Chords for Laura Branigan on getting married and getting into film. 1952-2004

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115.7 bpm
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E

Eb

Gb

F

Bb

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Laura Branigan on getting married and getting into film. 1952-2004 chords
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Have fun other ways [C] besides drugs and drinking.
Is that an issue with you?
[E] It's important, I think, for, [C] um, to have a happy life.
[Gb] Yeah, but is it an issue?
Was it an issue in the past at some point?
No, no, it was really an issue.
It's just something that's, um, it's rare, [E] I think, to find,
[G] especially a band that doesn't do everything.
[Eb] Okay, aren't you rare, though?
The way you've done this.
I mean, it was [C] only 1982, [Db] in March of 82, when Brattigan, the album, was released by Atlantic,
and look what's happened to you.
Why you?
I mean, is [F] it, is, have you done it?
I think so.
I'm very determined, and, [Gb] um, I think I knew what I had, [Eb] and I was going to get it.
How do you fight the system?
Because a lot of people know what they've got,
and they might be working as a waitress, as you were, and they want to do it, but they don't know how.
No, because, um, to me that's not, part of the talent is going after it and having that ambition and that drive,
and really going out [Ab] at it the right way.
The way my career is [F] building, it's been a nice, steady build, you know,
and it's a strong foundation that I have under me.
It didn't shoot up, [Ab] and then, you know, all of a [F] sudden it's taken three years, seems like, [D]
two years,
three years, actually, seems like a short time, but it's, um, it's built nice and solidly.
And a lot of hard work and a marriage in the meantime, [Db] and a lot in [Gb] your life.
Does it sometimes seem like, wait a minute, stop the world, I want to get off?
[B] Uh, last year it did at one point, I blew my patois, I was very, [Gb] very tired.
[Eb] And I'd been going really for two and a half years without [Bm] stopping.
What do you get tired of?
[Bb] I get, I was just physically exhausted, [Eb] and I never really had, [N] I wasn't having enough rest,
and I, [Dm] um, I was always traveling, I was [Gb] never in one place very long, you know, going to Europe, or going,
[A] see, I tried to break the whole world at once, so it's a little harder than that.
Well, okay, [C] now, I gotcha.
We can talk to this now.
I [Em] mean, you really have done it quickly, [A] but you're a businesswoman, aren't you?
[Cm] Um, uh, [G] [B] I think I'm business in the way that I know when to make a move and when not to.
But I really don't [E] handle the money at all.
Not the money, but kind of the moves in the business.
Yes.
And you had bad management, you've gone through that, we won't talk about it, it's [C] past.
You've taken charge of your career, [Gm] and is that the secret?
[E] It's the secret.
It really is [Gb] getting good people around you.
I mean, when you have, [Eb] uh, great people working for you, it goes all [D] that better.
Being on the road, [Db] doing one-nighters, isn't it exhausting?
[E] No, [A] it's not exhausting.
You get used to the pace, you [Dm] make sure you have [E] enough rest.
It's really not [Eb] exhausting.
Um, [Bb] I get tired sometimes, but that's work.
I'm sure you get tired.
You know, [Ebm] I'm used to it.
It's my, uh, it's my lifestyle.
[E] At [B] first, it was a shock to my system, but now I [G] have it down so that I [Bb] tour,
and the tour is set up so that I have [B] some days off to rest.
And then I take, you know, a few months off, and then I go do something [A] else.
I mean, I never really have a complete month off.
You [D] live with it.
How do you relate to your audience, and who are they?
You cross over.
[E] You really bridge a lot [Ab] of ages, don't you, oddly [Abm] enough?
Yes, I, my audiences usually start about seven, and go up to about [Bb] 70.
[Eb] That's great.
It is great.
That's what I wanted [G] to do.
I really [Eb] think that if you have, um, the talent and you have the emotion,
which is [E] what I really want to give to people,
that there's now a reason why [Gbm] older people can enjoy modern music, too.
I [F] read that you want to be remembered, uh, kind of like Edith [Abm] Piaf is remembered.
What does [F] that mean?
Uh, Piaf really,
[E] when she sang, her heart just jumped out of her throat,
and really grabbed the people.
They, there was such an emotional bond between her and her audience,
[Db] [Eb] and that's really what I want.
I want the ultimate, the ultimate love, you know, love affair with the audience.
Why?
[Bb] Because I think I [Eb] have that ability to touch them, [Dm] and they touch me.
Where does the ability [Bb] come from?
I don't think you know what love is unless you've known what hurt is.
That's right.
Well, [Dm] talk to that.
[F] I've [Db] had my share of pain.
Where?
Because you're shy, or for other reasons?
That, plus a lot of things.
Do you want to talk about any of them?
Does it help in the sharing?
Oh, yeah.
I think it, [Fm] because I've gone [Ab] through, you know, my share,
it, um, it helps with my singing, it does.
[G] I know pretty much all the emotions [C] that there are to know.
Did the pain [Abm] come from the struggle to get where you are now?
No.
[B] Part of it, but not, that's not really the pain I'm talking about.
All right, you find Larry, [Gb] your husband, and he has two grown children,
[F] and he's obviously some stability for you, but how in the world do you manage
a marriage that's [Bb] split as much as yours [A] is?
Oh, it's called mutual support.
We understand he's my business manager, so he's always involved.
[Abm] And, um, [Eb] it just works out fine.
What does he give [Bb] to you that makes your life richer?
[D]
Um, [A] well, he's, [Ab] besides stability, he's just a, I guess, love.
[G] But how does it show?
Because, you know, sometimes love is possessive,
and sometimes it's giving.
Yeah, he's not, not possessive, and that's important to me.
He lets me [Gb]
really, um, you know, have my free reign and do my career,
and he's very, very supportive.
It's important.
He's older than I am, so I think [F] that's very important.
[Eb] I can't let you go without talking about this upcoming movie
that you're shooting in Australia by the same people who [E] made
Break of Morants, it's called Backstage.
Is this exciting?
[Db] Talk about it.
It's my [E] first starring role.
Um, it's with the, it's a great Australian team.
I'll be shooting it probably late fall, [E] and, um, it's a love story, really.
[N] And it's a great acting part.
Why?
Because [Ab] there's a lot of meat, meat to the part, and it's a big part.
[G] And, um, it really, I, I think I have, in acting, what I have in singing.
Emotion.
Huh?
And [Gb] it's also, um, spontaneous.
I can forget [Eb] everything around me and just believe, you know, what I am.
I play a lot of practical jokes, and when you play them,
you have to believe [Abm] what you're doing, you know,
if you're trying to convince someone of something, so.
[N]
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Have fun other ways [C] besides drugs and drinking.
Is that an issue with you? _
[E] It's important, I think, for, [C] um, to have a happy life.
[Gb] Yeah, but is it an issue?
Was it an issue in the past at some point?
No, no, it was really an issue.
It's just something _ that's, um, it's rare, [E] I think, to find,
[G] especially a band that doesn't do everything.
[Eb] Okay, aren't you rare, though?
The way you've done this.
I mean, it was [C] only 1982, [Db] in March of 82, when Brattigan, the album, was released by Atlantic,
and look what's happened to you.
Why you?
I mean, is [F] it, is, have you done it?
I think so.
I'm very determined, and, [Gb] um, I think I knew what I had, [Eb] and I was going to get it.
How do you fight the system?
Because a lot of people know what they've got,
and they might be working as a waitress, as you were, and they want to do it, but they don't know how.
No, because, um, to me that's not, part of the talent is going after it and having that ambition and that drive,
and really going out [Ab] at it the right way.
The way my career is [F] building, it's been a nice, steady build, you know,
and it's a strong foundation that I have under me.
It didn't shoot up, [Ab] and then, you know, all of a [F] sudden it's taken three years, seems like, [D]
two years,
three years, actually, seems like a short time, but it's, um, it's built nice and solidly.
And a lot of hard work and a marriage in the meantime, [Db] and a lot in [Gb] your life.
Does it sometimes seem like, wait a minute, stop the world, I want to get off?
_ [B] Uh, last year it did at one point, I blew my patois, I was very, [Gb] very tired.
[Eb] And I'd been going really for two and a half years without [Bm] stopping.
What do you get tired of?
[Bb] I get, I was just physically exhausted, [Eb] and I never really had, [N] I wasn't having enough rest,
and I, [Dm] um, I was always traveling, I was [Gb] never in one place very long, you know, going to Europe, or going,
[A] see, I tried to break the whole world at once, so it's a little harder than that.
Well, okay, [C] now, I gotcha.
We can talk to this now.
I [Em] mean, you really have done it quickly, [A] but you're a businesswoman, aren't you?
_ [Cm] Um, uh, [G] _ _ [B] I think I'm business in the way that I know when to make a move and when not to.
But I really don't [E] handle the money at all.
Not the money, but kind of the moves in the business.
Yes.
And you had bad management, you've gone through that, we won't talk about it, it's [C] past.
You've taken charge of your career, [Gm] and is that the secret?
[E] It's the secret.
It really is [Gb] getting good people around you.
I mean, when you have, [Eb] uh, great people working for you, it goes all [D] that better.
Being on the road, [Db] doing one-nighters, isn't it exhausting?
[E] No, [A] it's not exhausting.
You get used to the pace, you [Dm] make sure you have [E] enough rest.
It's really not [Eb] exhausting.
Um, [Bb] I get tired sometimes, but that's work.
I'm sure you get tired. _
You know, [Ebm] I'm used to it.
It's my, uh, it's my lifestyle.
[E] At [B] first, it was a shock to my system, but now I [G] have it down so that I [Bb] tour,
and the tour is set up so that I have [B] some days off to rest.
And then I take, you know, a few months off, and then I go do something [A] else.
I mean, I never really have a complete month off.
_ _ _ You [D] live with it.
How do you relate to your audience, and who are they?
You cross over.
[E] You really bridge a lot [Ab] of ages, don't you, oddly [Abm] enough?
Yes, I, my audiences usually start about _ _ seven, and go up to about [Bb] 70.
[Eb] That's great.
It is great.
That's what I wanted [G] to do.
I really [Eb] think that if you have, um, the talent and you have the emotion,
which is [E] what I really want to give to people,
that there's now a reason why [Gbm] older people can enjoy modern music, too.
I [F] read that you want to be remembered, uh, kind of like Edith [Abm] Piaf is remembered.
What does [F] that mean?
Uh, Piaf really, _ _
[E] when she sang, her heart just jumped out of her throat,
and really grabbed the people.
They, there was such an emotional bond between her and her audience,
[Db] [Eb] and that's really what I want.
I want the ultimate, the ultimate love, you know, love affair with the audience.
Why?
[Bb] Because I think I [Eb] have that ability to touch them, [Dm] and they touch me.
Where does the ability [Bb] come from?
I don't think you know what love is unless you've known what hurt is.
That's right.
Well, [Dm] talk to that.
_ [F] I've [Db] had my share of pain.
_ Where?
Because you're shy, or for other reasons?
That, plus a lot of things.
Do you want to talk about any of them?
Does it help in the sharing?
Oh, yeah.
I think it, _ [Fm] because I've gone [Ab] through, you know, my share,
it, um, it helps with my singing, it does.
[G] _ I know pretty much all the emotions [C] that there are to know.
Did the pain [Abm] come from the struggle to get where you are now?
No.
_ [B] Part of it, but not, that's not really the pain I'm talking about.
All right, you find Larry, [Gb] your husband, and he has two grown children,
[F] and he's obviously some stability for you, but how in the world do you manage
a marriage that's [Bb] split as much as yours [A] is?
Oh, it's called mutual support.
We understand he's my business manager, so he's always involved.
[Abm] And, um, [Eb] _ it just works out fine.
What does he give [Bb] to you that makes your life richer?
[D] _ _ _
Um, [A] well, he's, [Ab] besides stability, he's just a, I guess, love.
[G] _ _ But how does it show?
Because, you know, sometimes love is possessive,
and sometimes it's giving.
Yeah, he's not, not possessive, and that's important to me.
He lets me _ [Gb] _
really, um, you know, have my free reign and do my career,
and he's very, very supportive.
It's important.
He's older than I am, so I think [F] that's very important.
[Eb] I can't let you go without talking about this upcoming movie
that you're shooting in Australia by the same people who [E] made
Break of Morants, it's called Backstage.
Is this exciting?
[Db] Talk about it.
It's my [E] first starring role.
Um, it's with the, it's a great Australian team.
I'll be shooting it probably late fall, [E] and, um, it's a love story, really.
[N] And it's a great acting part.
Why?
Because [Ab] there's a lot of meat, meat to the part, and it's a big part.
[G] And, um, it really, I, I think I have, in acting, what I have in singing.
Emotion.
Huh?
And [Gb] it's also, um, spontaneous.
I can forget [Eb] everything around me and just believe, you know, what I am.
I play a lot of practical jokes, and when you play them,
you have to believe [Abm] what you're doing, you know,
if you're trying to convince someone of something, so.
_ _ _ _ _ _ [N] _