Chords for Justin Hayward - Interview 1995 Part 3
Tempo:
73.2 bpm
Chords used:
Ab
Gb
G
E
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Just a few minutes and it really expressed what was in my heart at that time.
I was at the end of a big love affair in my life and beginning a new one.
And it had a lot of meaning for me.
And I knew that it moved me very much.
And the next day I took it into the rehearsal room and played it to the other guys.
And they said, no, it's all right.
They said, but it kind of needs something else.
So Ray and Mike and the guys really kind of worked out the sort of flutey bit in the middle.
And then when we put all that together and I sang, you know,
[E] And then Mike went,
[Ab] And that completed the arrangement somehow.
And we started doing it on the road and we were getting a tremendous response from [E] this song.
And we recorded it first, long time before Days of Future Past for the BBC.
And the [G] original recording for the BBC was broadcast and then [Gb] wiped.
And of course, when we heard it on the radio, it was for a song for a show called Easy Beat.
We heard it on the radio and we were in our van going to some gig.
And as soon as we got to the, we heard it on the radio, we thought, this is great.
We hadn't heard it back when we did it in the theatre where we [Ab] recorded it.
So we phoned up the BBC and said, have you got that tape that we did nights with?
And they said, oh no, we wiped it.
We use the tape, we don't keep tape, we just wipe tape and use it again next week.
Oh no.
And we convinced ourselves we'd never be able to record it as well again.
But six months later, we did record it.
And, well, it was great.
And it immediately went to number one in France.
And really the whole thing blossomed from there and then on around the world and changed our lives.
[A] [E] As far as the years went [C] on, did your style of writing [Ab] change?
Very much.
I think that there's a, for most writers, there's kind of a naivety about their songs when they're younger.
[B] That's very appealing.
And they don't mind taking the [N] kind of risks.
I think as you get older, you kind of become a little safer.
Because you kind of know what works more and more.
When you're younger, you're experimenting and you come across a lot of situations in songwriting or recording that you've never come across before.
And you barge in and just see what happens.
As you get more experienced, I think that you learn to know what works and what doesn't work.
And sometimes that's restricting.
But I always hope that the kind of naivety of youth is replaced with a kind of wisdom of maturity.
And I think that's probably right, really.
And, you know, the passion of youth is probably replaced by [F] a different kind of urgency as [Eb] you mature as [Gb] a writer.
[C] Lately you've been writing a series [Gbm] of songs [Am] outside the Moody Blues [A] on your own.
What has that experience been [Gb] like?
Well, I've always done things outside of the band, really because of just the amount of songs that I write.
Because I kind of write songs for pleasure and as a form of, [G] it's almost like a duty to myself, you know, to keep trying to express myself.
Because I have a great [Ab] deal of satisfaction in [E] writing and completing songs.
And this time I've been, I had maybe a dozen, [G] 15 songs that I started working on near my home in France.
And then during the [Ab] summer, a lot of my friends from down that part of the world who are great musicians,
Phil Palmer who works with Dire Straits and [G] Mickey Feart who [Gb] does a lot of stuff with Van Morrison and Tina Turner.
[E] These guys were just personal friends.
And it was really, well, why don't we just put some of [Ab] this stuff down, you know, and [F] my own songs.
So we went across to Italy this summer and on the Ligurian coast there, found a beautiful little studio right by the sea.
And we [Bb] spent a month putting these songs down and it's the most pleasurable and creative [Gb] experience I've had in many, many years.
And I think [G] we've done [Gb] some wonderful, wonderful things.
I'm very, very pleased.
[C] Short of all the [F] obvious successes, [Ab] what has your music done for you?
Well, [E] it's allowed me to do things that I never really dreamed of.
It's enabled me to go to places and to meet people and to lead a kind of life that I just never really, you [Ab] couldn't even dream about, you know.
And it's the one thing that I know that knows no [G] boundaries or barriers and transcends any [Ab] kind of political kind of [Gb] walls or anything like that.
[Ab] And [A] for me, it's a [Ab] magical, wonderful [Gb] world that I can't imagine life without.
And it [G] enhances, I think, every moment of my [A] life, you know.
And I think that it makes the world a better place.
[N]
I was at the end of a big love affair in my life and beginning a new one.
And it had a lot of meaning for me.
And I knew that it moved me very much.
And the next day I took it into the rehearsal room and played it to the other guys.
And they said, no, it's all right.
They said, but it kind of needs something else.
So Ray and Mike and the guys really kind of worked out the sort of flutey bit in the middle.
And then when we put all that together and I sang, you know,
[E] And then Mike went,
[Ab] And that completed the arrangement somehow.
And we started doing it on the road and we were getting a tremendous response from [E] this song.
And we recorded it first, long time before Days of Future Past for the BBC.
And the [G] original recording for the BBC was broadcast and then [Gb] wiped.
And of course, when we heard it on the radio, it was for a song for a show called Easy Beat.
We heard it on the radio and we were in our van going to some gig.
And as soon as we got to the, we heard it on the radio, we thought, this is great.
We hadn't heard it back when we did it in the theatre where we [Ab] recorded it.
So we phoned up the BBC and said, have you got that tape that we did nights with?
And they said, oh no, we wiped it.
We use the tape, we don't keep tape, we just wipe tape and use it again next week.
Oh no.
And we convinced ourselves we'd never be able to record it as well again.
But six months later, we did record it.
And, well, it was great.
And it immediately went to number one in France.
And really the whole thing blossomed from there and then on around the world and changed our lives.
[A] [E] As far as the years went [C] on, did your style of writing [Ab] change?
Very much.
I think that there's a, for most writers, there's kind of a naivety about their songs when they're younger.
[B] That's very appealing.
And they don't mind taking the [N] kind of risks.
I think as you get older, you kind of become a little safer.
Because you kind of know what works more and more.
When you're younger, you're experimenting and you come across a lot of situations in songwriting or recording that you've never come across before.
And you barge in and just see what happens.
As you get more experienced, I think that you learn to know what works and what doesn't work.
And sometimes that's restricting.
But I always hope that the kind of naivety of youth is replaced with a kind of wisdom of maturity.
And I think that's probably right, really.
And, you know, the passion of youth is probably replaced by [F] a different kind of urgency as [Eb] you mature as [Gb] a writer.
[C] Lately you've been writing a series [Gbm] of songs [Am] outside the Moody Blues [A] on your own.
What has that experience been [Gb] like?
Well, I've always done things outside of the band, really because of just the amount of songs that I write.
Because I kind of write songs for pleasure and as a form of, [G] it's almost like a duty to myself, you know, to keep trying to express myself.
Because I have a great [Ab] deal of satisfaction in [E] writing and completing songs.
And this time I've been, I had maybe a dozen, [G] 15 songs that I started working on near my home in France.
And then during the [Ab] summer, a lot of my friends from down that part of the world who are great musicians,
Phil Palmer who works with Dire Straits and [G] Mickey Feart who [Gb] does a lot of stuff with Van Morrison and Tina Turner.
[E] These guys were just personal friends.
And it was really, well, why don't we just put some of [Ab] this stuff down, you know, and [F] my own songs.
So we went across to Italy this summer and on the Ligurian coast there, found a beautiful little studio right by the sea.
And we [Bb] spent a month putting these songs down and it's the most pleasurable and creative [Gb] experience I've had in many, many years.
And I think [G] we've done [Gb] some wonderful, wonderful things.
I'm very, very pleased.
[C] Short of all the [F] obvious successes, [Ab] what has your music done for you?
Well, [E] it's allowed me to do things that I never really dreamed of.
It's enabled me to go to places and to meet people and to lead a kind of life that I just never really, you [Ab] couldn't even dream about, you know.
And it's the one thing that I know that knows no [G] boundaries or barriers and transcends any [Ab] kind of political kind of [Gb] walls or anything like that.
[Ab] And [A] for me, it's a [Ab] magical, wonderful [Gb] world that I can't imagine life without.
And it [G] enhances, I think, every moment of my [A] life, you know.
And I think that it makes the world a better place.
[N]
Key:
Ab
Gb
G
E
A
Ab
Gb
G
Just a few minutes and it really expressed what was in my heart at that time.
I was at the end of a big love affair in my life and beginning a new one.
And it had a lot of meaning for me.
_ And I knew that it moved me very much.
And the next day I took it into the rehearsal room and played it to the other guys.
And they said, no, it's all right.
They said, but it kind of needs something else.
So Ray and Mike and the guys really kind of worked out the sort of flutey bit in the middle.
And then when we put all that together and I sang, you know,
_ [E] And then Mike went,
_ [Ab] And that completed the arrangement somehow. _
And we started doing it on the road and we were getting a tremendous response from [E] this song.
And we recorded it first, long time before Days of Future Past for the BBC. _
And the [G] original recording for the BBC was broadcast and then [Gb] wiped.
And of course, when we heard it on the radio, it was for a song for a show called Easy Beat.
We heard it on the radio and we were in our van going to some gig.
And as soon as we got to the, we heard it on the radio, we thought, this is great.
We hadn't heard it back when we did it in the theatre where we [Ab] recorded it.
So we phoned up the BBC and said, have you got that tape that we did nights with?
And they said, oh no, we wiped it.
We use the tape, we don't keep tape, we just wipe tape and use it again next week.
Oh no.
And we convinced ourselves we'd never be able to record it as well again.
But six months later, we did record it. _
_ And, well, it was great.
And it immediately went to number one in France.
And really the whole thing blossomed from there and then on around the world and changed our lives.
_ [A] _ _ [E] As far as the years went [C] on, did your style of writing [Ab] change? _
Very much.
I think that there's a, for most writers, there's kind of a naivety about their songs when they're younger.
[B] That's very appealing.
And they don't mind taking the [N] kind of risks.
I think as you get older, you kind of become a little safer.
Because you kind of know what works more and more.
When you're younger, you're experimenting and you come across a lot of situations in songwriting or recording that you've never come across before.
And you barge in and just see what happens.
As you get more experienced, I think that you learn to know what works and what doesn't work.
And sometimes that's restricting.
But I always hope that the kind of naivety of youth is replaced with a kind of wisdom of maturity.
And I think that's probably right, really.
And, you know, the passion of youth is probably replaced by [F] a different kind of urgency as [Eb] you mature as [Gb] a writer.
_ [C] Lately you've been writing a series [Gbm] of songs _ [Am] outside the Moody Blues [A] on your own.
What has that experience been [Gb] like?
Well, I've always done things outside of the band, really because of just the amount of songs that I write.
Because I kind of write songs for pleasure and as a form of, [G] it's almost like a duty to myself, you know, to keep trying to express myself.
Because I have a great [Ab] deal of satisfaction in [E] writing and completing songs.
And this time I've been, I had maybe a dozen, [G] 15 songs that I started working on near my home in France.
And then during the [Ab] summer, a lot of my friends from down that part of the world who are great musicians,
Phil Palmer who works with Dire Straits and [G] Mickey Feart who [Gb] does a lot of stuff with Van Morrison and Tina Turner.
[E] These guys were just personal friends.
And it was really, well, why don't we just put some of [Ab] this stuff down, you know, and [F] my own songs.
So we went across to Italy this summer and on the Ligurian coast there, found a beautiful little studio right by the sea.
And we [Bb] spent a month putting these songs down and it's the most pleasurable and creative [Gb] experience I've had in many, many years.
And I think [G] we've done [Gb] some wonderful, wonderful things.
I'm very, very pleased.
[C] Short of all the [F] obvious successes, _ [Ab] what has your music done for you?
Well, _ [E] _ _ it's allowed me to do _ things that I never really dreamed of.
It's enabled me to go to places and to meet people and to lead a kind of life that I just never really, you [Ab] couldn't even dream about, you know.
And it's the one thing that I know that knows no [G] boundaries or barriers and transcends any [Ab] kind of political kind of [Gb] walls or anything like that.
[Ab] And [A] for me, it's a [Ab] magical, wonderful [Gb] world that I can't imagine life without.
And it _ [G] enhances, I think, every moment of my [A] life, you know.
And I think that it makes the world a better place.
_ [N] _
I was at the end of a big love affair in my life and beginning a new one.
And it had a lot of meaning for me.
_ And I knew that it moved me very much.
And the next day I took it into the rehearsal room and played it to the other guys.
And they said, no, it's all right.
They said, but it kind of needs something else.
So Ray and Mike and the guys really kind of worked out the sort of flutey bit in the middle.
And then when we put all that together and I sang, you know,
_ [E] And then Mike went,
_ [Ab] And that completed the arrangement somehow. _
And we started doing it on the road and we were getting a tremendous response from [E] this song.
And we recorded it first, long time before Days of Future Past for the BBC. _
And the [G] original recording for the BBC was broadcast and then [Gb] wiped.
And of course, when we heard it on the radio, it was for a song for a show called Easy Beat.
We heard it on the radio and we were in our van going to some gig.
And as soon as we got to the, we heard it on the radio, we thought, this is great.
We hadn't heard it back when we did it in the theatre where we [Ab] recorded it.
So we phoned up the BBC and said, have you got that tape that we did nights with?
And they said, oh no, we wiped it.
We use the tape, we don't keep tape, we just wipe tape and use it again next week.
Oh no.
And we convinced ourselves we'd never be able to record it as well again.
But six months later, we did record it. _
_ And, well, it was great.
And it immediately went to number one in France.
And really the whole thing blossomed from there and then on around the world and changed our lives.
_ [A] _ _ [E] As far as the years went [C] on, did your style of writing [Ab] change? _
Very much.
I think that there's a, for most writers, there's kind of a naivety about their songs when they're younger.
[B] That's very appealing.
And they don't mind taking the [N] kind of risks.
I think as you get older, you kind of become a little safer.
Because you kind of know what works more and more.
When you're younger, you're experimenting and you come across a lot of situations in songwriting or recording that you've never come across before.
And you barge in and just see what happens.
As you get more experienced, I think that you learn to know what works and what doesn't work.
And sometimes that's restricting.
But I always hope that the kind of naivety of youth is replaced with a kind of wisdom of maturity.
And I think that's probably right, really.
And, you know, the passion of youth is probably replaced by [F] a different kind of urgency as [Eb] you mature as [Gb] a writer.
_ [C] Lately you've been writing a series [Gbm] of songs _ [Am] outside the Moody Blues [A] on your own.
What has that experience been [Gb] like?
Well, I've always done things outside of the band, really because of just the amount of songs that I write.
Because I kind of write songs for pleasure and as a form of, [G] it's almost like a duty to myself, you know, to keep trying to express myself.
Because I have a great [Ab] deal of satisfaction in [E] writing and completing songs.
And this time I've been, I had maybe a dozen, [G] 15 songs that I started working on near my home in France.
And then during the [Ab] summer, a lot of my friends from down that part of the world who are great musicians,
Phil Palmer who works with Dire Straits and [G] Mickey Feart who [Gb] does a lot of stuff with Van Morrison and Tina Turner.
[E] These guys were just personal friends.
And it was really, well, why don't we just put some of [Ab] this stuff down, you know, and [F] my own songs.
So we went across to Italy this summer and on the Ligurian coast there, found a beautiful little studio right by the sea.
And we [Bb] spent a month putting these songs down and it's the most pleasurable and creative [Gb] experience I've had in many, many years.
And I think [G] we've done [Gb] some wonderful, wonderful things.
I'm very, very pleased.
[C] Short of all the [F] obvious successes, _ [Ab] what has your music done for you?
Well, _ [E] _ _ it's allowed me to do _ things that I never really dreamed of.
It's enabled me to go to places and to meet people and to lead a kind of life that I just never really, you [Ab] couldn't even dream about, you know.
And it's the one thing that I know that knows no [G] boundaries or barriers and transcends any [Ab] kind of political kind of [Gb] walls or anything like that.
[Ab] And [A] for me, it's a [Ab] magical, wonderful [Gb] world that I can't imagine life without.
And it _ [G] enhances, I think, every moment of my [A] life, you know.
And I think that it makes the world a better place.
_ [N] _