Chords for Interview with Chris DeGarmo and Geoff Tate (2007) Sign of the Times: The Best of Queensrÿche
Tempo:
108.95 bpm
Chords used:
Gb
G
D
E
Eb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[G]
[D]
[A]
Chris [A] and [Am] Scott and they had a [G] demo tape.
They said, we're going to sing on this.
And I played it and it was really good, so I agreed to [E] it.
[E] [D] [Em] It was also a nice fit.
It was kind of a nice example of [G] having some material together [E] and Jeff identified with it right away and actually gave a [D] performance that sounded very natural.
It [N] just felt like it clicked.
It wasn't just like you get together and jam on a couple riffs and make a song out of it.
It was a real focused effort to create this sort of soundscape.
Common sounds and then trying to bring them into the studio and make them uncommon or roll them into material some way.
A flat tire on the way to the studio became a [E] sound effect in one of the songs.
[Gb]
[Gb]
[D]
[Gb] I can remember [G] Eddie, [Gb] the bass player at the time, he was trying [D] to explain the sound he wanted for his bass and he couldn't come up with a word.
He just kept throwing [B] his fist in the air in front of the engineer's face.
I want it to sound like this, like this, like [C] this.
And I raised my head and stared into [E] the eyes of a stranger.
[D] [C] The thing with the songs on Mindcrime was that [B] they were all stand-alone tracks.
In a way, it could all have been singles on their own.
And then kind of hooked together with these clever little segues and musical atmosphere parts and a storyline.
I think we put trust in when we first started presenting the material to our management and they were very excited about it.
And then a couple weeks later they called back and said,
You know, we have this chance to do a video.
Are you guys interested in doing it?
We think we can get the people at MTV to play it.
So we made a video for Eyes of a Stranger and the next thing you know, boom, 500,000 sales.
[Db] Boom.
[F] [Abm]
[Gb] [B] That album, Especially [Db] Empire, all [Gb] [Abm] of a sudden we were being invited [Gb] to play on award shows,
[B] doing lots of television, [Db] talking action [Abm] figure dolls, you know, this kind of stuff.
And [Bb] it was a weird thing to get used to.
You know, [Cm] [G] I don't think any of us [Am] really thought of ourselves [C] as that kind [D] of, [Am] you know, entertainer, personality, [E] [C] rock star, so to speak.
To us, [Bm] rock star was always kind of like a, yeah.
I'm smiling next to you [G] in silent lucidity.
Actually, lucidity was [Eb] a song.
It was very, very [Bb] quick to write.
[Eb] It was not something that was this [Bb] long, drawn, labor process.
[Eb] You know, it was just [C] something that I think songs that are close to you come like that.
I think later, I mean, we were just as the [Eb] songwriting developed [Bb] and got more complex and [Eb] as our chemistry cemented and [N] we matured,
I think it naturally [D] led to more sophisticated material.
A song is an exorcism.
You can get really separated from it and say that it isn't that, but I think there's examples, direct examples [C] of songs.
I can speak as a songwriter.
You know, bridge, [G] lucidity, any other, you know, I'm sure Jeff can pull examples.
I have no [B] demons left in me now.
But, you know, I think that's one of the things.
We were always kind of on our [G] own, you know, doing our own.
[Db]
I.M. [G].I. is that statement of [A] declaring who you are and what you [Eb] are. There weren't [D] so many [Bb] categories of [A] rock. It was all [E] rock music, really, [Eb] back then. And so we were [A] just doing what our interpretation of rock was at that time. I think you pretty much know at that time when you're doing something [Gb] that did we accomplish what we wanted to [E] accomplish? And then you just [Ab] kind of let go and it's OK. [Gb] Son [Ab] of the times. [Gb] Son of [Ab] the times. [Gb] Son [Ab] of the times. [B]
[D]
[A]
Chris [A] and [Am] Scott and they had a [G] demo tape.
They said, we're going to sing on this.
And I played it and it was really good, so I agreed to [E] it.
[E] [D] [Em] It was also a nice fit.
It was kind of a nice example of [G] having some material together [E] and Jeff identified with it right away and actually gave a [D] performance that sounded very natural.
It [N] just felt like it clicked.
It wasn't just like you get together and jam on a couple riffs and make a song out of it.
It was a real focused effort to create this sort of soundscape.
Common sounds and then trying to bring them into the studio and make them uncommon or roll them into material some way.
A flat tire on the way to the studio became a [E] sound effect in one of the songs.
[Gb]
[Gb]
[D]
[Gb] I can remember [G] Eddie, [Gb] the bass player at the time, he was trying [D] to explain the sound he wanted for his bass and he couldn't come up with a word.
He just kept throwing [B] his fist in the air in front of the engineer's face.
I want it to sound like this, like this, like [C] this.
And I raised my head and stared into [E] the eyes of a stranger.
[D] [C] The thing with the songs on Mindcrime was that [B] they were all stand-alone tracks.
In a way, it could all have been singles on their own.
And then kind of hooked together with these clever little segues and musical atmosphere parts and a storyline.
I think we put trust in when we first started presenting the material to our management and they were very excited about it.
And then a couple weeks later they called back and said,
You know, we have this chance to do a video.
Are you guys interested in doing it?
We think we can get the people at MTV to play it.
So we made a video for Eyes of a Stranger and the next thing you know, boom, 500,000 sales.
[Db] Boom.
[F] [Abm]
[Gb] [B] That album, Especially [Db] Empire, all [Gb] [Abm] of a sudden we were being invited [Gb] to play on award shows,
[B] doing lots of television, [Db] talking action [Abm] figure dolls, you know, this kind of stuff.
And [Bb] it was a weird thing to get used to.
You know, [Cm] [G] I don't think any of us [Am] really thought of ourselves [C] as that kind [D] of, [Am] you know, entertainer, personality, [E] [C] rock star, so to speak.
To us, [Bm] rock star was always kind of like a, yeah.
I'm smiling next to you [G] in silent lucidity.
Actually, lucidity was [Eb] a song.
It was very, very [Bb] quick to write.
[Eb] It was not something that was this [Bb] long, drawn, labor process.
[Eb] You know, it was just [C] something that I think songs that are close to you come like that.
I think later, I mean, we were just as the [Eb] songwriting developed [Bb] and got more complex and [Eb] as our chemistry cemented and [N] we matured,
I think it naturally [D] led to more sophisticated material.
A song is an exorcism.
You can get really separated from it and say that it isn't that, but I think there's examples, direct examples [C] of songs.
I can speak as a songwriter.
You know, bridge, [G] lucidity, any other, you know, I'm sure Jeff can pull examples.
I have no [B] demons left in me now.
But, you know, I think that's one of the things.
We were always kind of on our [G] own, you know, doing our own.
[Db]
I.M. [G].I. is that statement of [A] declaring who you are and what you [Eb] are. There weren't [D] so many [Bb] categories of [A] rock. It was all [E] rock music, really, [Eb] back then. And so we were [A] just doing what our interpretation of rock was at that time. I think you pretty much know at that time when you're doing something [Gb] that did we accomplish what we wanted to [E] accomplish? And then you just [Ab] kind of let go and it's OK. [Gb] Son [Ab] of the times. [Gb] Son of [Ab] the times. [Gb] Son [Ab] of the times. [B]
Key:
Gb
G
D
E
Eb
Gb
G
D
_ _ _ _ _ _ [G] _ _
_ _ _ _ _ [D] _ _ _
_ _ _ _ _ [A] _ _
Chris [A] and [Am] Scott and they had a [G] demo tape.
They said, _ we're going to sing on this.
_ _ And I played it and it was really good, so I agreed to [E] it. _ _
_ _ _ _ _ _ _ _
[E] _ _ [D] _ _ _ _ [Em] It was also a nice fit.
It was kind of a nice example of [G] having some material together [E] and Jeff identified with it right away and actually gave a [D] performance that sounded very natural.
It [N] just felt like it clicked.
_ It wasn't just like you get together and jam on a couple riffs and make a song out of it.
It was a real focused effort to _ create this sort of soundscape.
_ _ Common sounds and then trying to bring them into the studio and make them uncommon or roll them into material some way.
A flat tire on the way to the studio became a _ [E] sound effect in one of the songs.
_ [Gb] _ _
_ _ [Gb] _ _ _ _ _ _
[D] _ _ _ _ _ _ _ _
_ [Gb] I can remember [G] Eddie, [Gb] the bass player at the time, he was trying [D] to explain the sound he wanted for his bass and he couldn't come up with a word.
He just kept throwing [B] his fist in the air in front of the engineer's face.
I want it to sound like this, like this, like [C] this.
And I raised my head and stared into [E] the eyes of a stranger.
_ _ [D] _ [C] The thing with the songs on Mindcrime was that [B] they were all stand-alone tracks.
In _ a way, it could all have been singles on their own.
And then kind of hooked together with these clever little segues and musical atmosphere parts and a storyline.
I think we put trust in when we first started presenting the material to our management and they were very excited about it.
And then a couple weeks later they called back and said,
You know, we have this chance to do a video.
Are you guys interested in doing it?
We think we can get the people at MTV to play it.
So we made a video for Eyes of a Stranger and the next thing you know, boom, 500,000 sales.
[Db] Boom.
_ _ [F] _ _ [Abm] _ _
_ [Gb] _ _ _ _ [B] _ That album, Especially [Db] Empire, all _ [Gb] [Abm] of a sudden we were being invited [Gb] to play on award shows,
[B] doing lots of television, [Db] talking action [Abm] figure dolls, you know, this kind of stuff.
And _ [Bb] _ it was a weird thing to get used to.
You know, [Cm] _ _ [G] I don't think any of us [Am] really thought of ourselves [C] as that kind [D] of, [Am] you know, entertainer, personality, [E] _ _ [C] rock star, so to speak.
To us, [Bm] rock star was always kind of like a, yeah.
I'm smiling next to you [G] in silent lucidity. _ _ _
_ _ _ _ _ _ Actually, lucidity was [Eb] a song.
It was very, very [Bb] quick to write.
[Eb] It was not something that was this [Bb] long, drawn, labor process.
[Eb] You know, it was just [C] something that I think songs that are close to you come like that.
_ I think later, I mean, we were just as the [Eb] songwriting developed [Bb] and got more complex and [Eb] as our chemistry cemented and [N] we matured,
I think it naturally [D] led to more sophisticated material.
A song is an exorcism.
_ You can get really separated from it and say that it isn't that, but I think there's examples, direct examples [C] of songs.
I can speak as a songwriter.
You know, bridge, [G] lucidity, any other, you know, I'm sure Jeff can pull examples.
I have no [B] demons left in me now.
But, you know, I think that's one of the things.
We were always kind of on our [G] own, you know, doing our own.
[Db]
I.M. [G].I. is that statement of [A] _ declaring who you are and what you [Eb] are. There weren't [D] so many [Bb] categories of [A] rock. It was all [E] rock music, really, [Eb] back then. And so we were [A] just doing _ what _ our interpretation of rock was at that time. I think you pretty much know at that time when you're doing something [Gb] that did we accomplish what we wanted to [E] accomplish? And _ then you just [Ab] kind of let go and it's OK. [Gb] _ Son [Ab] of the times. [Gb] _ Son of [Ab] the times. [Gb] _ Son [Ab] of the times. [B] _ _ _ _
_ _ _ _ _ [D] _ _ _
_ _ _ _ _ [A] _ _
Chris [A] and [Am] Scott and they had a [G] demo tape.
They said, _ we're going to sing on this.
_ _ And I played it and it was really good, so I agreed to [E] it. _ _
_ _ _ _ _ _ _ _
[E] _ _ [D] _ _ _ _ [Em] It was also a nice fit.
It was kind of a nice example of [G] having some material together [E] and Jeff identified with it right away and actually gave a [D] performance that sounded very natural.
It [N] just felt like it clicked.
_ It wasn't just like you get together and jam on a couple riffs and make a song out of it.
It was a real focused effort to _ create this sort of soundscape.
_ _ Common sounds and then trying to bring them into the studio and make them uncommon or roll them into material some way.
A flat tire on the way to the studio became a _ [E] sound effect in one of the songs.
_ [Gb] _ _
_ _ [Gb] _ _ _ _ _ _
[D] _ _ _ _ _ _ _ _
_ [Gb] I can remember [G] Eddie, [Gb] the bass player at the time, he was trying [D] to explain the sound he wanted for his bass and he couldn't come up with a word.
He just kept throwing [B] his fist in the air in front of the engineer's face.
I want it to sound like this, like this, like [C] this.
And I raised my head and stared into [E] the eyes of a stranger.
_ _ [D] _ [C] The thing with the songs on Mindcrime was that [B] they were all stand-alone tracks.
In _ a way, it could all have been singles on their own.
And then kind of hooked together with these clever little segues and musical atmosphere parts and a storyline.
I think we put trust in when we first started presenting the material to our management and they were very excited about it.
And then a couple weeks later they called back and said,
You know, we have this chance to do a video.
Are you guys interested in doing it?
We think we can get the people at MTV to play it.
So we made a video for Eyes of a Stranger and the next thing you know, boom, 500,000 sales.
[Db] Boom.
_ _ [F] _ _ [Abm] _ _
_ [Gb] _ _ _ _ [B] _ That album, Especially [Db] Empire, all _ [Gb] [Abm] of a sudden we were being invited [Gb] to play on award shows,
[B] doing lots of television, [Db] talking action [Abm] figure dolls, you know, this kind of stuff.
And _ [Bb] _ it was a weird thing to get used to.
You know, [Cm] _ _ [G] I don't think any of us [Am] really thought of ourselves [C] as that kind [D] of, [Am] you know, entertainer, personality, [E] _ _ [C] rock star, so to speak.
To us, [Bm] rock star was always kind of like a, yeah.
I'm smiling next to you [G] in silent lucidity. _ _ _
_ _ _ _ _ _ Actually, lucidity was [Eb] a song.
It was very, very [Bb] quick to write.
[Eb] It was not something that was this [Bb] long, drawn, labor process.
[Eb] You know, it was just [C] something that I think songs that are close to you come like that.
_ I think later, I mean, we were just as the [Eb] songwriting developed [Bb] and got more complex and [Eb] as our chemistry cemented and [N] we matured,
I think it naturally [D] led to more sophisticated material.
A song is an exorcism.
_ You can get really separated from it and say that it isn't that, but I think there's examples, direct examples [C] of songs.
I can speak as a songwriter.
You know, bridge, [G] lucidity, any other, you know, I'm sure Jeff can pull examples.
I have no [B] demons left in me now.
But, you know, I think that's one of the things.
We were always kind of on our [G] own, you know, doing our own.
[Db]
I.M. [G].I. is that statement of [A] _ declaring who you are and what you [Eb] are. There weren't [D] so many [Bb] categories of [A] rock. It was all [E] rock music, really, [Eb] back then. And so we were [A] just doing _ what _ our interpretation of rock was at that time. I think you pretty much know at that time when you're doing something [Gb] that did we accomplish what we wanted to [E] accomplish? And _ then you just [Ab] kind of let go and it's OK. [Gb] _ Son [Ab] of the times. [Gb] _ Son of [Ab] the times. [Gb] _ Son [Ab] of the times. [B] _ _ _ _