
_ And we were having this incredible time and celebrating the successes we were having and
but also keeping our heads down and writing music.
And then there was one moment where I kind of we weren't writing one night and I just
walked down to the beach by myself.
And it was a beautiful moon and it was a super clear night.
And [E] winter in California is very beautiful.
It's like the air is cleaner.
It was less people around.
And the moon was just reflecting off of the water in a really beautiful way.
And I was excited about the things that were happening in our career [Eb] and in my life.
And I was also _ in a quasi-depressive state because my relationship and the person that
I loved sort of falling through and was crumbling.
So I was sitting on the beach by myself, admiring the beauty.
And I had this just sort of cheesy postcard moment where I was like, wow, this is really
beautiful.
I kind of wish you were here to celebrate it with me.
But [F] she wasn't.
So there's something positive about the song, but also kind of sad at the same time.
Well, it's got that mournful, joyous thing that all great love songs or songs.
And it's got that mournful, joyous thing.
I love a song that you can listen to when you're having a heart ripped out and you can
also listen to when you're falling in love.
Like that's some good songwriting.
Like that's right there.
I agree.
It's the sweet and the sour.
Yeah.
Yeah.
Oh, that adds depth to it.
Thank you.
That's great.
Pardon me.
This is the last one of this weird deep dive into the history of. [E] Yeah.
I'm enjoying it.
I'm not going to lie.
Yeah.
_ _ That's it was a funny one.
We were that song obviously comes from the record Make Yourself.
And we were writing Make Yourself having toured through Europe and the UK a couple of times.
We opened up for Korn across Europe and the UK.
We were we were spending like months at a time overseas.
[N] And so _ we became kind of collectively enamored of drum and bass and jungle music.
Because we were.
It was pretty rad like mid to late 90s.
There was like a thing all across.
It was like the rhythm section.
It was like the rhythm section of Gone Ape Shit.
It was great.
Yeah.
They were sampling real drums too.
Oh, I know.
Yeah.
These were like fed up jazz beats.
And we would watch.
So we opened up for like Ronnie Size and Represent and the Chemical Brothers.
Yeah, we were opening up for these.
_ And I don't think those guys know either.
But we would Mikey and Jose and I would be we do our set on the festival.
We were like at noon and then we'd have the rest of the day to fuck off or whatever.
And we were watching.
We would go and watch all these different bands.
And but we always meet up and watch Ronnie Size or the Chemical Brothers or whoever we're playing with.
And we'd be in the front of like 50,000 people in front of the barricade right in front of the subs.
And it's like it resonated.
So we were filtering all these influences like you and I talked about before.
But then we were like it was unshakable.
It was like what if we played with some of those _ _ those rhythms, some of those reference
some of those rhythms and then combine them somehow with all of this other music that
we know and love and have [D] been influenced by.
And so Pardon Me was kind of a result of that.
So the sped up like jazz drumbeat in the yeah and then the slower half time thing with the heavy guitars.
And that's kind of how that stuff emerged.
Same with Nice to Know You from Morning View.
A lot of stuff has that kind of where the drums are kind of like all the snares are
pitched up really high.
And it was fun playing with those references
was kind of, what were you listening to, what were you feeling at that time?
_ We were kind of at the tail end of writing what became the record Make Yourself, and _ _
it was mostly, _ you know, like more refined, but like [G] heavier songs.
And I remember I was [E] driving with Mikey and he, we were talking about songs that we had
written so far and things that we liked and things we wanted to, you [Eb] know, improve upon and stuff.
And then he's like, I wrote this guitar riff.
I think it's supposed to be for his, he had a friend who was doing this independent film
and Mikey was going to write some score music for it.
I'm like, let me hear it.
You know, I'm down for anything.
So let me hear it.
And he played me the riff kind of as it exists, you know, that kind of classic acoustic guitar thing.
And I listened to it once through and I was like, you can't give this to this film.
You got to let me play with this.
You know, this is like, it was such a cool kind of classic, iconic sounding guitar riff.
I just, I was desperate to climb all over that jungle gym, so to speak.
So he was like, all right, cool.
I think he thought I wasn't going to respond to it, but I [F] responded to it within like a
day or two.
And I showed him what was like basically the same verse pre-chorus and chorus that exists now.
And I remember he was really excited by it.
He was like, this is awesome, dude.
And we didn't know what the kind of like, what the rhythmic treatment was going to be.
[E] _ The kind of like [Eb] breakbeat sounding treatment came a little bit later in the studio, but
the song for all intents and purposes, as it exists, kind of like happened pretty quick.
And it almost didn't happen because he was going to give the riff to this friend of his
that was doing the indie film.
_ I'm pretty glad you claimed that.
Sometimes you have to. _ _
Mindless.
Sorry, I'm going to call lead singer on this shit.
That's my material.
OK, wish you were here.
_ It's an interesting story on that one.
We were _ celebrating in a way, we were celebrating the success of the record
Make Yourself.
We had been on tour for almost two years and then the last kind of year and
a [E] half of it, things were going better than they'd ever gone before.
At that point, we sold a couple million records and we were seeing success for the first
time.
And then we came home _ from I think it was it was almost two years being out on the
road supporting that record.
[F] And we came home, we rented the house that was the Morning View house and we all moved
into it and we brought all our gear into this living room and we were having this
experience.
And _ _ _ _ _ _ us being gone so much that period in my life made being in _
relationships like really challenging.
Relationships are challenging to begin with.
But then you put _ one of the people being gone all the time on top of it.
Not really going to work.
So _ the relationship that I'd been in for a few years, just I came home from the tour and
started writing right away with the guys and it just fell apart completely.
And so _ _ I remember _ _ being with the house, the Morning View house was right on the beach
and it's right across the street from the beach on PCH up in Malibu.
_ And we were having this incredible time and celebrating the successes we were having and
but also keeping our heads down and writing music.
And then there was one moment where I kind of we weren't writing one night and I just
walked down to the beach by myself.
And it was a beautiful moon and it was a super clear night.
And [E] winter in California is very beautiful.
It's like the air is cleaner.
It was less people around.
And the moon was just reflecting off of the water in a really beautiful way.
And I was excited about the things that were happening in our career [Eb] and in my life.
And I was also _ in a quasi-depressive state because my relationship and the person that
I loved sort of falling through and was crumbling.
So I was sitting on the beach by myself, admiring the beauty.
And I had this just sort of cheesy postcard moment where I was like, wow, this is really
beautiful.
I kind of wish you were here to celebrate it with me.
But [F] she wasn't.
So there's something positive about the song, but also kind of sad at the same time.
Well, it's got that mournful, joyous thing that all great love songs or songs.
And it's got that mournful, joyous thing.
I love a song that you can listen to when you're having a heart ripped out and you can
also listen to when you're falling in love.
Like that's some good songwriting.
Like that's right there.
I agree.
It's the sweet and the sour.
Yeah.
Yeah.
Oh, that adds depth to it.
Thank you.
That's great.
Pardon me.
This is the last one of this weird deep dive into the history of. [E] Yeah.
I'm enjoying it.
I'm not going to lie.
Yeah.
_ _ That's it was a funny one.
We were that song obviously comes from the record Make Yourself.
And we were writing Make Yourself having toured through Europe and the UK a couple of times.
We opened up for Korn across Europe and the UK.
We were we were spending like months at a time overseas.
[N] And so _ we became kind of collectively enamored of drum and bass and jungle music.
Because we were.
It was pretty rad like mid to late 90s.
There was like a thing all across.
It was like the rhythm section.
It was like the rhythm section of Gone Ape Shit.
It was great.
Yeah.
They were sampling real drums too.
Oh, I know.
Yeah.
These were like fed up jazz beats.
And we would watch.
So we opened up for like Ronnie Size and Represent and the Chemical Brothers.
Yeah, we were opening up for these.
_ And I don't think those guys know either.
But we would Mikey and Jose and I would be we do our set on the festival.
We were like at noon and then we'd have the rest of the day to fuck off or whatever.
And we were watching.
We would go and watch all these different bands.
And but we always meet up and watch Ronnie Size or the Chemical Brothers or whoever we're playing with.
And we'd be in the front of like 50,000 people in front of the barricade right in front of the subs.
And it's like it resonated.
So we were filtering all these influences like you and I talked about before.
But then we were like it was unshakable.
It was like what if we played with some of those _ _ those rhythms, some of those reference
some of those rhythms and then combine them somehow with all of this other music that
we know and love and have [D] been influenced by.
And so Pardon Me was kind of a result of that.
So the sped up like jazz drumbeat in the yeah and then the slower half time thing with the heavy guitars.
And that's kind of how that stuff emerged.
Same with Nice to Know You from Morning View.
A lot of stuff has that kind of where the drums are kind of like all the snares are
pitched up really high.
And it was fun playing with those references