Chords for Justin Hayward - Interview 1995 Part 2
Tempo:
113.4 bpm
Chords used:
Ab
Gb
A
Bb
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Talk about Nights in White Sack with Justin Hayward at that [Db] particular time.
Where were you in your [N] career?
Yeah.
Have you joined the band?
How did you and John hook up with the band and then take me into Nights?
Well, what happened was when I was still with Marty, I was writing, like I said, I was his
guitar player in his backing group, which was really kind of rock and roll thing.
But the songs that I was finding myself writing were more melodic and even a little bit folky.
And I would just fire off songs to a lot of people in the hope that they would do them.
And I started [Em] to really see myself as just being a [Bb] songwriter, not a performer.
And [Ab] then I sent off some songs to Eric Burden, somebody in Eric Burden's office, who I knew.
[Gbm] And unbeknownst to me, he passed them on to Mike Pinder from the Moody Blues.
And completely out of the [Ab] blue, I was in a [Gb] music store one day in my hometown of Swindon
in [Ab] Wiltshire in England, west of England.
And the guy on the counter said, Hey, Justin, there's a call for you from a bloke who [A] says
he's from the Moody Blues.
And I said, Yeah, you're kidding.
I [Ab] picked up the phone and [N] it was Mike.
And he said, Oh, is this Justin?
You know, we've listened to your songs.
And three of the guys were trying to hold the group together.
The group had been together about a year before that.
And things had got pretty low and pretty grim.
And Mike and Ray and Graham were trying to really hold the band together.
And they said that they'd heard some of my songs and would I like to come up and meet Ray and Graham.
[A] Mike said this.
So I [Ab] said, Yeah, I'd love to.
So within a couple of days, I came up to [G] London and [A] met the three guys.
And we got on very well and just played a little bit together.
And it was really good.
And a couple of weeks later, I met John through Ray.
[E] And he was also coming to the group at the same time that I was.
Ray had known him before and called him up when they needed a bass player to sort of complete the five guys in the band.
So there we had it.
[Bb] And then the five of us were together.
And we started off as a rhythm and blues band.
We were playing rhythm and blues, which we all loved.
[Ab] But we weren't particularly good at.
But it was, you know, our street cred was we thought that that was the thing to do.
And so we did it.
And we played, carried on with that show for about a year.
But it was getting us nowhere.
We ran out of money.
I had to go back to living with [Gb] my parents at home [Ab] and just to try and struggle to pay the credit payments on the guitar and all of that kind of stuff.
And then we ended up up in the north of England doing a show.
And I think on the way home one night, we just decided, listen, it's just not working.
Let's just try and just do all our own songs.
And it was like, well, Joss is writing and Mike's writing.
Let's just do their songs and everybody in the band will start having a go at songwriting and see what happens.
And it was an all or nothing kind [A] of thing.
And [Gb] we went into a little church hall in west London somewhere for a week or so and rehearsed up all of these new songs, threw away our old blue suits, just forgot all that sort of rhythm and blues stuff.
And then just started playing our own songs, carried on getting a few small gigs.
[A] And we developed a really [F] strong following [Gb] around this.
[Ab] And it was a revelation to us, really.
And then the record company, [Gb] Decca, who we actually owed some money to, we'd made some records with them previously.
And they'd bought us a bit of equipment or something.
And we owed them some money.
They asked us if we'd make a demonstration record to demonstrate that stereo could be as interesting for rock and roll as it was for classical music.
[Eb] And they were trying to sell stereo rock and roll records.
And so we said that yes, we'd do that.
And they said we want a rock version of Dvorak so that it'll be not classical but not rock but just so people will see that it works.
So along with the executive producer, we decided sort of in secret that we weren't going to do Dvorak.
And we were just going to take this one opportunity, we just had one opportunity to record our own songs.
And we might never have it again.
But they were offering us a week's studio time.
[Ab]
And so we went in the studio and just recorded all our own songs.
And Peter Knight, the orchestral arranger who was doing the gaps in between, he was in on the conspiracy too.
And within what we did four days recording our own songs and then [E] one day with the orchestra.
And that turned into an album called Days of Future Past.
And we started writing that with two songs.
Mike had written a song called Dawn Is a Feeling that I really liked.
And it really turned me on to writing a song called Nights in White Satin.
[Ab] And I wrote Nights one day in a little bed sitting room in Bayswater in West London.
And very quickly, just a few
Where were you in your [N] career?
Yeah.
Have you joined the band?
How did you and John hook up with the band and then take me into Nights?
Well, what happened was when I was still with Marty, I was writing, like I said, I was his
guitar player in his backing group, which was really kind of rock and roll thing.
But the songs that I was finding myself writing were more melodic and even a little bit folky.
And I would just fire off songs to a lot of people in the hope that they would do them.
And I started [Em] to really see myself as just being a [Bb] songwriter, not a performer.
And [Ab] then I sent off some songs to Eric Burden, somebody in Eric Burden's office, who I knew.
[Gbm] And unbeknownst to me, he passed them on to Mike Pinder from the Moody Blues.
And completely out of the [Ab] blue, I was in a [Gb] music store one day in my hometown of Swindon
in [Ab] Wiltshire in England, west of England.
And the guy on the counter said, Hey, Justin, there's a call for you from a bloke who [A] says
he's from the Moody Blues.
And I said, Yeah, you're kidding.
I [Ab] picked up the phone and [N] it was Mike.
And he said, Oh, is this Justin?
You know, we've listened to your songs.
And three of the guys were trying to hold the group together.
The group had been together about a year before that.
And things had got pretty low and pretty grim.
And Mike and Ray and Graham were trying to really hold the band together.
And they said that they'd heard some of my songs and would I like to come up and meet Ray and Graham.
[A] Mike said this.
So I [Ab] said, Yeah, I'd love to.
So within a couple of days, I came up to [G] London and [A] met the three guys.
And we got on very well and just played a little bit together.
And it was really good.
And a couple of weeks later, I met John through Ray.
[E] And he was also coming to the group at the same time that I was.
Ray had known him before and called him up when they needed a bass player to sort of complete the five guys in the band.
So there we had it.
[Bb] And then the five of us were together.
And we started off as a rhythm and blues band.
We were playing rhythm and blues, which we all loved.
[Ab] But we weren't particularly good at.
But it was, you know, our street cred was we thought that that was the thing to do.
And so we did it.
And we played, carried on with that show for about a year.
But it was getting us nowhere.
We ran out of money.
I had to go back to living with [Gb] my parents at home [Ab] and just to try and struggle to pay the credit payments on the guitar and all of that kind of stuff.
And then we ended up up in the north of England doing a show.
And I think on the way home one night, we just decided, listen, it's just not working.
Let's just try and just do all our own songs.
And it was like, well, Joss is writing and Mike's writing.
Let's just do their songs and everybody in the band will start having a go at songwriting and see what happens.
And it was an all or nothing kind [A] of thing.
And [Gb] we went into a little church hall in west London somewhere for a week or so and rehearsed up all of these new songs, threw away our old blue suits, just forgot all that sort of rhythm and blues stuff.
And then just started playing our own songs, carried on getting a few small gigs.
[A] And we developed a really [F] strong following [Gb] around this.
[Ab] And it was a revelation to us, really.
And then the record company, [Gb] Decca, who we actually owed some money to, we'd made some records with them previously.
And they'd bought us a bit of equipment or something.
And we owed them some money.
They asked us if we'd make a demonstration record to demonstrate that stereo could be as interesting for rock and roll as it was for classical music.
[Eb] And they were trying to sell stereo rock and roll records.
And so we said that yes, we'd do that.
And they said we want a rock version of Dvorak so that it'll be not classical but not rock but just so people will see that it works.
So along with the executive producer, we decided sort of in secret that we weren't going to do Dvorak.
And we were just going to take this one opportunity, we just had one opportunity to record our own songs.
And we might never have it again.
But they were offering us a week's studio time.
[Ab]
And so we went in the studio and just recorded all our own songs.
And Peter Knight, the orchestral arranger who was doing the gaps in between, he was in on the conspiracy too.
And within what we did four days recording our own songs and then [E] one day with the orchestra.
And that turned into an album called Days of Future Past.
And we started writing that with two songs.
Mike had written a song called Dawn Is a Feeling that I really liked.
And it really turned me on to writing a song called Nights in White Satin.
[Ab] And I wrote Nights one day in a little bed sitting room in Bayswater in West London.
And very quickly, just a few
Key:
Ab
Gb
A
Bb
E
Ab
Gb
A
Talk about Nights in White Sack _ _ _ with Justin Hayward at that [Db] particular time.
Where were you in your [N] career?
Yeah.
_ Have you joined the band?
How did you and John hook up with the band and then take me into Nights?
Well, what happened was when I was still with Marty, I was writing, _ like I said, I was his
guitar player in his backing group, which was really kind of rock and roll thing.
But _ the songs that I was finding myself writing were more melodic and even a little bit folky.
And I would just fire off songs to a lot of people in the hope that they would do them.
And I started [Em] to really see myself as just being a [Bb] songwriter, not a performer.
And [Ab] then _ I sent off some songs to Eric Burden, somebody in Eric Burden's office, who I knew.
_ [Gbm] And unbeknownst to me, he passed them on to Mike Pinder from the Moody Blues.
And completely out of the [Ab] blue, I was in a [Gb] music store one day in my hometown of Swindon
in [Ab] Wiltshire in England, west of England.
And the guy on the counter said, Hey, Justin, there's a call for you from a bloke who [A] says
he's from the Moody Blues.
And _ I said, Yeah, you're kidding.
I [Ab] picked up the phone and _ _ [N] it was Mike.
And he said, Oh, is this Justin?
You know, we've listened to your songs.
And three of the guys were trying to hold the group together.
The group had been together about a year before that.
_ _ And things had got pretty low and pretty grim.
And Mike and Ray and Graham were trying to really hold the band together.
And they said that they'd heard some of my songs and would I like to come up and meet Ray and Graham.
[A] Mike said this.
So I [Ab] said, Yeah, I'd love to.
So within a couple of days, I came up to [G] London and [A] met the three guys.
And we got on very well and just played a little bit together.
And it was really good.
_ And a couple of weeks later, _ I met John through Ray.
[E] And he was also coming to the group at the same time that I was.
Ray had known him before and called him up when they needed a bass player to sort of complete the five guys in the band.
So there we had it.
[Bb] And then the five of us were together.
And we started off as a rhythm and blues band.
We were playing rhythm and blues, which we all loved.
[Ab] But we weren't particularly good at.
_ _ But it was, you know, our street cred was we thought that that was the thing to do.
_ And so we did it.
And we played, carried on with that show for about a year.
But it was getting us nowhere.
We ran out of money.
I had to go back to living with [Gb] my parents at home [Ab] and just to try and struggle to pay the credit payments on the guitar and all of that kind of stuff.
And then _ _ we ended up up in the north of England doing a show.
And I think on the way home one night, we just decided, listen, it's just not working.
Let's just try and just do all our own songs.
And it was like, well, Joss is writing and Mike's writing.
Let's just do their songs and everybody in the band will start having a go at songwriting and see what happens.
And it was an all or nothing kind [A] of thing.
And [Gb] we went into a little church hall in west London somewhere for a week or so and rehearsed up all of these new songs, threw away our old blue suits, just forgot all that sort of rhythm and blues stuff.
And _ then just started playing our own songs, carried on getting a few small gigs.
[A] And we developed a really [F] strong following [Gb] around this.
[Ab] And it was a revelation to us, really.
And then the record company, [Gb] Decca, who we actually owed some money to, we'd made some records with them previously. _
And they'd bought us a bit of equipment or something.
And we owed them some money.
They asked us if we'd make a demonstration record to demonstrate that stereo could be as interesting for rock and roll as it was for classical music.
_ [Eb] And they were trying to sell stereo rock and roll records.
And so we said that yes, we'd do that.
And they said we want a rock version of Dvorak so that it'll be not classical but not rock but just so people will see that it works. _ _ _
So along with the executive producer, we decided sort of in secret that we weren't going to do Dvorak.
And we were just going to take this one opportunity, we just had one opportunity to record our own songs.
And we might never have it again.
But they were offering us a week's studio time.
_ [Ab]
And so we went in the studio and just recorded all our own songs.
And Peter Knight, the orchestral arranger who was doing the gaps in between, he was in on the conspiracy too.
And within what we did four days recording our own songs and then [E] one day with the orchestra.
And that turned into an album called Days of Future Past.
And we started writing that with two songs.
Mike had written a song called Dawn Is a Feeling that I really liked.
And it really turned me on to writing a song called Nights in White Satin.
[Ab] And _ I wrote Nights _ one day in a little bed sitting room in Bayswater in West London. _
_ And very quickly, just a few
Where were you in your [N] career?
Yeah.
_ Have you joined the band?
How did you and John hook up with the band and then take me into Nights?
Well, what happened was when I was still with Marty, I was writing, _ like I said, I was his
guitar player in his backing group, which was really kind of rock and roll thing.
But _ the songs that I was finding myself writing were more melodic and even a little bit folky.
And I would just fire off songs to a lot of people in the hope that they would do them.
And I started [Em] to really see myself as just being a [Bb] songwriter, not a performer.
And [Ab] then _ I sent off some songs to Eric Burden, somebody in Eric Burden's office, who I knew.
_ [Gbm] And unbeknownst to me, he passed them on to Mike Pinder from the Moody Blues.
And completely out of the [Ab] blue, I was in a [Gb] music store one day in my hometown of Swindon
in [Ab] Wiltshire in England, west of England.
And the guy on the counter said, Hey, Justin, there's a call for you from a bloke who [A] says
he's from the Moody Blues.
And _ I said, Yeah, you're kidding.
I [Ab] picked up the phone and _ _ [N] it was Mike.
And he said, Oh, is this Justin?
You know, we've listened to your songs.
And three of the guys were trying to hold the group together.
The group had been together about a year before that.
_ _ And things had got pretty low and pretty grim.
And Mike and Ray and Graham were trying to really hold the band together.
And they said that they'd heard some of my songs and would I like to come up and meet Ray and Graham.
[A] Mike said this.
So I [Ab] said, Yeah, I'd love to.
So within a couple of days, I came up to [G] London and [A] met the three guys.
And we got on very well and just played a little bit together.
And it was really good.
_ And a couple of weeks later, _ I met John through Ray.
[E] And he was also coming to the group at the same time that I was.
Ray had known him before and called him up when they needed a bass player to sort of complete the five guys in the band.
So there we had it.
[Bb] And then the five of us were together.
And we started off as a rhythm and blues band.
We were playing rhythm and blues, which we all loved.
[Ab] But we weren't particularly good at.
_ _ But it was, you know, our street cred was we thought that that was the thing to do.
_ And so we did it.
And we played, carried on with that show for about a year.
But it was getting us nowhere.
We ran out of money.
I had to go back to living with [Gb] my parents at home [Ab] and just to try and struggle to pay the credit payments on the guitar and all of that kind of stuff.
And then _ _ we ended up up in the north of England doing a show.
And I think on the way home one night, we just decided, listen, it's just not working.
Let's just try and just do all our own songs.
And it was like, well, Joss is writing and Mike's writing.
Let's just do their songs and everybody in the band will start having a go at songwriting and see what happens.
And it was an all or nothing kind [A] of thing.
And [Gb] we went into a little church hall in west London somewhere for a week or so and rehearsed up all of these new songs, threw away our old blue suits, just forgot all that sort of rhythm and blues stuff.
And _ then just started playing our own songs, carried on getting a few small gigs.
[A] And we developed a really [F] strong following [Gb] around this.
[Ab] And it was a revelation to us, really.
And then the record company, [Gb] Decca, who we actually owed some money to, we'd made some records with them previously. _
And they'd bought us a bit of equipment or something.
And we owed them some money.
They asked us if we'd make a demonstration record to demonstrate that stereo could be as interesting for rock and roll as it was for classical music.
_ [Eb] And they were trying to sell stereo rock and roll records.
And so we said that yes, we'd do that.
And they said we want a rock version of Dvorak so that it'll be not classical but not rock but just so people will see that it works. _ _ _
So along with the executive producer, we decided sort of in secret that we weren't going to do Dvorak.
And we were just going to take this one opportunity, we just had one opportunity to record our own songs.
And we might never have it again.
But they were offering us a week's studio time.
_ [Ab]
And so we went in the studio and just recorded all our own songs.
And Peter Knight, the orchestral arranger who was doing the gaps in between, he was in on the conspiracy too.
And within what we did four days recording our own songs and then [E] one day with the orchestra.
And that turned into an album called Days of Future Past.
And we started writing that with two songs.
Mike had written a song called Dawn Is a Feeling that I really liked.
And it really turned me on to writing a song called Nights in White Satin.
[Ab] And _ I wrote Nights _ one day in a little bed sitting room in Bayswater in West London. _
_ And very quickly, just a few