Chords for JOHN LENNON talks of BEATLES Reunion 1975!
Tempo:
91.95 bpm
Chords used:
F
G
F#
D#
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Yeah.
The inevitable question.
Are they ever going to get back together?
Yeah, I mean, first of all,
is there any possibility?
But secondly, much more important, do you think that it's a good idea?
Well, that's another [F] point altogether, whether [G] it'd be a good idea or not.
You [F] see, it's strange because at one period when they're asking me, I was saying, no,
never.
What the hell?
Go back?
No, not me.
And then there came a period when I thought, well,
why not?
[E] If we felt like making a record or doing something.
Everybody always envisions
the stage show to me.
If we [F#] work together at the studio again, you know, stage show,
[G] something else going.
If we've got something to say in a studio.
[D#] OK, now, when I'm saying that,
I turn the paper and George is saying, not me.
Right.
It's never [F#] got to a position where every
each one of us have wanted to do it at the same time.
I think over the period of being apart,
we've all thought, oh, [D#] that wouldn't be nice.
That wouldn't be bad.
You know,
I mean, I've worked with Ringo, worked with Ringo and George.
I haven't worked with Paul
because we had a more difficult time.
But now we're pretty close.
You know, so [F] it's.
And the
other question is, would it be worth it?
[A] But that is [D#] answered by if we wanted to do it,
if we wanted [Fm] to do it, then it'd be worth it.
If we got [F#] in the studio together and [G] thought
we turn each other on again, [G#] then it would be worth it.
And so the critics, you know,
you know, they've got nothing to do with it.
You know, the music is the music.
If we make
a piece that we think was worthwhile, it goes out.
But it's such a, you know, it's [G] pie in the sky.
[D#] I don't care either way.
You know, if somebody wants to put it together, I'll go along.
You know, [F#] I'm not in the mood to put it together.
[A] That's for sure.
I've got too much.
I think we all have got too much to do ourselves.
But if they were all in town, I wouldn't be.
I'd say, come on down, you know, put them on my record.
Then it'd be a beat record.
But if they were around, you know, I [G] jammed with Paul.
I did [E] actually play with Paul.
We [F] did a lot of stuff in L.A. But there [F#] was 50 other people playing too,
and they're all just [F] watching me and Paul.
[C#] You must be pleased with what [F] Paul's doing now, John?
I'm pleased that everybody's doing well, you know.
I'm more pleased that Ringo's doing well.
That he's got himself a good niche.
Because I knew Paul would be all right.
What [A] the hell,
I'm worried about him.
[G#] You know, I know he's going to be all right.
In [N] retrospect now, do you regret How Do You Sleep?
No.
Somebody said the other day, it's about me.
You know, I regret that it was so
Not the song.
There were two things I regretted.
One, that there was so [F] much talk about Paul.
They missed the song.
It was a good [Gm] track.
[F] And I should have, you know, kept my mouth shut.
Not on the song.
It could have been [Em] about anybody,
you know.
I mean, and when you look at them back, you know, Dylan said it about [E] his stuff.
He found out most of it's about [D#] him.
I wrote a sort of son of How Do You [F#] Sleep on Walls and Bridges.
I can't remember the name.
Steel and Glass, which I thought was about a few people.
But then I
realized, no, it's me [E] again.
So it's not about Paul.
It's about me.
You know, I'm really attacking
myself.
[G] But I regret the association.
But I don't have [F] a lot of regret, you know.
I mean,
[N] he lived through it.
The real, the only thing that matters is how he and I feel about those things.
And not what about, you know, the writer or the commentator thinks about it.
You know,
him and me are okay.
So I don't care what they say about that.
You know, I can go through my
thing.
I've always been a little different.
[G] You know, Lennon blasts Hollies.
You know,
that was one of the early sticks.
I mean, I've always been that.
Our first national press was me
[F#] beating up a disc jockey at Paul's 21st party.
That was the first Beatles national press.
We
got the back page of the Mirror.
I've always been a [G] little, you know, loose.
And I hope it'll change
because I'm fed up of waking up in the papers, you know.
But if it doesn't, you know,
The inevitable question.
Are they ever going to get back together?
Yeah, I mean, first of all,
is there any possibility?
But secondly, much more important, do you think that it's a good idea?
Well, that's another [F] point altogether, whether [G] it'd be a good idea or not.
You [F] see, it's strange because at one period when they're asking me, I was saying, no,
never.
What the hell?
Go back?
No, not me.
And then there came a period when I thought, well,
why not?
[E] If we felt like making a record or doing something.
Everybody always envisions
the stage show to me.
If we [F#] work together at the studio again, you know, stage show,
[G] something else going.
If we've got something to say in a studio.
[D#] OK, now, when I'm saying that,
I turn the paper and George is saying, not me.
Right.
It's never [F#] got to a position where every
each one of us have wanted to do it at the same time.
I think over the period of being apart,
we've all thought, oh, [D#] that wouldn't be nice.
That wouldn't be bad.
You know,
I mean, I've worked with Ringo, worked with Ringo and George.
I haven't worked with Paul
because we had a more difficult time.
But now we're pretty close.
You know, so [F] it's.
And the
other question is, would it be worth it?
[A] But that is [D#] answered by if we wanted to do it,
if we wanted [Fm] to do it, then it'd be worth it.
If we got [F#] in the studio together and [G] thought
we turn each other on again, [G#] then it would be worth it.
And so the critics, you know,
you know, they've got nothing to do with it.
You know, the music is the music.
If we make
a piece that we think was worthwhile, it goes out.
But it's such a, you know, it's [G] pie in the sky.
[D#] I don't care either way.
You know, if somebody wants to put it together, I'll go along.
You know, [F#] I'm not in the mood to put it together.
[A] That's for sure.
I've got too much.
I think we all have got too much to do ourselves.
But if they were all in town, I wouldn't be.
I'd say, come on down, you know, put them on my record.
Then it'd be a beat record.
But if they were around, you know, I [G] jammed with Paul.
I did [E] actually play with Paul.
We [F] did a lot of stuff in L.A. But there [F#] was 50 other people playing too,
and they're all just [F] watching me and Paul.
[C#] You must be pleased with what [F] Paul's doing now, John?
I'm pleased that everybody's doing well, you know.
I'm more pleased that Ringo's doing well.
That he's got himself a good niche.
Because I knew Paul would be all right.
What [A] the hell,
I'm worried about him.
[G#] You know, I know he's going to be all right.
In [N] retrospect now, do you regret How Do You Sleep?
No.
Somebody said the other day, it's about me.
You know, I regret that it was so
Not the song.
There were two things I regretted.
One, that there was so [F] much talk about Paul.
They missed the song.
It was a good [Gm] track.
[F] And I should have, you know, kept my mouth shut.
Not on the song.
It could have been [Em] about anybody,
you know.
I mean, and when you look at them back, you know, Dylan said it about [E] his stuff.
He found out most of it's about [D#] him.
I wrote a sort of son of How Do You [F#] Sleep on Walls and Bridges.
I can't remember the name.
Steel and Glass, which I thought was about a few people.
But then I
realized, no, it's me [E] again.
So it's not about Paul.
It's about me.
You know, I'm really attacking
myself.
[G] But I regret the association.
But I don't have [F] a lot of regret, you know.
I mean,
[N] he lived through it.
The real, the only thing that matters is how he and I feel about those things.
And not what about, you know, the writer or the commentator thinks about it.
You know,
him and me are okay.
So I don't care what they say about that.
You know, I can go through my
thing.
I've always been a little different.
[G] You know, Lennon blasts Hollies.
You know,
that was one of the early sticks.
I mean, I've always been that.
Our first national press was me
[F#] beating up a disc jockey at Paul's 21st party.
That was the first Beatles national press.
We
got the back page of the Mirror.
I've always been a [G] little, you know, loose.
And I hope it'll change
because I'm fed up of waking up in the papers, you know.
But if it doesn't, you know,
Key:
F
G
F#
D#
E
F
G
F#
Yeah.
The inevitable question.
Are they ever going to get back together?
Yeah, I mean, first of all,
is there any possibility?
But secondly, much more important, do you think that it's a good idea?
Well, that's another [F] point altogether, whether [G] it'd be a good idea or not.
You [F] see, it's strange because at one period when they're asking me, I was saying, no,
never.
What the hell?
Go back?
No, not me.
And then there came a period when I thought, well,
why not?
[E] If we felt like making a record or doing something.
Everybody always envisions
the stage show to me.
If we [F#] work together at the studio again, you know, stage show,
[G] something else going.
If we've got something to say in a studio.
[D#] OK, now, when I'm saying that,
I turn the paper and George is saying, not me.
Right.
It's never [F#] got to a position where every
each one of us have wanted to do it at the same time.
I think over the period of being apart,
we've all thought, oh, [D#] that wouldn't be nice.
That wouldn't be bad.
You know,
I mean, I've worked with Ringo, worked with Ringo and George.
I haven't worked with Paul
because we had a more difficult time.
But now we're pretty close.
You know, so _ [F] it's.
And the
other question is, would it be worth it?
[A] But that is [D#] answered by if we wanted to do it,
if we wanted [Fm] to do it, then it'd be worth it.
If we got [F#] in the studio together and [G] thought
we turn each other on again, [G#] then it would be worth it.
And so the critics, you know,
you know, they've got nothing to do with it.
You know, the music is the music.
If we make
a piece that we think was worthwhile, it goes out.
But it's such a, you know, it's [G] pie in the sky.
[D#] I don't care either way.
You know, if somebody wants to put it together, I'll go along.
You know, [F#] I'm not in the mood to put it together.
[A] That's for sure.
I've got too much.
I think we all have got too much to do ourselves.
But if they were all in town, I wouldn't be.
I'd say, come on down, you know, put them on my record.
Then it'd be a beat record.
But if they were around, you know, I [G] jammed with Paul.
I did [E] actually play with Paul.
We [F] did a lot of stuff in L.A. But there [F#] was 50 other people playing too,
and they're all just [F] watching me and Paul. _
_ [C#] You must be pleased with what [F] Paul's doing now, John?
I'm pleased that everybody's doing well, you know.
I'm more pleased that Ringo's doing well.
That he's got himself a good niche.
Because I knew Paul would be all right.
What [A] the hell,
I'm worried about him.
[G#] You know, I know he's going to be all right.
In [N] retrospect now, do you regret How Do You Sleep?
_ No.
Somebody said the other day, it's about me.
You know, I regret that it was so_
Not the song.
There were two things I regretted.
One, that there was so [F] much talk about Paul.
They missed the song.
It was a good [Gm] track.
[F] And I should have, you know, kept my mouth shut.
Not on the song.
It could have been [Em] about anybody,
you know.
I mean, and when you look at them back, you know, Dylan said it about [E] his stuff.
He found out most of it's about [D#] him.
I wrote a sort of son of How Do You [F#] Sleep on Walls and Bridges.
I can't remember the name.
Steel and Glass, which I thought was about a few people.
But then I
realized, no, it's me [E] again.
So it's not about Paul.
It's about me.
You know, I'm really attacking
myself.
[G] But I regret the association.
But I don't have [F] a lot of regret, you know.
I mean,
[N] he lived through it.
The real, the only thing that matters is how he and I feel about those things.
And not what about, you know, the writer or the commentator thinks about it.
You know,
him and me are okay.
So I don't care what they say about that.
You know, I can go through my
thing.
I've always been a little different.
[G] You know, Lennon blasts Hollies.
You know,
that was one of the early sticks.
I mean, I've always been that.
Our first national press was me
[F#] beating up a disc jockey at Paul's 21st party.
That was the first Beatles national press.
We
got the back page of the Mirror.
I've always been a [G] little, you know, loose.
And I hope it'll change
because I'm fed up of waking up in the papers, you know.
But if it doesn't, you know,
The inevitable question.
Are they ever going to get back together?
Yeah, I mean, first of all,
is there any possibility?
But secondly, much more important, do you think that it's a good idea?
Well, that's another [F] point altogether, whether [G] it'd be a good idea or not.
You [F] see, it's strange because at one period when they're asking me, I was saying, no,
never.
What the hell?
Go back?
No, not me.
And then there came a period when I thought, well,
why not?
[E] If we felt like making a record or doing something.
Everybody always envisions
the stage show to me.
If we [F#] work together at the studio again, you know, stage show,
[G] something else going.
If we've got something to say in a studio.
[D#] OK, now, when I'm saying that,
I turn the paper and George is saying, not me.
Right.
It's never [F#] got to a position where every
each one of us have wanted to do it at the same time.
I think over the period of being apart,
we've all thought, oh, [D#] that wouldn't be nice.
That wouldn't be bad.
You know,
I mean, I've worked with Ringo, worked with Ringo and George.
I haven't worked with Paul
because we had a more difficult time.
But now we're pretty close.
You know, so _ [F] it's.
And the
other question is, would it be worth it?
[A] But that is [D#] answered by if we wanted to do it,
if we wanted [Fm] to do it, then it'd be worth it.
If we got [F#] in the studio together and [G] thought
we turn each other on again, [G#] then it would be worth it.
And so the critics, you know,
you know, they've got nothing to do with it.
You know, the music is the music.
If we make
a piece that we think was worthwhile, it goes out.
But it's such a, you know, it's [G] pie in the sky.
[D#] I don't care either way.
You know, if somebody wants to put it together, I'll go along.
You know, [F#] I'm not in the mood to put it together.
[A] That's for sure.
I've got too much.
I think we all have got too much to do ourselves.
But if they were all in town, I wouldn't be.
I'd say, come on down, you know, put them on my record.
Then it'd be a beat record.
But if they were around, you know, I [G] jammed with Paul.
I did [E] actually play with Paul.
We [F] did a lot of stuff in L.A. But there [F#] was 50 other people playing too,
and they're all just [F] watching me and Paul. _
_ [C#] You must be pleased with what [F] Paul's doing now, John?
I'm pleased that everybody's doing well, you know.
I'm more pleased that Ringo's doing well.
That he's got himself a good niche.
Because I knew Paul would be all right.
What [A] the hell,
I'm worried about him.
[G#] You know, I know he's going to be all right.
In [N] retrospect now, do you regret How Do You Sleep?
_ No.
Somebody said the other day, it's about me.
You know, I regret that it was so_
Not the song.
There were two things I regretted.
One, that there was so [F] much talk about Paul.
They missed the song.
It was a good [Gm] track.
[F] And I should have, you know, kept my mouth shut.
Not on the song.
It could have been [Em] about anybody,
you know.
I mean, and when you look at them back, you know, Dylan said it about [E] his stuff.
He found out most of it's about [D#] him.
I wrote a sort of son of How Do You [F#] Sleep on Walls and Bridges.
I can't remember the name.
Steel and Glass, which I thought was about a few people.
But then I
realized, no, it's me [E] again.
So it's not about Paul.
It's about me.
You know, I'm really attacking
myself.
[G] But I regret the association.
But I don't have [F] a lot of regret, you know.
I mean,
[N] he lived through it.
The real, the only thing that matters is how he and I feel about those things.
And not what about, you know, the writer or the commentator thinks about it.
You know,
him and me are okay.
So I don't care what they say about that.
You know, I can go through my
thing.
I've always been a little different.
[G] You know, Lennon blasts Hollies.
You know,
that was one of the early sticks.
I mean, I've always been that.
Our first national press was me
[F#] beating up a disc jockey at Paul's 21st party.
That was the first Beatles national press.
We
got the back page of the Mirror.
I've always been a [G] little, you know, loose.
And I hope it'll change
because I'm fed up of waking up in the papers, you know.
But if it doesn't, you know,