Chords for INTERVIEW THE TALK TALK -MARK HOLLIS
Tempo:
127.85 bpm
Chords used:
G
Ab
Em
Db
Gb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G] [Em] [D] [C]
[Bm] [Em]
[Am] [Bm] [C]
[D] [Em]
[G]
Before you play two notes, learn how to play one note.
And that's, it's as simple as that really.
And don't play one note unless you've got a reason.
The reason you're doing it is for the love of music.
It's not to [Ab] like, try and get some kind of commercial.
Spirit of Eden, I kind [G] of think that was very much like,
in a way, where all those earlier albums were trying to get to.
And then having got there, I then think the important thing is that,
you know, you either just stop making records at that point,
because you've kind of reached what you were trying to get,
or from that point, you seriously redress, [Abm] you know,
these other areas that you go for.
When you improvise, [Dbm] and you play
[Db] something for the first time,
[Ab] you kind of play at [Db] its peak.
And if you kind of like play [G] something, and then you think,
oh, I [Abm] like that, and then you replay it, you never quite get it.
[G] It's like the thing of demoing.
Now, if you demo a track, [Ab] no matter how badly you [Db] try to demo it,
there will always be a quality [Gb] within it that you subsequently
would try to recreate, which you shouldn't.
[Ab]
The thing with the vocal is [Dbm] just, you know, [Gb] like you're saying,
you know, treat [Eb] it like an instrument.
[Abm] It's not there to dominate.
It's just [Gb] there to sit in this kind of landscape along with [Dbm] everything [G] else.
You know, and it's kind of like, start from a melodic point of view,
[B] then think about the kind of [Db] inflections that it should have sound-wise.
In the same way, like, if you're looking at a clarinet,
at certain [B] notes, there might be a certain kind of way
you want to hear that note, you [Eb] know, [Db] sound.
So when you write the lyric, you have that as an actual, [B] you know,
block that you must [Gb] write to.
You must [Db] write this lyric phonetically in order for it to sing with a certain way.
And then you [B] must write the lyric in a way that, when you're singing,
you're going to have belief.
[Gbm] You take, like, the first track on that album,
[D] Merman,
[Abm] and it was kind of like, OK, [Bm] let's write a track here
where no part [Gb] of it ever gets [G] repeated.
You know, it's just totally a movement like this
rather than any recognisable song form.
And then you move into, like, Ascension Day, and it would be like,
OK, on this one, across these three [Gm] verses,
verse one will be a ten-bar [Gbm] verse, verse two will be a nine-bar [G] verse,
verse three will be an eight-bar.
[Gm] But what you do is, as this [Ab] thing's shortening up on you,
vocally, you've still got to hold it,
but then what you do is you turn the on beat [Eb] onto the off beat,
and you have one person [Fm] understanding the [Ab] down beat
as being in this place in the bar, and the person playing next to him
not even realising that's the down [F] beat at all, [Bb] but seeing it as the up beat.
[G] So that [Fm] was the main premise to that album,
and again we continued with this, you know, free improvised form to it.
[Bb] The one thing [Eb] that I did wonder about [Ab] doing for this album
was to get together with, you know, somebody [Em] and make a film for this album.
And that would interest [G] me,
but I don't think it would be much more a film along the kind of lines of,
you know, if you were sitting in a room and you were sort of [Em] like just looking at an open [C] fire,
and you [G] just have like this area of movement.
I quite like things, you know, like, I like water as a [Am] form of movement.
I think water's got great, [Bm] great shape and motion.
The [G] idea is that the album won't be [F] recognisable as having come from any [G] time,
having been recorded in any particular year.
And the fact [Bb] that you're working with acoustics you [G] help means you can't date.
Ideally the way to listen to it is [Am] alone, [A] extremely quietly.
I don't think you should ever push the volume level [G] beyond the natural volume
that the instruments would have been in the room.
I like silence, I get on great with silence.
You know, I don't have a problem with it, it's just silent, you know.
So it's kind of like, well, if you're going to break into it,
just try to have a reason [A] for doing it.
[G] I can't imagine not playing [Fm] music, but I don't feel [Em] any need to perform music,
and I don't [G] feel any need to record music.
I'm [F] really [G] quite happy just to play one note,
and just to hit it at different [D] volume levels,
and just, you know, see how long it will resonate for before it starts.
[N]
[Bm] [Em]
[Am] [Bm] [C]
[D] [Em]
[G]
Before you play two notes, learn how to play one note.
And that's, it's as simple as that really.
And don't play one note unless you've got a reason.
The reason you're doing it is for the love of music.
It's not to [Ab] like, try and get some kind of commercial.
Spirit of Eden, I kind [G] of think that was very much like,
in a way, where all those earlier albums were trying to get to.
And then having got there, I then think the important thing is that,
you know, you either just stop making records at that point,
because you've kind of reached what you were trying to get,
or from that point, you seriously redress, [Abm] you know,
these other areas that you go for.
When you improvise, [Dbm] and you play
[Db] something for the first time,
[Ab] you kind of play at [Db] its peak.
And if you kind of like play [G] something, and then you think,
oh, I [Abm] like that, and then you replay it, you never quite get it.
[G] It's like the thing of demoing.
Now, if you demo a track, [Ab] no matter how badly you [Db] try to demo it,
there will always be a quality [Gb] within it that you subsequently
would try to recreate, which you shouldn't.
[Ab]
The thing with the vocal is [Dbm] just, you know, [Gb] like you're saying,
you know, treat [Eb] it like an instrument.
[Abm] It's not there to dominate.
It's just [Gb] there to sit in this kind of landscape along with [Dbm] everything [G] else.
You know, and it's kind of like, start from a melodic point of view,
[B] then think about the kind of [Db] inflections that it should have sound-wise.
In the same way, like, if you're looking at a clarinet,
at certain [B] notes, there might be a certain kind of way
you want to hear that note, you [Eb] know, [Db] sound.
So when you write the lyric, you have that as an actual, [B] you know,
block that you must [Gb] write to.
You must [Db] write this lyric phonetically in order for it to sing with a certain way.
And then you [B] must write the lyric in a way that, when you're singing,
you're going to have belief.
[Gbm] You take, like, the first track on that album,
[D] Merman,
[Abm] and it was kind of like, OK, [Bm] let's write a track here
where no part [Gb] of it ever gets [G] repeated.
You know, it's just totally a movement like this
rather than any recognisable song form.
And then you move into, like, Ascension Day, and it would be like,
OK, on this one, across these three [Gm] verses,
verse one will be a ten-bar [Gbm] verse, verse two will be a nine-bar [G] verse,
verse three will be an eight-bar.
[Gm] But what you do is, as this [Ab] thing's shortening up on you,
vocally, you've still got to hold it,
but then what you do is you turn the on beat [Eb] onto the off beat,
and you have one person [Fm] understanding the [Ab] down beat
as being in this place in the bar, and the person playing next to him
not even realising that's the down [F] beat at all, [Bb] but seeing it as the up beat.
[G] So that [Fm] was the main premise to that album,
and again we continued with this, you know, free improvised form to it.
[Bb] The one thing [Eb] that I did wonder about [Ab] doing for this album
was to get together with, you know, somebody [Em] and make a film for this album.
And that would interest [G] me,
but I don't think it would be much more a film along the kind of lines of,
you know, if you were sitting in a room and you were sort of [Em] like just looking at an open [C] fire,
and you [G] just have like this area of movement.
I quite like things, you know, like, I like water as a [Am] form of movement.
I think water's got great, [Bm] great shape and motion.
The [G] idea is that the album won't be [F] recognisable as having come from any [G] time,
having been recorded in any particular year.
And the fact [Bb] that you're working with acoustics you [G] help means you can't date.
Ideally the way to listen to it is [Am] alone, [A] extremely quietly.
I don't think you should ever push the volume level [G] beyond the natural volume
that the instruments would have been in the room.
I like silence, I get on great with silence.
You know, I don't have a problem with it, it's just silent, you know.
So it's kind of like, well, if you're going to break into it,
just try to have a reason [A] for doing it.
[G] I can't imagine not playing [Fm] music, but I don't feel [Em] any need to perform music,
and I don't [G] feel any need to record music.
I'm [F] really [G] quite happy just to play one note,
and just to hit it at different [D] volume levels,
and just, you know, see how long it will resonate for before it starts.
[N]
Key:
G
Ab
Em
Db
Gb
G
Ab
Em
[G] _ _ _ [Em] _ _ [D] _ _ [C] _
_ _ _ _ _ [Bm] _ _ [Em] _
_ _ _ [Am] _ _ [Bm] _ _ [C] _
_ _ _ _ _ [D] _ [Em] _ _
_ _ [G] _ _ _ _ _ _
_ Before you play two notes, learn how to play one note.
_ _ And that's, it's as simple as that really.
And don't play one note unless you've got a reason. _ _ _
The reason you're doing it is for the love of music.
It's not to [Ab] like, try and get some kind of commercial.
_ _ _ Spirit of Eden, I kind [G] of think that was very much like,
_ in a way, where all those earlier albums were trying to get to.
_ And then having got there, I then think the important thing is that,
you know, you either just stop making records at that point,
because you've kind of reached what you were trying to get,
or from that point, _ you seriously redress, [Abm] you know,
these other areas that you go for.
_ _ When you improvise, [Dbm] _ and you play _
[Db] something for the first time,
[Ab] you kind of play at [Db] its peak.
And if you kind of like play [G] something, and then you think,
oh, I [Abm] like that, and then you replay it, you never quite get it.
[G] It's like the thing of demoing.
Now, if you demo a track, [Ab] no matter how badly you [Db] try to demo it,
there will always be a quality [Gb] within it that you _ subsequently
would try to recreate, which you shouldn't.
_ _ _ [Ab]
The thing with the vocal is [Dbm] just, you know, [Gb] like you're saying,
you know, treat [Eb] it like an instrument.
[Abm] It's not there to dominate.
_ It's just [Gb] there to sit in this kind of landscape along with [Dbm] everything [G] else.
You know, and it's kind of like, start from a melodic point of view,
[B] then think about the kind of _ _ [Db] inflections that it should have sound-wise.
In the same way, like, if you're looking at a clarinet,
at certain [B] notes, there might be a certain kind of way
you want to hear that note, _ _ you [Eb] know, [Db] sound.
_ So when you write the lyric, you have that as an actual, [B] _ you know, _
block that you must [Gb] write to.
You must [Db] write this lyric phonetically in order for it to sing with a certain way.
And then you [B] must write the lyric in a way that, when you're singing,
you're going to have belief. _ _ _ _ _
[Gbm] You take, like, the first track on that album, _
_ [D] Merman,
[Abm] and it was kind of like, OK, [Bm] let's write a track here
where no part [Gb] of it ever gets [G] repeated. _
You know, it's just totally a movement like this
rather than any recognisable song form.
And then you move into, like, Ascension Day, and it would be like,
OK, on this one, across these three [Gm] verses, _
verse one will be a ten-bar [Gbm] verse, verse two will be a nine-bar [G] verse,
verse three will be an eight-bar.
_ _ [Gm] But what you do is, as this [Ab] thing's shortening up on you,
vocally, you've still got to hold it,
but then what you do is you turn the on beat [Eb] onto the off beat,
and you have one person [Fm] understanding the [Ab] down beat
as being in this place in the bar, and the person playing next to him
not even realising that's the down [F] beat at all, [Bb] but seeing it as the up beat.
[G] So that [Fm] was _ _ the main premise to that album,
and again we continued with this, you know, free improvised form to it.
_ _ _ [Bb] The one thing [Eb] that I did wonder about [Ab] doing for this album
was to get together with, _ you know, somebody [Em] and make a film for this album.
_ _ _ _ _ And that would interest [G] me,
but I don't think it would be much more a film along the kind of lines of,
you know, if you were sitting in a room and you were sort of [Em] like just looking at an open [C] fire,
_ _ and you [G] just have like this area of movement.
_ _ I quite like things, you know, like, I like water as a [Am] form of movement.
I think water's got great, [Bm] great shape and motion.
_ _ _ The [G] idea is that the album won't be [F] recognisable as having come from any [G] time,
having been recorded in any particular year.
And the fact [Bb] that you're working with acoustics you [G] help means you can't date. _ _ _ _ _
Ideally the way to listen to it is [Am] _ alone, _ _ _ [A] _ extremely quietly.
I don't think you should ever push the volume level [G] beyond the natural _ _ volume
that the instruments would have been in the room.
_ _ _ I like silence, I get on great with silence.
_ You know, I don't have a problem with it, it's just silent, you know. _ _
So it's kind of like, well, if you're going to _ break into it,
just try to have a reason [A] for doing it. _
_ _ _ _ _ _ _ _
_ _ _ _ _ [G] _ I can't imagine not playing [Fm] music, but I don't feel [Em] any need to perform music,
and I don't [G] feel any need to record music.
_ _ I'm [F] really [G] quite happy just to play one note,
and just to hit it at different [D] volume levels,
and just, you know, see how long it will resonate for before it starts. _ _ _ _ _ _ _
_ _ _ _ _ _ [N] _ _
_ _ _ _ _ [Bm] _ _ [Em] _
_ _ _ [Am] _ _ [Bm] _ _ [C] _
_ _ _ _ _ [D] _ [Em] _ _
_ _ [G] _ _ _ _ _ _
_ Before you play two notes, learn how to play one note.
_ _ And that's, it's as simple as that really.
And don't play one note unless you've got a reason. _ _ _
The reason you're doing it is for the love of music.
It's not to [Ab] like, try and get some kind of commercial.
_ _ _ Spirit of Eden, I kind [G] of think that was very much like,
_ in a way, where all those earlier albums were trying to get to.
_ And then having got there, I then think the important thing is that,
you know, you either just stop making records at that point,
because you've kind of reached what you were trying to get,
or from that point, _ you seriously redress, [Abm] you know,
these other areas that you go for.
_ _ When you improvise, [Dbm] _ and you play _
[Db] something for the first time,
[Ab] you kind of play at [Db] its peak.
And if you kind of like play [G] something, and then you think,
oh, I [Abm] like that, and then you replay it, you never quite get it.
[G] It's like the thing of demoing.
Now, if you demo a track, [Ab] no matter how badly you [Db] try to demo it,
there will always be a quality [Gb] within it that you _ subsequently
would try to recreate, which you shouldn't.
_ _ _ [Ab]
The thing with the vocal is [Dbm] just, you know, [Gb] like you're saying,
you know, treat [Eb] it like an instrument.
[Abm] It's not there to dominate.
_ It's just [Gb] there to sit in this kind of landscape along with [Dbm] everything [G] else.
You know, and it's kind of like, start from a melodic point of view,
[B] then think about the kind of _ _ [Db] inflections that it should have sound-wise.
In the same way, like, if you're looking at a clarinet,
at certain [B] notes, there might be a certain kind of way
you want to hear that note, _ _ you [Eb] know, [Db] sound.
_ So when you write the lyric, you have that as an actual, [B] _ you know, _
block that you must [Gb] write to.
You must [Db] write this lyric phonetically in order for it to sing with a certain way.
And then you [B] must write the lyric in a way that, when you're singing,
you're going to have belief. _ _ _ _ _
[Gbm] You take, like, the first track on that album, _
_ [D] Merman,
[Abm] and it was kind of like, OK, [Bm] let's write a track here
where no part [Gb] of it ever gets [G] repeated. _
You know, it's just totally a movement like this
rather than any recognisable song form.
And then you move into, like, Ascension Day, and it would be like,
OK, on this one, across these three [Gm] verses, _
verse one will be a ten-bar [Gbm] verse, verse two will be a nine-bar [G] verse,
verse three will be an eight-bar.
_ _ [Gm] But what you do is, as this [Ab] thing's shortening up on you,
vocally, you've still got to hold it,
but then what you do is you turn the on beat [Eb] onto the off beat,
and you have one person [Fm] understanding the [Ab] down beat
as being in this place in the bar, and the person playing next to him
not even realising that's the down [F] beat at all, [Bb] but seeing it as the up beat.
[G] So that [Fm] was _ _ the main premise to that album,
and again we continued with this, you know, free improvised form to it.
_ _ _ [Bb] The one thing [Eb] that I did wonder about [Ab] doing for this album
was to get together with, _ you know, somebody [Em] and make a film for this album.
_ _ _ _ _ And that would interest [G] me,
but I don't think it would be much more a film along the kind of lines of,
you know, if you were sitting in a room and you were sort of [Em] like just looking at an open [C] fire,
_ _ and you [G] just have like this area of movement.
_ _ I quite like things, you know, like, I like water as a [Am] form of movement.
I think water's got great, [Bm] great shape and motion.
_ _ _ The [G] idea is that the album won't be [F] recognisable as having come from any [G] time,
having been recorded in any particular year.
And the fact [Bb] that you're working with acoustics you [G] help means you can't date. _ _ _ _ _
Ideally the way to listen to it is [Am] _ alone, _ _ _ [A] _ extremely quietly.
I don't think you should ever push the volume level [G] beyond the natural _ _ volume
that the instruments would have been in the room.
_ _ _ I like silence, I get on great with silence.
_ You know, I don't have a problem with it, it's just silent, you know. _ _
So it's kind of like, well, if you're going to _ break into it,
just try to have a reason [A] for doing it. _
_ _ _ _ _ _ _ _
_ _ _ _ _ [G] _ I can't imagine not playing [Fm] music, but I don't feel [Em] any need to perform music,
and I don't [G] feel any need to record music.
_ _ I'm [F] really [G] quite happy just to play one note,
and just to hit it at different [D] volume levels,
and just, you know, see how long it will resonate for before it starts. _ _ _ _ _ _ _
_ _ _ _ _ _ [N] _ _