Chords for Jonathan Richman/John Cale Interviewed - Vincent Van Gogh Live
Tempo:
67.1 bpm
Chords used:
G
C
D
Ab
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Six hours a year [C] I'll sit like that.
So I start tumbling around.
And [D] that's the only reason you do it.
You're fairly muscley.
I thought you might be into a physical fitness.
Well not weightlift.
But I like to move around a lot.
Do you prefer to work live [Eb] solo or live with the [C] band?
Oh, if I could have had the whole Modern Lovers here, they'd be here.
But the funny thing is, solo works pretty good for TV.
Like if there was a big dance hall situation, then I'd definitely miss the band.
But this works pretty good.
When you [N] were on a television show in Sydney the other morning, you wrote a song while you were there.
How prolific are you?
Do you write [Em] all day, every day, wherever you are?
No, if he hadn't challenged me to make [Ab] up a song before the show was over, [A] I wouldn't have made up a song that day.
So you're not sort of like Rod McKeown who goes around with a [Em] pen and paper and jots down things [E] for verse and songs all the time.
Sometimes I do.
I've [Ab] got a notebook.
I make up ideas.
But sometimes I'll make up one song a month [Em] or something.
What did you think of [Gb] the Aussie audiences the other night when you worked in Sydney?
I think they were confused a little.
Do you think so?
I've [G] heard good reports.
Yeah, well, I just think they were confused.
Sometimes they were almost so [E] quiet that I wondered whether anyone was [Ab] there.
[E] How would you describe the blend between yourself [C] and John?
Kind of like Bozo the Clown [N] opening for John Paul Sartre.
We'll find out how you met John in [G] just a moment.
Will you do that song for us now?
Sure.
What's this one called?
Let [Gb] me see.
Why don't we do Vincent Van [D] Gogh?
Yeah, well, why not, John?
Okay.
Are you ready?
Okay.
Okay, then I'm [G] ready too.
Well, have you heard about the painter [D] Vincent Van Gogh
[C] Who loved color and he [G] let it show
And in a [D] museum, what have we here
[G] The baddest painter since ancient Jan Vermeer
See, he loved, [A] he loved, he loved life so bad
[G] His paintings had full twice the color that other paintings had
So bad, so bad that the world had to know
The man loved color and he let it show
So, what can we say [A] about this Vincent Van Gogh
[G] He loved color and he let it show
And [Bm] in a museum, what have we [B] here
The baddest [C] painter since Jan [G] Vermeer
See, he loved, [D] he loved, he loved life so [G] bad
His paintings had full [G] twice the color that other paintings had
So bad, so bad that the world had to know
The man loved color and he let [Em] it show
Vincent [C] Van Gogh, Vincent [G] Van Gogh
Jonathan [D] Richman, thank you very, very much.
And you're on tonight at the Trade Union Club [E] in Sydney.
Yeah.
Let's give that a mention.
Try [A] and catch him.
He did kill them the other night with John Cale.
[C] So don't get, but you can still come.
Right.
But John Cale and yourself are now sort of breaking [G] up
and you're going your way and John, you're off to Brisbane, Melbourne, Melbourne tonight.
How did you first meet?
[D] It was a long time ago in California under strange circumstances.
Please tell.
Well, he [Cm] was a fan of Albert Underground for a long time
and I [D] was really embarrassed by that
because [N] when I heard his music, I mean, it's embarrassing to hear
that somebody likes [Gb] another kind of music [Eb] when they're talented themselves.
Yeah.
[D] And the kind of music he was doing was exactly that fragile, weak sister kind of.
Right.
We might go into that a bit further tonight, I don't think. Oh, no.
Let's move in.
[C] You met him as an A&R man, not
No, I knew him before.
Oh, you knew him before that, but then as an artist.
It's very difficult to relate [Ab] to him as an A&R man because it was a business situation
and [C] I felt more as a friend than as someone who should be adjudicating his career.
Right.
So when it got to that [C] stage, how were you then into that area,
working with record companies, etc.,
after having been with Velvet Underground?
It was something I wanted to do.
I mean, from being a [F] side man in the Velvet Underground to being a [Gb] performing artist
to being an A&R person, you [G] learn a lot about the record industry from that position.
And I did learn a lot.
Well, you've gone on [D] to produce a heck of a lot of people.
Can you run through them?
Well, Patti Smith and Dickie and Chunky No and Ernie.
Most of those people, [B] what I'm proud [G] of about those people and my involvement with Jonathan
is that [Ab] there aren't any other [Fm] musicians like those around.
There aren't musicians like Patti around.
There [F] aren't musicians like Jonathan around.
There aren't any like [C] Iggy and Stooges.
Do you think that there will [E] ever [D] be a reformation of Velvet Underground to do a one-off
So I start tumbling around.
And [D] that's the only reason you do it.
You're fairly muscley.
I thought you might be into a physical fitness.
Well not weightlift.
But I like to move around a lot.
Do you prefer to work live [Eb] solo or live with the [C] band?
Oh, if I could have had the whole Modern Lovers here, they'd be here.
But the funny thing is, solo works pretty good for TV.
Like if there was a big dance hall situation, then I'd definitely miss the band.
But this works pretty good.
When you [N] were on a television show in Sydney the other morning, you wrote a song while you were there.
How prolific are you?
Do you write [Em] all day, every day, wherever you are?
No, if he hadn't challenged me to make [Ab] up a song before the show was over, [A] I wouldn't have made up a song that day.
So you're not sort of like Rod McKeown who goes around with a [Em] pen and paper and jots down things [E] for verse and songs all the time.
Sometimes I do.
I've [Ab] got a notebook.
I make up ideas.
But sometimes I'll make up one song a month [Em] or something.
What did you think of [Gb] the Aussie audiences the other night when you worked in Sydney?
I think they were confused a little.
Do you think so?
I've [G] heard good reports.
Yeah, well, I just think they were confused.
Sometimes they were almost so [E] quiet that I wondered whether anyone was [Ab] there.
[E] How would you describe the blend between yourself [C] and John?
Kind of like Bozo the Clown [N] opening for John Paul Sartre.
We'll find out how you met John in [G] just a moment.
Will you do that song for us now?
Sure.
What's this one called?
Let [Gb] me see.
Why don't we do Vincent Van [D] Gogh?
Yeah, well, why not, John?
Okay.
Are you ready?
Okay.
Okay, then I'm [G] ready too.
Well, have you heard about the painter [D] Vincent Van Gogh
[C] Who loved color and he [G] let it show
And in a [D] museum, what have we here
[G] The baddest painter since ancient Jan Vermeer
See, he loved, [A] he loved, he loved life so bad
[G] His paintings had full twice the color that other paintings had
So bad, so bad that the world had to know
The man loved color and he let it show
So, what can we say [A] about this Vincent Van Gogh
[G] He loved color and he let it show
And [Bm] in a museum, what have we [B] here
The baddest [C] painter since Jan [G] Vermeer
See, he loved, [D] he loved, he loved life so [G] bad
His paintings had full [G] twice the color that other paintings had
So bad, so bad that the world had to know
The man loved color and he let [Em] it show
Vincent [C] Van Gogh, Vincent [G] Van Gogh
Jonathan [D] Richman, thank you very, very much.
And you're on tonight at the Trade Union Club [E] in Sydney.
Yeah.
Let's give that a mention.
Try [A] and catch him.
He did kill them the other night with John Cale.
[C] So don't get, but you can still come.
Right.
But John Cale and yourself are now sort of breaking [G] up
and you're going your way and John, you're off to Brisbane, Melbourne, Melbourne tonight.
How did you first meet?
[D] It was a long time ago in California under strange circumstances.
Please tell.
Well, he [Cm] was a fan of Albert Underground for a long time
and I [D] was really embarrassed by that
because [N] when I heard his music, I mean, it's embarrassing to hear
that somebody likes [Gb] another kind of music [Eb] when they're talented themselves.
Yeah.
[D] And the kind of music he was doing was exactly that fragile, weak sister kind of.
Right.
We might go into that a bit further tonight, I don't think. Oh, no.
Let's move in.
[C] You met him as an A&R man, not
No, I knew him before.
Oh, you knew him before that, but then as an artist.
It's very difficult to relate [Ab] to him as an A&R man because it was a business situation
and [C] I felt more as a friend than as someone who should be adjudicating his career.
Right.
So when it got to that [C] stage, how were you then into that area,
working with record companies, etc.,
after having been with Velvet Underground?
It was something I wanted to do.
I mean, from being a [F] side man in the Velvet Underground to being a [Gb] performing artist
to being an A&R person, you [G] learn a lot about the record industry from that position.
And I did learn a lot.
Well, you've gone on [D] to produce a heck of a lot of people.
Can you run through them?
Well, Patti Smith and Dickie and Chunky No and Ernie.
Most of those people, [B] what I'm proud [G] of about those people and my involvement with Jonathan
is that [Ab] there aren't any other [Fm] musicians like those around.
There aren't musicians like Patti around.
There [F] aren't musicians like Jonathan around.
There aren't any like [C] Iggy and Stooges.
Do you think that there will [E] ever [D] be a reformation of Velvet Underground to do a one-off
Key:
G
C
D
Ab
E
G
C
D
Six hours a year [C] I'll sit like that.
So I start tumbling around.
And [D] that's the only reason you do it.
You're fairly muscley.
I thought you might be into a physical fitness.
Well not weightlift.
But I like to move around a lot.
Do you prefer to work live [Eb] solo or live with the [C] band?
Oh, if I could have had the whole Modern Lovers here, they'd be here.
But the funny thing is, solo works pretty good for TV.
Like if there was a big dance hall situation, then I'd definitely miss the band.
But this works pretty good.
When you [N] were on a television show in Sydney the other morning, you wrote a song while you were there.
How prolific are you?
Do you write [Em] all day, every day, wherever you are?
No, if he hadn't challenged me to make [Ab] up a song before the show was over, [A] I wouldn't have made up a song that day.
So you're not sort of like Rod McKeown who goes around with a [Em] pen and paper and jots down things [E] for verse and songs all the time.
Sometimes I do.
I've [Ab] got a notebook.
I make up ideas.
But sometimes I'll make up one song a month [Em] or something.
What did you think of [Gb] the Aussie audiences the other night when you worked in Sydney?
I think they were confused a little.
Do you think so?
I've [G] heard good reports.
Yeah, well, I just think they were confused.
Sometimes they were almost so [E] quiet that I wondered whether anyone was [Ab] there.
[E] How would you describe the blend between yourself [C] and John?
Kind of like Bozo the Clown [N] opening for John Paul Sartre.
We'll find out how you met John in [G] just a moment.
Will you do that song for us now?
Sure.
What's this one called?
Let [Gb] me see.
Why don't we do Vincent Van [D] Gogh?
Yeah, well, why not, John?
Okay.
Are you ready?
Okay.
Okay, then I'm [G] ready too.
Well, have you heard about the painter [D] Vincent Van Gogh
[C] Who loved color and he [G] let it show
And in a [D] museum, what have we here
[G] The baddest painter since ancient Jan Vermeer
See, he loved, [A] he loved, he loved life so bad
[G] His paintings had full twice the color that other paintings had
So bad, so bad that the world had to know
The man loved color and he let it show _ _ _ _ _ _
So, what can we say [A] about this Vincent Van Gogh
[G] He loved color and he let it show
And [Bm] in a museum, what have we [B] here
The baddest [C] painter since Jan [G] Vermeer
See, he loved, [D] he loved, he loved life so [G] bad
His paintings had full [G] twice the color that other paintings had
So bad, so bad that the world had to know
The man loved color and he let [Em] it show
Vincent [C] Van Gogh, Vincent [G] Van Gogh
Jonathan [D] Richman, thank you very, very much.
And you're on tonight at the Trade Union Club [E] in Sydney.
Yeah.
Let's give that a mention.
Try [A] and catch him.
He did kill them the other night with John Cale.
[C] So don't get, but you can still come.
Right.
But John Cale and yourself are now sort of breaking [G] up
and you're going your way and John, you're off to Brisbane, Melbourne, Melbourne tonight.
How did you first meet?
[D] It was a long time ago in California under strange circumstances.
Please tell.
Well, he [Cm] was a fan of Albert Underground for a long time
and I [D] was really embarrassed by that
because [N] when I heard his music, I mean, it's embarrassing to hear
that somebody likes [Gb] another kind of music [Eb] when they're talented themselves.
Yeah.
_ _ [D] And the kind of music he was doing was exactly that fragile, weak sister kind of.
Right.
We might go into that a bit further tonight, I don't think. Oh, no.
Let's move in.
[C] You met him as an A&R man, not_
No, I knew him before.
Oh, you knew him before that, but then as an artist.
It's very difficult to relate [Ab] to him as an A&R man because it was a business situation
and [C] I felt more as a friend than as someone who should be adjudicating his career.
Right.
So when it got to that [C] stage, how were you then into that area,
working with record companies, etc.,
after having been with Velvet Underground?
It was something I wanted to do.
I mean, from being a [F] side man in the Velvet Underground to being a [Gb] performing artist
to being an A&R person, you [G] learn a lot about the record industry from that position.
And I did learn a lot.
Well, you've gone on [D] to produce a heck of a lot of people.
Can you run through them?
Well, Patti Smith and Dickie and Chunky No and Ernie.
Most of those people, _ [B] what I'm proud [G] of about those people and my involvement with Jonathan
is that [Ab] there aren't any other [Fm] musicians like those around.
There aren't musicians like Patti around.
There [F] aren't musicians like Jonathan around.
There aren't any like [C] Iggy and Stooges.
Do you think that there will [E] ever _ [D] be a reformation of Velvet Underground to do a one-off
So I start tumbling around.
And [D] that's the only reason you do it.
You're fairly muscley.
I thought you might be into a physical fitness.
Well not weightlift.
But I like to move around a lot.
Do you prefer to work live [Eb] solo or live with the [C] band?
Oh, if I could have had the whole Modern Lovers here, they'd be here.
But the funny thing is, solo works pretty good for TV.
Like if there was a big dance hall situation, then I'd definitely miss the band.
But this works pretty good.
When you [N] were on a television show in Sydney the other morning, you wrote a song while you were there.
How prolific are you?
Do you write [Em] all day, every day, wherever you are?
No, if he hadn't challenged me to make [Ab] up a song before the show was over, [A] I wouldn't have made up a song that day.
So you're not sort of like Rod McKeown who goes around with a [Em] pen and paper and jots down things [E] for verse and songs all the time.
Sometimes I do.
I've [Ab] got a notebook.
I make up ideas.
But sometimes I'll make up one song a month [Em] or something.
What did you think of [Gb] the Aussie audiences the other night when you worked in Sydney?
I think they were confused a little.
Do you think so?
I've [G] heard good reports.
Yeah, well, I just think they were confused.
Sometimes they were almost so [E] quiet that I wondered whether anyone was [Ab] there.
[E] How would you describe the blend between yourself [C] and John?
Kind of like Bozo the Clown [N] opening for John Paul Sartre.
We'll find out how you met John in [G] just a moment.
Will you do that song for us now?
Sure.
What's this one called?
Let [Gb] me see.
Why don't we do Vincent Van [D] Gogh?
Yeah, well, why not, John?
Okay.
Are you ready?
Okay.
Okay, then I'm [G] ready too.
Well, have you heard about the painter [D] Vincent Van Gogh
[C] Who loved color and he [G] let it show
And in a [D] museum, what have we here
[G] The baddest painter since ancient Jan Vermeer
See, he loved, [A] he loved, he loved life so bad
[G] His paintings had full twice the color that other paintings had
So bad, so bad that the world had to know
The man loved color and he let it show _ _ _ _ _ _
So, what can we say [A] about this Vincent Van Gogh
[G] He loved color and he let it show
And [Bm] in a museum, what have we [B] here
The baddest [C] painter since Jan [G] Vermeer
See, he loved, [D] he loved, he loved life so [G] bad
His paintings had full [G] twice the color that other paintings had
So bad, so bad that the world had to know
The man loved color and he let [Em] it show
Vincent [C] Van Gogh, Vincent [G] Van Gogh
Jonathan [D] Richman, thank you very, very much.
And you're on tonight at the Trade Union Club [E] in Sydney.
Yeah.
Let's give that a mention.
Try [A] and catch him.
He did kill them the other night with John Cale.
[C] So don't get, but you can still come.
Right.
But John Cale and yourself are now sort of breaking [G] up
and you're going your way and John, you're off to Brisbane, Melbourne, Melbourne tonight.
How did you first meet?
[D] It was a long time ago in California under strange circumstances.
Please tell.
Well, he [Cm] was a fan of Albert Underground for a long time
and I [D] was really embarrassed by that
because [N] when I heard his music, I mean, it's embarrassing to hear
that somebody likes [Gb] another kind of music [Eb] when they're talented themselves.
Yeah.
_ _ [D] And the kind of music he was doing was exactly that fragile, weak sister kind of.
Right.
We might go into that a bit further tonight, I don't think. Oh, no.
Let's move in.
[C] You met him as an A&R man, not_
No, I knew him before.
Oh, you knew him before that, but then as an artist.
It's very difficult to relate [Ab] to him as an A&R man because it was a business situation
and [C] I felt more as a friend than as someone who should be adjudicating his career.
Right.
So when it got to that [C] stage, how were you then into that area,
working with record companies, etc.,
after having been with Velvet Underground?
It was something I wanted to do.
I mean, from being a [F] side man in the Velvet Underground to being a [Gb] performing artist
to being an A&R person, you [G] learn a lot about the record industry from that position.
And I did learn a lot.
Well, you've gone on [D] to produce a heck of a lot of people.
Can you run through them?
Well, Patti Smith and Dickie and Chunky No and Ernie.
Most of those people, _ [B] what I'm proud [G] of about those people and my involvement with Jonathan
is that [Ab] there aren't any other [Fm] musicians like those around.
There aren't musicians like Patti around.
There [F] aren't musicians like Jonathan around.
There aren't any like [C] Iggy and Stooges.
Do you think that there will [E] ever _ [D] be a reformation of Velvet Underground to do a one-off