Chords for Long John Baldry - Interview (1998)
Tempo:
98.75 bpm
Chords used:
G
E
F#
B
Am
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[E] [B] The man who discovered [F#] Ron Stewart, the man who discovered Elton John, this, that and the other.
I find, I've always got a terror that it's going to backfire on me because, you know, I want to be recognized for what I've done.
I think blues has always been part [N] of the backbone of popular music, if you like.
I mean, even going back to the 20s and the 30s, you know, the era of the songwriters, and a bit later too,
they were drawing on blues themes, certainly George Gershwin and Cole Porter, and the list goes on.
A lot of the young people growing up at that time, you know, had no idea of what black music was all about.
It was really the whole world changing with the civil rights movement, and the changing, the gradual changing of things
hasn't changed far enough, in my opinion, in the States, but it was then, I suppose, that blues did become a recognizable force to be dealt with and to be heard.
When the album N.A.Z. broke, was it released first in Europe or did it have to go to the States?
Funnily enough, it's starting to be a hit now.
It was ignored when it was released in 71 there in England,
but of course became a big sensation with hundreds, thousands, maybe millions of people over the years in North America
because it somehow encapsulated their high school experience at that time.
I don't know why so many people, you know, of our age, I guess, come to me and say,
oh, this is, you know, this is my, this for me has always been the memory of my high school years or my early college years,
and I had it and I've worn out several copies and blah, blah, this, when's it going to come out on CD?
Most people assume that Elton John and Rod Stewart have known each other for ages and ages and ages,
but in fact, they did not meet until a Christmas party in 1970 at Billy Gaff's basement apartment in Belgravia.
Then at this party, Elton got to hear that he's met Rod, oh, they're both thrilled to meet each other, yakety, yakety, yak.
Then it turns out, oh, you're going to be producing John's album?
Oh, I'd love to get involved too.
So anyway, it turned out they did a side each.
I got all the Rod stuff out of the way first.
In many ways, the Rod sides were a blueprint for his later recording, Every Picture Tells a Story,
because most of the musicians were the same people who were used on that album,
including Ray Jackson from Lindisfarne on mandolin, who was on, Sammy Mitchell on slide guitar.
The list goes on.
I don't think Muddy ever opened for them, but certainly John Lee Hooker, Ike and Tina Turner on quite a few occasions.
So the Stones were very, very responsible for opening people's eyes to where they had gotten their influences originally.
And I think, you know, people should always give the Rolling Stones that due recognition for the good pioneering work that they did.
And I suppose I've achieved a degree of respect simply because I've been around so long now and survived.
Whereas many of my the people from my generation, you know, fallen by the wayside, passed on, you know, through old age or self abuse or whatever.
I mean, the next generation, they're still in pretty good shape.
The Clapton's and the Rods and, you know, whoever else.
Oh, we went everywhere.
I mean, I've been to probably more places in the States and Canada come to that than than than [E] anybody else ever.
I mean, there's not one city or tiny village that's been ignored on my itinerary over the years.
[G] [Am] [A#] [G] [C] [F] [F#]
I find, I've always got a terror that it's going to backfire on me because, you know, I want to be recognized for what I've done.
I think blues has always been part [N] of the backbone of popular music, if you like.
I mean, even going back to the 20s and the 30s, you know, the era of the songwriters, and a bit later too,
they were drawing on blues themes, certainly George Gershwin and Cole Porter, and the list goes on.
A lot of the young people growing up at that time, you know, had no idea of what black music was all about.
It was really the whole world changing with the civil rights movement, and the changing, the gradual changing of things
hasn't changed far enough, in my opinion, in the States, but it was then, I suppose, that blues did become a recognizable force to be dealt with and to be heard.
When the album N.A.Z. broke, was it released first in Europe or did it have to go to the States?
Funnily enough, it's starting to be a hit now.
It was ignored when it was released in 71 there in England,
but of course became a big sensation with hundreds, thousands, maybe millions of people over the years in North America
because it somehow encapsulated their high school experience at that time.
I don't know why so many people, you know, of our age, I guess, come to me and say,
oh, this is, you know, this is my, this for me has always been the memory of my high school years or my early college years,
and I had it and I've worn out several copies and blah, blah, this, when's it going to come out on CD?
Most people assume that Elton John and Rod Stewart have known each other for ages and ages and ages,
but in fact, they did not meet until a Christmas party in 1970 at Billy Gaff's basement apartment in Belgravia.
Then at this party, Elton got to hear that he's met Rod, oh, they're both thrilled to meet each other, yakety, yakety, yak.
Then it turns out, oh, you're going to be producing John's album?
Oh, I'd love to get involved too.
So anyway, it turned out they did a side each.
I got all the Rod stuff out of the way first.
In many ways, the Rod sides were a blueprint for his later recording, Every Picture Tells a Story,
because most of the musicians were the same people who were used on that album,
including Ray Jackson from Lindisfarne on mandolin, who was on, Sammy Mitchell on slide guitar.
The list goes on.
I don't think Muddy ever opened for them, but certainly John Lee Hooker, Ike and Tina Turner on quite a few occasions.
So the Stones were very, very responsible for opening people's eyes to where they had gotten their influences originally.
And I think, you know, people should always give the Rolling Stones that due recognition for the good pioneering work that they did.
And I suppose I've achieved a degree of respect simply because I've been around so long now and survived.
Whereas many of my the people from my generation, you know, fallen by the wayside, passed on, you know, through old age or self abuse or whatever.
I mean, the next generation, they're still in pretty good shape.
The Clapton's and the Rods and, you know, whoever else.
Oh, we went everywhere.
I mean, I've been to probably more places in the States and Canada come to that than than than [E] anybody else ever.
I mean, there's not one city or tiny village that's been ignored on my itinerary over the years.
[G] [Am] [A#] [G] [C] [F] [F#]
Key:
G
E
F#
B
Am
G
E
F#
[E] _ [B] The man who discovered [F#] Ron Stewart, the man who discovered Elton John, this, that and the other.
_ _ _ _ I find, I've always got a terror that it's going to backfire on me because, _ you know, I want to be recognized for what I've done.
I think blues has always been part [N] of the backbone of popular music, if you like.
I mean, even going back to the 20s and the 30s, you know, the era of the songwriters, and a bit later too,
they were drawing on blues themes, certainly George Gershwin and _ _ _ Cole Porter, and the list goes on.
A lot of the young people growing up at that time, you know, had no idea of what black music was all about.
It was really the whole world changing _ with the civil rights movement, and the changing, the gradual changing of things
hasn't changed far enough, in my opinion, in the States, but _ it was then, I suppose, that _ blues _ did become _ a recognizable force to be dealt with and to be heard.
When the album N.A.Z. broke, was it released first in Europe or did it have to go to the States? _
Funnily enough, it's starting to be a hit now.
It was ignored when it was released in 71 there in England,
but of course became a big sensation _ _ _ with hundreds, thousands, maybe millions of people over the years in North America
because it somehow _ _ _ encapsulated their high school _ experience at that time.
I don't know why so many people, you know, of our age, I guess, come to me and say,
oh, this is, you know, this is my, this for me has always been the memory of my high school years or my early college years,
and I had it and I've worn out several copies and blah, blah, this, when's it going to come out on CD?
_ _ Most people assume that Elton John and Rod Stewart have known each other for ages and ages and ages,
but in fact, they did not meet until a Christmas party in 1970 at Billy Gaff's basement apartment in Belgravia.
Then at this party, Elton got to hear that he's met Rod, oh, they're both thrilled to meet each other, yakety, yakety, yak.
Then it turns out, oh, you're going to be producing John's album?
Oh, I'd love to get involved too.
So anyway, it turned out they did a side each.
I got all the Rod stuff out of the way first.
In many ways, the Rod sides were a blueprint for his later recording, Every Picture Tells a Story,
because most of the musicians were the same people who were used on that album,
_ including Ray Jackson from Lindisfarne on mandolin, who was on, Sammy Mitchell on slide guitar.
The list goes on.
I don't think Muddy ever opened for them, but certainly _ John Lee Hooker, Ike and Tina Turner on quite a few occasions.
So the Stones were very, very responsible for opening _ people's eyes to where they had gotten their influences originally.
And I think, you know, people should always give the Rolling Stones that due recognition for the good pioneering work that they did.
And I suppose I've achieved a degree of respect simply because I've been around so long now and survived.
Whereas many of my the people from my generation, you know, fallen by the wayside, passed on, you know, through old age or self abuse or whatever.
_ I mean, the next generation, they're still in pretty good shape.
The Clapton's and the Rods and, you know, whoever else.
Oh, we went everywhere.
I mean, I've been to probably more places in the States and Canada come to that than than than [E] anybody else ever.
I mean, there's not one _ city or tiny village that's been ignored on my itinerary _ over the years.
[G] _ _ [Am] _ _ [A#] _ _ [G] _ [C] _ _ _ _ [F] _ [F#] _ _
_ _ _ _ I find, I've always got a terror that it's going to backfire on me because, _ you know, I want to be recognized for what I've done.
I think blues has always been part [N] of the backbone of popular music, if you like.
I mean, even going back to the 20s and the 30s, you know, the era of the songwriters, and a bit later too,
they were drawing on blues themes, certainly George Gershwin and _ _ _ Cole Porter, and the list goes on.
A lot of the young people growing up at that time, you know, had no idea of what black music was all about.
It was really the whole world changing _ with the civil rights movement, and the changing, the gradual changing of things
hasn't changed far enough, in my opinion, in the States, but _ it was then, I suppose, that _ blues _ did become _ a recognizable force to be dealt with and to be heard.
When the album N.A.Z. broke, was it released first in Europe or did it have to go to the States? _
Funnily enough, it's starting to be a hit now.
It was ignored when it was released in 71 there in England,
but of course became a big sensation _ _ _ with hundreds, thousands, maybe millions of people over the years in North America
because it somehow _ _ _ encapsulated their high school _ experience at that time.
I don't know why so many people, you know, of our age, I guess, come to me and say,
oh, this is, you know, this is my, this for me has always been the memory of my high school years or my early college years,
and I had it and I've worn out several copies and blah, blah, this, when's it going to come out on CD?
_ _ Most people assume that Elton John and Rod Stewart have known each other for ages and ages and ages,
but in fact, they did not meet until a Christmas party in 1970 at Billy Gaff's basement apartment in Belgravia.
Then at this party, Elton got to hear that he's met Rod, oh, they're both thrilled to meet each other, yakety, yakety, yak.
Then it turns out, oh, you're going to be producing John's album?
Oh, I'd love to get involved too.
So anyway, it turned out they did a side each.
I got all the Rod stuff out of the way first.
In many ways, the Rod sides were a blueprint for his later recording, Every Picture Tells a Story,
because most of the musicians were the same people who were used on that album,
_ including Ray Jackson from Lindisfarne on mandolin, who was on, Sammy Mitchell on slide guitar.
The list goes on.
I don't think Muddy ever opened for them, but certainly _ John Lee Hooker, Ike and Tina Turner on quite a few occasions.
So the Stones were very, very responsible for opening _ people's eyes to where they had gotten their influences originally.
And I think, you know, people should always give the Rolling Stones that due recognition for the good pioneering work that they did.
And I suppose I've achieved a degree of respect simply because I've been around so long now and survived.
Whereas many of my the people from my generation, you know, fallen by the wayside, passed on, you know, through old age or self abuse or whatever.
_ I mean, the next generation, they're still in pretty good shape.
The Clapton's and the Rods and, you know, whoever else.
Oh, we went everywhere.
I mean, I've been to probably more places in the States and Canada come to that than than than [E] anybody else ever.
I mean, there's not one _ city or tiny village that's been ignored on my itinerary _ over the years.
[G] _ _ [Am] _ _ [A#] _ _ [G] _ [C] _ _ _ _ [F] _ [F#] _ _