Chords for Kevin Ayers and his 'normal' life with Sixties friends
Tempo:
110.15 bpm
Chords used:
E
D
G
A
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[E] [G] [A]
[N]
The one important factor of that was there was a kind of feeling of unification, of people
coming together, of that generation of people questioning, I suppose that is, saying, you
know, why do we have to have this set of rules?
And the bands were the kind of glue, or if
you like, the reason you could get together.
And we had light shows and stuff like that,
but for me it was just such a normal thing.
I can't really make any comparison.
Well,
I think it was counter to the fact that the world had just been changed terribly by the
war.
What was great [E] was for the first time in history you had a younger generation fighting
back, [D] saying, you know, [N] we don't really want to do this, and that sort of thing.
And the
first time ever in history of man, in fact, that a young generation has got up and complained
and questioned even.
And the music at that time was the bands like Suffocine and Pink
Floyd.
They were like the marching bands.
They provided the rhythm, the social, and
asking the same questions and saying, you know, we don't really want to do what our
parents did.
We were on tour together.
We were often in the same hotels.
I mean, you
know, normally you have the support group hotel, and then you have the stars hotel,
right, the peeling, cleaning.
But sometimes we stayed in the same hotel.
And occasionally
I saw Jimi Hendrix in the early morning before he started to become Jimi Hendrix.
He was
just a real sweet little kid, really innocent, you know, once the group is gone.
And very
shy.
And then you have to go through this whole process of various things to get to
being that other, the one that was expected.
The difference was staggering between, you
know, seeing the guy who wakes up in the morning and the guy who's on stage, you know, playing
his guitar and humping amps and stuff and playing brilliantly.
So, I mean, that alone
is a massive challenge for anybody to have to keep repeating yourself.
I think it was
written into his contract after a while that he had to go through those motions of like
humping the guitar, setting fire to it, humping the amps and that stuff.
He was really pissed
with that.
He said, you know, something I did spontaneously and now I have to do it.
And you could see it.
I mean, I was a real fan.
I used to watch, you know, sporting act
from, you know, he used to groom us, really.
Oh, I'm going to do this again.
And that's
the thing about the business, isn't it?
It gets you, takes away things you do that are
original, that are spontaneous, but suddenly you're obliged to do it and you have to get
there every fucking night, you know.
Fortunately, both people involved are dead now.
It's Mike
Jeffries and Charles Chalmers.
They would just keep him, you know, give him enough money
so he could indulge in what he wanted and maybe a car here or, you know, this or the
other.
But the real money went offshore and Hendrix never saw it.
And I think a lot of
people worked on no assumption in those days.
Basically, keep your artists stoned and supplied
with girls and whatever and they won't actually ask you how much they earned.
And I sort of
happened to soften shame all the money that we earned from our first album in the States
nicked by Chas Chandler, LSD.
I mean, you can't play on acid as Sid Barrett showed up.
But yes, it does make your mind work in a way that you're not told at school.
Well,
actually, I went to his flat, that flat that you see, I think, on the Maycup Bluffs, you
know, where he's sitting on the floor like that, because I was thinking of trying, you
know, to play something.
But he was,
[D] he must have been,
[N]
The one important factor of that was there was a kind of feeling of unification, of people
coming together, of that generation of people questioning, I suppose that is, saying, you
know, why do we have to have this set of rules?
And the bands were the kind of glue, or if
you like, the reason you could get together.
And we had light shows and stuff like that,
but for me it was just such a normal thing.
I can't really make any comparison.
Well,
I think it was counter to the fact that the world had just been changed terribly by the
war.
What was great [E] was for the first time in history you had a younger generation fighting
back, [D] saying, you know, [N] we don't really want to do this, and that sort of thing.
And the
first time ever in history of man, in fact, that a young generation has got up and complained
and questioned even.
And the music at that time was the bands like Suffocine and Pink
Floyd.
They were like the marching bands.
They provided the rhythm, the social, and
asking the same questions and saying, you know, we don't really want to do what our
parents did.
We were on tour together.
We were often in the same hotels.
I mean, you
know, normally you have the support group hotel, and then you have the stars hotel,
right, the peeling, cleaning.
But sometimes we stayed in the same hotel.
And occasionally
I saw Jimi Hendrix in the early morning before he started to become Jimi Hendrix.
He was
just a real sweet little kid, really innocent, you know, once the group is gone.
And very
shy.
And then you have to go through this whole process of various things to get to
being that other, the one that was expected.
The difference was staggering between, you
know, seeing the guy who wakes up in the morning and the guy who's on stage, you know, playing
his guitar and humping amps and stuff and playing brilliantly.
So, I mean, that alone
is a massive challenge for anybody to have to keep repeating yourself.
I think it was
written into his contract after a while that he had to go through those motions of like
humping the guitar, setting fire to it, humping the amps and that stuff.
He was really pissed
with that.
He said, you know, something I did spontaneously and now I have to do it.
And you could see it.
I mean, I was a real fan.
I used to watch, you know, sporting act
from, you know, he used to groom us, really.
Oh, I'm going to do this again.
And that's
the thing about the business, isn't it?
It gets you, takes away things you do that are
original, that are spontaneous, but suddenly you're obliged to do it and you have to get
there every fucking night, you know.
Fortunately, both people involved are dead now.
It's Mike
Jeffries and Charles Chalmers.
They would just keep him, you know, give him enough money
so he could indulge in what he wanted and maybe a car here or, you know, this or the
other.
But the real money went offshore and Hendrix never saw it.
And I think a lot of
people worked on no assumption in those days.
Basically, keep your artists stoned and supplied
with girls and whatever and they won't actually ask you how much they earned.
And I sort of
happened to soften shame all the money that we earned from our first album in the States
nicked by Chas Chandler, LSD.
I mean, you can't play on acid as Sid Barrett showed up.
But yes, it does make your mind work in a way that you're not told at school.
Well,
actually, I went to his flat, that flat that you see, I think, on the Maycup Bluffs, you
know, where he's sitting on the floor like that, because I was thinking of trying, you
know, to play something.
But he was,
[D] he must have been,
Key:
E
D
G
A
E
D
G
A
[E] _ _ _ [G] _ [A] _ _ _ _
_ _ _ _ _ _ [N] _ _
_ _ _ _ _ _ _ _
_ _ The one important factor of that was there was a kind of feeling of unification, of people
coming together, of that generation of people questioning, I suppose that is, saying, you
know, why do we have to have this set of rules?
And the bands were the kind of glue, or if
you like, _ _ the reason you could get together.
And we had light shows and stuff like that,
but for me it was just _ such a normal thing.
I can't really make any comparison.
Well,
I think it was counter to the fact that the world had just been changed terribly by the
war.
What was great [E] was for the first time in history you had a younger generation _ fighting
_ back, [D] saying, you know, [N] we don't really want to do _ _ this, _ _ and that sort of thing.
And _ _ _ the
first time ever in history of man, in fact, that a young generation has got up and _ _ _ complained
and questioned even.
And the music at that time was _ _ the bands like _ Suffocine and Pink
Floyd.
They were like the marching bands.
They provided the rhythm, _ the _ _ social, and _ _
_ _ asking the same questions and saying, you know, we don't really want to _ _ _ do what our
parents did.
We were on tour together.
We were often in the same hotels.
I mean, you
know, _ normally you have the support group hotel, and then you have the stars hotel,
right, the peeling, cleaning. _ _
But sometimes we stayed in the same hotel.
And _ occasionally
_ _ _ _ I _ _ saw Jimi Hendrix in the early morning before _ _ _ _ he started to become Jimi Hendrix.
He _ was
just a real sweet little kid, really innocent, you know, once the group is gone.
_ And very _
_ _ shy.
And then you have to go through this whole process of _ various things to get to
being that other, the one that was expected. _ _ _ _ _
_ _ _ _ _ The difference was staggering between, you
know, seeing the guy who wakes up in the morning and the guy who's on stage, you know, playing
his guitar and humping amps and stuff and playing brilliantly.
_ _ _ So, I mean, that alone
is a massive challenge for anybody to have to keep repeating yourself.
_ _ I think it was
written into his contract after a while that he had to go through those motions of like
humping the guitar, _ _ _ setting fire to it, humping the amps and that stuff.
_ _ _ _ He was really pissed
with that.
He said, you know, something I did spontaneously and now I have to do it.
_ _ And you could see it.
I mean, I was a real fan.
I used to watch, you know, sporting act
from, _ you know, he used to groom us, really.
Oh, I'm going to do this again.
_ _ And _ that's
the thing about the business, isn't it?
It gets you, takes away things you do that are
original, that are spontaneous, but _ suddenly _ _ you're obliged to do it and you have to get
there every fucking night, you know.
_ _ _ Fortunately, both people involved are dead now.
It's _ _ Mike
Jeffries and Charles Chalmers. _
_ _ _ They would just keep him, you know, give him enough money
so he could indulge in what he wanted and maybe a car here or, you know, this or the
other.
But the real money went offshore and Hendrix never saw it.
And I think a lot of
people worked on no assumption in those days.
_ Basically, keep your artists stoned _ and _ supplied
with girls and whatever and they won't actually ask you how much they earned. _
And I sort of _
_ happened to _ soften shame _ all the money that we earned from our first album in the States
_ nicked by Chas Chandler, LSD. _
_ _ _ I mean, you can't play on acid as Sid Barrett showed up. _ _ _ _
But yes, it does make your mind work in a way that you're not told at school.
_ _ Well,
actually, I went to his flat, _ that flat that you see, I think, on the Maycup Bluffs, you
know, where he's sitting on the floor like that, _ because I was thinking of _ _ trying, you
know, to play something.
But he was, _
[D] he must have been, _ _ _ _ _
_ _ _ _ _ _ [N] _ _
_ _ _ _ _ _ _ _
_ _ The one important factor of that was there was a kind of feeling of unification, of people
coming together, of that generation of people questioning, I suppose that is, saying, you
know, why do we have to have this set of rules?
And the bands were the kind of glue, or if
you like, _ _ the reason you could get together.
And we had light shows and stuff like that,
but for me it was just _ such a normal thing.
I can't really make any comparison.
Well,
I think it was counter to the fact that the world had just been changed terribly by the
war.
What was great [E] was for the first time in history you had a younger generation _ fighting
_ back, [D] saying, you know, [N] we don't really want to do _ _ this, _ _ and that sort of thing.
And _ _ _ the
first time ever in history of man, in fact, that a young generation has got up and _ _ _ complained
and questioned even.
And the music at that time was _ _ the bands like _ Suffocine and Pink
Floyd.
They were like the marching bands.
They provided the rhythm, _ the _ _ social, and _ _
_ _ asking the same questions and saying, you know, we don't really want to _ _ _ do what our
parents did.
We were on tour together.
We were often in the same hotels.
I mean, you
know, _ normally you have the support group hotel, and then you have the stars hotel,
right, the peeling, cleaning. _ _
But sometimes we stayed in the same hotel.
And _ occasionally
_ _ _ _ I _ _ saw Jimi Hendrix in the early morning before _ _ _ _ he started to become Jimi Hendrix.
He _ was
just a real sweet little kid, really innocent, you know, once the group is gone.
_ And very _
_ _ shy.
And then you have to go through this whole process of _ various things to get to
being that other, the one that was expected. _ _ _ _ _
_ _ _ _ _ The difference was staggering between, you
know, seeing the guy who wakes up in the morning and the guy who's on stage, you know, playing
his guitar and humping amps and stuff and playing brilliantly.
_ _ _ So, I mean, that alone
is a massive challenge for anybody to have to keep repeating yourself.
_ _ I think it was
written into his contract after a while that he had to go through those motions of like
humping the guitar, _ _ _ setting fire to it, humping the amps and that stuff.
_ _ _ _ He was really pissed
with that.
He said, you know, something I did spontaneously and now I have to do it.
_ _ And you could see it.
I mean, I was a real fan.
I used to watch, you know, sporting act
from, _ you know, he used to groom us, really.
Oh, I'm going to do this again.
_ _ And _ that's
the thing about the business, isn't it?
It gets you, takes away things you do that are
original, that are spontaneous, but _ suddenly _ _ you're obliged to do it and you have to get
there every fucking night, you know.
_ _ _ Fortunately, both people involved are dead now.
It's _ _ Mike
Jeffries and Charles Chalmers. _
_ _ _ They would just keep him, you know, give him enough money
so he could indulge in what he wanted and maybe a car here or, you know, this or the
other.
But the real money went offshore and Hendrix never saw it.
And I think a lot of
people worked on no assumption in those days.
_ Basically, keep your artists stoned _ and _ supplied
with girls and whatever and they won't actually ask you how much they earned. _
And I sort of _
_ happened to _ soften shame _ all the money that we earned from our first album in the States
_ nicked by Chas Chandler, LSD. _
_ _ _ I mean, you can't play on acid as Sid Barrett showed up. _ _ _ _
But yes, it does make your mind work in a way that you're not told at school.
_ _ Well,
actually, I went to his flat, _ that flat that you see, I think, on the Maycup Bluffs, you
know, where he's sitting on the floor like that, _ because I was thinking of _ _ trying, you
know, to play something.
But he was, _
[D] he must have been, _ _ _ _ _