Chords for Laura Branigan RARE Interview
Tempo:
133.5 bpm
Chords used:
Eb
Bb
F
Ab
Cm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Eb] I was really forced [Ab] into auditioning for a musical, of which I got the lead.
[Eb] It was her friends who spotted her [G] talent [Eb] and knew of the art and brought her [F] into the audition,
[Am] unwilling as [F] she was at the time.
[Gm] And she [Eb] agreed to audition only if she could audition privately.
[B] [Bb] [Dm]
[Ab] And I [Bb] was very impressed.
[Eb] That was really the first time [F] that [Dm] in my life that I found a way to [F] express myself.
[Cm] Once we [Eb] finished the production, [Cm] she came to me one day and she said,
[F] I really would like to try the [Bb] theatre [Cm] as a [Bb] profession.
[Cm] And I [Bb] said, wonderful.
[Abm] And for guidance, [Eb] [Ab] decided [Bb] that the American Academy of Dramatic Arts might be good for Laura.
It was a two-year school.
I had to audition to get in the aspect the [Db] second year I graduated.
Then I hit the streets.
[Cm] And I just started auditioning for [Fm] plays on Broadway.
[N] And it was funny because I was very shy, except this was one place that I wasn't shy.
And I would go call up a producer and I'd say, I'm Laura Branigan and I'm absolutely perfect for this part.
You have to hear my voice.
You know, I have a great voice and I'm coming up to audition for you.
And he would give it to me ahead of everyone else.
And I'd walk into offices and tell the secretary I had an appointment and things like that.
One thing I was very sure of was my [Fm] talent.
Nothing was going to [F] stop me.
[G] Laura kept knocking on doors, [C] usually pushing them open herself, until she [F] broke in with this commercial.
[C] Then she took aim at movies and landed a role in a film that [Bb] was never commercially released.
Here's the [F] world premiere of Laura as an actress.
You guys need a team a lot more than we need you.
Hey, come on.
The one thing Tinseltown is full of is pretty girls, honey.
And husbands.
Like I said, what do we need you for?
Because we're the ones that have to deal with the promoter.
There are a lot of hustlers that had deals with the boys in Vegas, but are now just a part of the Nevada highway.
Took [Dbm] a while.
Everyone [B] said that I didn't [A] really fit in.
My voice wasn't really straight enough for Broadway.
And it was too much of a voice for the record companies.
My first job was in the business with touring Europe with Leonard Cohen.
And seeing background.
And I learned from back there.
[Ebm] But that was the end of my I didn't want to background thing after that.
That's when I decided to start looking around on my own.
I just started auditioning for record [Bm] companies.
I'd sing for [C] them with piano.
[F] I was running [A] out of company.
[Bb] [Dm] I [Eb]
[Bb] [Cm] [Gm]
[Dm] was [Eb] [Bm]
quite impressed by her.
After she sang two songs, I got up and I said,
[Eb] Laura, you're going to be an Atlantic artist.
[Bm] I think [Eb] you're going to be a star.
[Cm]
[Ab]
[Bb]
[Cm] I worked with her for about a year.
As a matter of fact, the first few sessions we made were quite unsuccessful.
We made some pretty good records, but they weren't right.
I didn't really have a gimmick that would sell me.
I just had to count on my voice and being [Ab] able to feel a song.
I think it takes longer for someone with that kind of talent than sometimes [Bb] [Gb] someone with a more outwardly commercial talent.
Then she [Bbm] teamed up with gifted producer Jack White [Ab] and proved that quality [Abm] outshines any gimmick.
[Db]
[Ebm]
[Fm] [Gb] [Ebm]
[Ab]
[Gb] [Ebm] [Ab]
[Gb] [Fm]
[Db] [Ebm] It happened [Abm] slowly.
All of a sudden, it's there.
Gloria was [C] a big turning point for me, [A] obviously.
[B] I [E] [A]
[D] [E] just saw Gloria's first set.
[A] I knew I was off [Db] and running.
We just worked and worked and worked and kept the momentum going.
Now it's [G] still the same.
I don't want to ever feel like I've made it.
[A] [Em] I want to keep it [Dm] going.
[Eb] It was her friends who spotted her [G] talent [Eb] and knew of the art and brought her [F] into the audition,
[Am] unwilling as [F] she was at the time.
[Gm] And she [Eb] agreed to audition only if she could audition privately.
[B] [Bb] [Dm]
[Ab] And I [Bb] was very impressed.
[Eb] That was really the first time [F] that [Dm] in my life that I found a way to [F] express myself.
[Cm] Once we [Eb] finished the production, [Cm] she came to me one day and she said,
[F] I really would like to try the [Bb] theatre [Cm] as a [Bb] profession.
[Cm] And I [Bb] said, wonderful.
[Abm] And for guidance, [Eb] [Ab] decided [Bb] that the American Academy of Dramatic Arts might be good for Laura.
It was a two-year school.
I had to audition to get in the aspect the [Db] second year I graduated.
Then I hit the streets.
[Cm] And I just started auditioning for [Fm] plays on Broadway.
[N] And it was funny because I was very shy, except this was one place that I wasn't shy.
And I would go call up a producer and I'd say, I'm Laura Branigan and I'm absolutely perfect for this part.
You have to hear my voice.
You know, I have a great voice and I'm coming up to audition for you.
And he would give it to me ahead of everyone else.
And I'd walk into offices and tell the secretary I had an appointment and things like that.
One thing I was very sure of was my [Fm] talent.
Nothing was going to [F] stop me.
[G] Laura kept knocking on doors, [C] usually pushing them open herself, until she [F] broke in with this commercial.
[C] Then she took aim at movies and landed a role in a film that [Bb] was never commercially released.
Here's the [F] world premiere of Laura as an actress.
You guys need a team a lot more than we need you.
Hey, come on.
The one thing Tinseltown is full of is pretty girls, honey.
And husbands.
Like I said, what do we need you for?
Because we're the ones that have to deal with the promoter.
There are a lot of hustlers that had deals with the boys in Vegas, but are now just a part of the Nevada highway.
Took [Dbm] a while.
Everyone [B] said that I didn't [A] really fit in.
My voice wasn't really straight enough for Broadway.
And it was too much of a voice for the record companies.
My first job was in the business with touring Europe with Leonard Cohen.
And seeing background.
And I learned from back there.
[Ebm] But that was the end of my I didn't want to background thing after that.
That's when I decided to start looking around on my own.
I just started auditioning for record [Bm] companies.
I'd sing for [C] them with piano.
[F] I was running [A] out of company.
[Bb] [Dm] I [Eb]
[Bb] [Cm] [Gm]
[Dm] was [Eb] [Bm]
quite impressed by her.
After she sang two songs, I got up and I said,
[Eb] Laura, you're going to be an Atlantic artist.
[Bm] I think [Eb] you're going to be a star.
[Cm]
[Ab]
[Bb]
[Cm] I worked with her for about a year.
As a matter of fact, the first few sessions we made were quite unsuccessful.
We made some pretty good records, but they weren't right.
I didn't really have a gimmick that would sell me.
I just had to count on my voice and being [Ab] able to feel a song.
I think it takes longer for someone with that kind of talent than sometimes [Bb] [Gb] someone with a more outwardly commercial talent.
Then she [Bbm] teamed up with gifted producer Jack White [Ab] and proved that quality [Abm] outshines any gimmick.
[Db]
[Ebm]
[Fm] [Gb] [Ebm]
[Ab]
[Gb] [Ebm] [Ab]
[Gb] [Fm]
[Db] [Ebm] It happened [Abm] slowly.
All of a sudden, it's there.
Gloria was [C] a big turning point for me, [A] obviously.
[B] I [E] [A]
[D] [E] just saw Gloria's first set.
[A] I knew I was off [Db] and running.
We just worked and worked and worked and kept the momentum going.
Now it's [G] still the same.
I don't want to ever feel like I've made it.
[A] [Em] I want to keep it [Dm] going.
Key:
Eb
Bb
F
Ab
Cm
Eb
Bb
F
_ _ _ _ _ _ _ _
_ _ _ [Eb] I was really forced [Ab] into auditioning for a musical, of which I got the lead.
[Eb] It was her friends who spotted her [G] talent _ [Eb] and knew of the art and brought her [F] into the audition,
[Am] unwilling as [F] she was at the time.
[Gm] _ And she [Eb] agreed to audition only if she could audition privately.
[B] _ _ [Bb] _ [Dm] _ _
[Ab] And I [Bb] was very impressed.
[Eb] That was really the first time _ [F] _ that _ [Dm] in my life that I found a way to [F] express myself.
[Cm] Once we [Eb] finished the production, [Cm] _ she came to me one day and she said,
[F] I really would like to try the [Bb] theatre [Cm] as a [Bb] profession.
_ _ [Cm] And I [Bb] said, wonderful. _
[Abm] And for guidance, _ _ [Eb] _ [Ab] decided [Bb] that the American Academy of Dramatic Arts might be good for Laura.
It was a two-year school.
I had to audition to get in the aspect the [Db] second year I graduated.
Then I hit the streets.
[Cm] And I just started _ auditioning for [Fm] plays on Broadway.
[N] And it was funny because I was very shy, except this was one place that I wasn't shy.
And I would go call up a producer and I'd say, I'm Laura Branigan and I'm absolutely perfect for this part.
You have to hear my voice.
You know, I have a great voice and I'm coming up to audition for you.
And he would give it to me ahead of everyone else.
And I'd walk into offices and tell the secretary I had an appointment and things like that.
One thing I was very sure of was my [Fm] talent.
Nothing was going to [F] stop me.
[G] Laura kept knocking on doors, [C] usually pushing them open herself, until she [F] broke in with this commercial.
[C] Then she took aim at movies and landed a role in a film that [Bb] was never commercially released.
Here's the [F] world premiere of Laura as an actress.
You guys need a team a lot more than we need you.
Hey, come on.
The one thing Tinseltown is full of is pretty girls, honey.
And husbands.
_ Like I said, what do we need you for?
Because we're the ones that have to deal with the promoter.
There are a lot of hustlers that had deals with the boys in Vegas, but are now just a part of the Nevada highway.
Took [Dbm] a while. _ _ _
Everyone [B] said that I didn't [A] really fit in.
My voice wasn't really straight enough for Broadway.
And it was too much of a voice for the record companies.
My first job was in the business with touring Europe with Leonard Cohen.
_ And seeing background.
And I learned from back there.
[Ebm] But that was the end of my I didn't want to background thing after that.
That's when I decided to start looking around on my own.
I just started auditioning for record [Bm] companies.
I'd sing for [C] them with piano.
[F] I was running [A] out of company.
[Bb] _ _ _ [Dm] I _ _ _ [Eb] _ _ _ _ _
_ [Bb] _ _ [Cm] _ _ _ [Gm] _
[Dm] was _ [Eb] _ _ _ _ _ [Bm] _
_ _ _ quite impressed by her.
After she sang two songs, I got up and I said,
_ [Eb] _ Laura, you're going to be an Atlantic artist.
[Bm] I think [Eb] you're going to be a star. _ _ _ _ _ _
_ [Cm] _ _ _ _ _ _ _
_ [Ab] _ _ _ _ _ _ _
_ [Bb] _ _ _ _ _ _ _
[Cm] _ _ I worked with her _ _ _ for about a year.
As a matter of fact, the first few sessions we made were quite unsuccessful. _
We made some pretty good records, but they weren't _ _ right.
I didn't really have a gimmick that would sell me.
I just had to count on my voice and being [Ab] able to feel a song.
I think it takes longer for someone with that kind of talent than sometimes [Bb] _ [Gb] someone with a more outwardly _ commercial talent.
_ Then she [Bbm] teamed up with gifted producer Jack White [Ab] and proved that quality [Abm] outshines any gimmick.
_ _ [Db] _
_ _ _ [Ebm] _ _ _ _ _
[Fm] _ _ _ _ _ [Gb] _ _ [Ebm] _
_ [Ab] _ _ _ _ _ _ _
_ _ _ [Gb] _ _ [Ebm] _ _ [Ab] _
_ _ _ [Gb] _ [Fm] _ _ _ _
_ [Db] _ _ _ [Ebm] It happened [Abm] slowly.
All of a sudden, it's there.
Gloria was [C] a big turning point for me, [A] obviously.
_ _ _ _ _ [B] I _ [E] _ _ _ _ _ [A] _ _
_ _ _ [D] _ _ [E] just saw Gloria's first set.
_ [A] I knew I was off [Db] and running.
_ We just worked and worked and worked and kept the momentum going.
_ _ Now it's [G] still the same.
I don't want to ever feel like I've made it.
[A] _ [Em] _ I want to keep it [Dm] going. _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ [Eb] I was really forced [Ab] into auditioning for a musical, of which I got the lead.
[Eb] It was her friends who spotted her [G] talent _ [Eb] and knew of the art and brought her [F] into the audition,
[Am] unwilling as [F] she was at the time.
[Gm] _ And she [Eb] agreed to audition only if she could audition privately.
[B] _ _ [Bb] _ [Dm] _ _
[Ab] And I [Bb] was very impressed.
[Eb] That was really the first time _ [F] _ that _ [Dm] in my life that I found a way to [F] express myself.
[Cm] Once we [Eb] finished the production, [Cm] _ she came to me one day and she said,
[F] I really would like to try the [Bb] theatre [Cm] as a [Bb] profession.
_ _ [Cm] And I [Bb] said, wonderful. _
[Abm] And for guidance, _ _ [Eb] _ [Ab] decided [Bb] that the American Academy of Dramatic Arts might be good for Laura.
It was a two-year school.
I had to audition to get in the aspect the [Db] second year I graduated.
Then I hit the streets.
[Cm] And I just started _ auditioning for [Fm] plays on Broadway.
[N] And it was funny because I was very shy, except this was one place that I wasn't shy.
And I would go call up a producer and I'd say, I'm Laura Branigan and I'm absolutely perfect for this part.
You have to hear my voice.
You know, I have a great voice and I'm coming up to audition for you.
And he would give it to me ahead of everyone else.
And I'd walk into offices and tell the secretary I had an appointment and things like that.
One thing I was very sure of was my [Fm] talent.
Nothing was going to [F] stop me.
[G] Laura kept knocking on doors, [C] usually pushing them open herself, until she [F] broke in with this commercial.
[C] Then she took aim at movies and landed a role in a film that [Bb] was never commercially released.
Here's the [F] world premiere of Laura as an actress.
You guys need a team a lot more than we need you.
Hey, come on.
The one thing Tinseltown is full of is pretty girls, honey.
And husbands.
_ Like I said, what do we need you for?
Because we're the ones that have to deal with the promoter.
There are a lot of hustlers that had deals with the boys in Vegas, but are now just a part of the Nevada highway.
Took [Dbm] a while. _ _ _
Everyone [B] said that I didn't [A] really fit in.
My voice wasn't really straight enough for Broadway.
And it was too much of a voice for the record companies.
My first job was in the business with touring Europe with Leonard Cohen.
_ And seeing background.
And I learned from back there.
[Ebm] But that was the end of my I didn't want to background thing after that.
That's when I decided to start looking around on my own.
I just started auditioning for record [Bm] companies.
I'd sing for [C] them with piano.
[F] I was running [A] out of company.
[Bb] _ _ _ [Dm] I _ _ _ [Eb] _ _ _ _ _
_ [Bb] _ _ [Cm] _ _ _ [Gm] _
[Dm] was _ [Eb] _ _ _ _ _ [Bm] _
_ _ _ quite impressed by her.
After she sang two songs, I got up and I said,
_ [Eb] _ Laura, you're going to be an Atlantic artist.
[Bm] I think [Eb] you're going to be a star. _ _ _ _ _ _
_ [Cm] _ _ _ _ _ _ _
_ [Ab] _ _ _ _ _ _ _
_ [Bb] _ _ _ _ _ _ _
[Cm] _ _ I worked with her _ _ _ for about a year.
As a matter of fact, the first few sessions we made were quite unsuccessful. _
We made some pretty good records, but they weren't _ _ right.
I didn't really have a gimmick that would sell me.
I just had to count on my voice and being [Ab] able to feel a song.
I think it takes longer for someone with that kind of talent than sometimes [Bb] _ [Gb] someone with a more outwardly _ commercial talent.
_ Then she [Bbm] teamed up with gifted producer Jack White [Ab] and proved that quality [Abm] outshines any gimmick.
_ _ [Db] _
_ _ _ [Ebm] _ _ _ _ _
[Fm] _ _ _ _ _ [Gb] _ _ [Ebm] _
_ [Ab] _ _ _ _ _ _ _
_ _ _ [Gb] _ _ [Ebm] _ _ [Ab] _
_ _ _ [Gb] _ [Fm] _ _ _ _
_ [Db] _ _ _ [Ebm] It happened [Abm] slowly.
All of a sudden, it's there.
Gloria was [C] a big turning point for me, [A] obviously.
_ _ _ _ _ [B] I _ [E] _ _ _ _ _ [A] _ _
_ _ _ [D] _ _ [E] just saw Gloria's first set.
_ [A] I knew I was off [Db] and running.
_ We just worked and worked and worked and kept the momentum going.
_ _ Now it's [G] still the same.
I don't want to ever feel like I've made it.
[A] _ [Em] _ I want to keep it [Dm] going. _ _ _ _ _ _
_ _ _ _ _ _ _ _