Chords for Kristin Hersh interview - Part 1
Tempo:
102.15 bpm
Chords used:
Eb
D
B
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[D]
[N]
There are lots of songs I refuse to play and then I sort of realize I'm hurting somebody's
feelings and I play it.
It's not the good ones that hurt your feelings, it's the ones
that you screwed up, that you got in the way of.
And those remind you of a time you don't
want to return to.
I try not to do that because I don't think those were ever publishable
and I wish I hadn't recorded them and given them away.
I think you go through a period
of self-expression where you get all your garbage out and those songs you should probably
throw away.
They're pages from your diary and that leaves you clean for a real song
to come in.
Those real songs, I wrote them when I was 16 every now and then and I write
them now sometimes and I wrote them when I was 25 and they have no real attachment to
linear time.
[Eb] They will speak to me now, they'll speak to me then, they'll speak to other people
and that's publishable material.
So I try to stick with timeless songs regardless of
when they came to me.
[N] Sometimes I'm frustrated being in a trio when I can't play one of my
leads because the bottom just drops out of the song if I stop playing rhythm.
And then
sometimes I decide not to care and I play a lead anyway.
But for the most part the trio
has proved itself to be such a triangle of strength that I would find other instruments
invasive and distracting.
I've come to like the holes that we present.
It's a greater
opportunity for dynamic range whereas four people would present a wall of sound which
is not necessarily unattractive.
It can be a little wearing on the ears live.
With a
trio we can leave a gap and have a melody really present itself.
We can have a vocal
shine for a minute, we can have no vocal if we want and then you hear the texture of the
bass.
I've been working in a trio for so long that it would be very difficult for me to
have another instrument.
I did my last solo tour, it was five people on stage and I had
a 50 foot wave rhythm section and a string section and I stood in the middle trying to
balance these two very disparate elements.
The 50 foot wave rhythm section is very, you know,
math rock tight and the strings are very not.
They kind of slide into the timing and they slide
into the note.
And I had to bring those elements together and this is a relief to play with a
half.
It's a really stupid answer.
I write 50 foot wave songs on my SG's or my Les Paul.
I write
throwing music [Eb] songs on my Telecaster or my Strat and I write solo songs on my Conn's acoustics.
My [N] drummers tell me that this is a flawed system because they fight for different songs.
But I
think that when you're reaching for the original sound, that's the moment when you're hearing a
song and you know where it's supposed to sit, you know, drummers notwithstanding.
And I've seen my
drummers do excellent covers of each other's material and of my solo songs.
But I stand by
the guitar method because I think when you reach for the piece of wood, you know what's going on.
And after that, you're always a little bit left of center.
When you're in the song, you can speak
for it.
After that, it's sort of making stuff up and hoping you do the right thing.
It's like kids.
When they're born, you know exactly what they are.
And after that, all these questions come up and
all you can do is pour the cereal and put on the sweaters.
And so when you're in a studio,
you're kind of pouring cereal and putting on sweaters and hoping that you're doing the right [B] thing.
[N]
There are lots of songs I refuse to play and then I sort of realize I'm hurting somebody's
feelings and I play it.
It's not the good ones that hurt your feelings, it's the ones
that you screwed up, that you got in the way of.
And those remind you of a time you don't
want to return to.
I try not to do that because I don't think those were ever publishable
and I wish I hadn't recorded them and given them away.
I think you go through a period
of self-expression where you get all your garbage out and those songs you should probably
throw away.
They're pages from your diary and that leaves you clean for a real song
to come in.
Those real songs, I wrote them when I was 16 every now and then and I write
them now sometimes and I wrote them when I was 25 and they have no real attachment to
linear time.
[Eb] They will speak to me now, they'll speak to me then, they'll speak to other people
and that's publishable material.
So I try to stick with timeless songs regardless of
when they came to me.
[N] Sometimes I'm frustrated being in a trio when I can't play one of my
leads because the bottom just drops out of the song if I stop playing rhythm.
And then
sometimes I decide not to care and I play a lead anyway.
But for the most part the trio
has proved itself to be such a triangle of strength that I would find other instruments
invasive and distracting.
I've come to like the holes that we present.
It's a greater
opportunity for dynamic range whereas four people would present a wall of sound which
is not necessarily unattractive.
It can be a little wearing on the ears live.
With a
trio we can leave a gap and have a melody really present itself.
We can have a vocal
shine for a minute, we can have no vocal if we want and then you hear the texture of the
bass.
I've been working in a trio for so long that it would be very difficult for me to
have another instrument.
I did my last solo tour, it was five people on stage and I had
a 50 foot wave rhythm section and a string section and I stood in the middle trying to
balance these two very disparate elements.
The 50 foot wave rhythm section is very, you know,
math rock tight and the strings are very not.
They kind of slide into the timing and they slide
into the note.
And I had to bring those elements together and this is a relief to play with a
half.
It's a really stupid answer.
I write 50 foot wave songs on my SG's or my Les Paul.
I write
throwing music [Eb] songs on my Telecaster or my Strat and I write solo songs on my Conn's acoustics.
My [N] drummers tell me that this is a flawed system because they fight for different songs.
But I
think that when you're reaching for the original sound, that's the moment when you're hearing a
song and you know where it's supposed to sit, you know, drummers notwithstanding.
And I've seen my
drummers do excellent covers of each other's material and of my solo songs.
But I stand by
the guitar method because I think when you reach for the piece of wood, you know what's going on.
And after that, you're always a little bit left of center.
When you're in the song, you can speak
for it.
After that, it's sort of making stuff up and hoping you do the right thing.
It's like kids.
When they're born, you know exactly what they are.
And after that, all these questions come up and
all you can do is pour the cereal and put on the sweaters.
And so when you're in a studio,
you're kind of pouring cereal and putting on sweaters and hoping that you're doing the right [B] thing.
Key:
Eb
D
B
Eb
D
B
Eb
D
[D] _ _ _ _ _ _ _ _
_ _ _ [N] _ _ _ _ _
There are lots of songs I refuse to play and then I sort of realize I'm hurting somebody's
feelings and I play it. _
_ It's not the good ones that hurt your feelings, it's the ones
that you screwed up, that you got in the way of.
And those remind you of a time you don't
want to return to.
I try not to do that because I don't think those were ever publishable
and I wish I hadn't recorded them and given them away.
I think you go through a period
of self-expression where you get all your garbage out and those songs you should probably
throw away.
They're pages from your diary _ _ and that leaves you clean for a real song
to come in.
Those real songs, I wrote them when I was 16 every now and then and I write
them now sometimes and I wrote them when I was 25 and they have no real attachment to
linear time.
[Eb] They will speak to me now, they'll speak to me then, they'll speak to other people
and that's publishable material.
So I try to stick with timeless songs regardless of
when they came to me. _ _
_ _ _ _ _ _ _
[N] Sometimes I'm frustrated _ _ _ being in a trio when I can't play one of my
leads because the bottom just drops out of the song if I stop playing rhythm.
And then
sometimes I decide not to care and I play a lead anyway. _
_ But for the most part the trio
has proved itself to be such a triangle of strength that I would find other instruments
invasive and distracting. _
I've come to like the holes that we present.
It's a greater
opportunity for dynamic range whereas four people would present a wall of sound which
is not necessarily unattractive.
It can be a little wearing on the ears live.
With a
trio we can leave a gap and have a melody really present itself.
We can have a vocal _
shine for a minute, we can have no vocal if we want and then you hear the texture of the
bass.
I've been working in a trio for so long that it would be very difficult for me to
have another instrument.
I did my last solo tour, it was five people on stage and I had
a 50 foot wave rhythm section and a string section and I stood in the middle trying to
balance these two very disparate elements.
The 50 foot wave rhythm section is very, you know,
math rock tight and the strings are very not.
They kind of slide into the timing and they slide
into the note.
And I had to bring those elements together and this is a relief to play with _ _ a _
_ _ half.
It's _ _ _ _ _ a really stupid answer.
_ I write 50 foot wave songs on my SG's or my Les Paul.
I write
throwing music [Eb] songs on my Telecaster or my Strat and I write solo songs on my Conn's acoustics.
My [N] drummers tell me that this is a flawed system because they fight for different songs.
But I
think that when you're reaching for the original sound, that's the moment when you're hearing a
song and you know where it's supposed to sit, you know, drummers notwithstanding.
And I've seen my
drummers do excellent covers of each other's material and of my solo songs.
But I stand by
the guitar method because I think when you reach for the piece of wood, you know what's going on.
And after that, you're always a little bit _ left of center.
When you're in the song, you can speak
for it.
After that, it's sort of making stuff up and hoping you do the right thing.
It's like kids. _
When they're born, you know exactly what they are.
And after that, all these questions come up and
all you can do is pour the cereal and put on the sweaters.
And so when you're in a studio,
you're kind of pouring cereal and putting on sweaters and hoping that you're doing the right [B] thing.
_ _ _ [N] _ _ _ _ _
There are lots of songs I refuse to play and then I sort of realize I'm hurting somebody's
feelings and I play it. _
_ It's not the good ones that hurt your feelings, it's the ones
that you screwed up, that you got in the way of.
And those remind you of a time you don't
want to return to.
I try not to do that because I don't think those were ever publishable
and I wish I hadn't recorded them and given them away.
I think you go through a period
of self-expression where you get all your garbage out and those songs you should probably
throw away.
They're pages from your diary _ _ and that leaves you clean for a real song
to come in.
Those real songs, I wrote them when I was 16 every now and then and I write
them now sometimes and I wrote them when I was 25 and they have no real attachment to
linear time.
[Eb] They will speak to me now, they'll speak to me then, they'll speak to other people
and that's publishable material.
So I try to stick with timeless songs regardless of
when they came to me. _ _
_ _ _ _ _ _ _
[N] Sometimes I'm frustrated _ _ _ being in a trio when I can't play one of my
leads because the bottom just drops out of the song if I stop playing rhythm.
And then
sometimes I decide not to care and I play a lead anyway. _
_ But for the most part the trio
has proved itself to be such a triangle of strength that I would find other instruments
invasive and distracting. _
I've come to like the holes that we present.
It's a greater
opportunity for dynamic range whereas four people would present a wall of sound which
is not necessarily unattractive.
It can be a little wearing on the ears live.
With a
trio we can leave a gap and have a melody really present itself.
We can have a vocal _
shine for a minute, we can have no vocal if we want and then you hear the texture of the
bass.
I've been working in a trio for so long that it would be very difficult for me to
have another instrument.
I did my last solo tour, it was five people on stage and I had
a 50 foot wave rhythm section and a string section and I stood in the middle trying to
balance these two very disparate elements.
The 50 foot wave rhythm section is very, you know,
math rock tight and the strings are very not.
They kind of slide into the timing and they slide
into the note.
And I had to bring those elements together and this is a relief to play with _ _ a _
_ _ half.
It's _ _ _ _ _ a really stupid answer.
_ I write 50 foot wave songs on my SG's or my Les Paul.
I write
throwing music [Eb] songs on my Telecaster or my Strat and I write solo songs on my Conn's acoustics.
My [N] drummers tell me that this is a flawed system because they fight for different songs.
But I
think that when you're reaching for the original sound, that's the moment when you're hearing a
song and you know where it's supposed to sit, you know, drummers notwithstanding.
And I've seen my
drummers do excellent covers of each other's material and of my solo songs.
But I stand by
the guitar method because I think when you reach for the piece of wood, you know what's going on.
And after that, you're always a little bit _ left of center.
When you're in the song, you can speak
for it.
After that, it's sort of making stuff up and hoping you do the right thing.
It's like kids. _
When they're born, you know exactly what they are.
And after that, all these questions come up and
all you can do is pour the cereal and put on the sweaters.
And so when you're in a studio,
you're kind of pouring cereal and putting on sweaters and hoping that you're doing the right [B] thing.