Chords for Manic Street Preachers interview - James Dean Bradfield (part 3)
Tempo:
75.575 bpm
Chords used:
C
Db
Eb
Ab
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
I just heard a sad grandeur in the woods.
I looked [C] into the albums that you've released.
I see two breakpoints.
Can I discuss those breakpoints?
Let's go on.
Well, the first breakpoint is after the Holy Bible, with the disappearance of Richie.
Yeah.
Well, you've made an album, Journal for the Plague Lovers, that consists of lyrics from him.
Yeah.
Was it true?
Was that one breakpoint for you?
[Db] In personal terms, I think you've got to look at stuff in personal terms and band [Eb] terms.
But sometimes it's hard to [C] divide the two.
[N] But we'd all grown up with each other.
We'd all known each other since we were children.
And of course, through those relationships, we formed a band.
So the band was formed through friendship.
So the two things seem indelibly linked together.
When Richie went missing, I think it didn't affect the band.
It affected us as far as I can see, it affected us as people, first of all.
We just didn't know what to do.
We felt as if we were suspended.
We felt as if we couldn't touch anything.
[Ab] Did you see this coming in hindsight?
Well, yeah, there had been dramatic happenings or [C] episodes before he went missing, which
are well documented.
Yeah, the for real thing.
More than what has been documented as a failed suicide attempt before.
But we thought that he had perhaps reached some kind of inner calmness post [C] that suicide attempt.
So whilst [G] never being completely sure that things would be OK, we thought that he was
getting to a better place and we thought he was progressing.
Did you talk about it with him?
Of course he did, yeah.
But I think he was [N] embarrassed to talk about it in terms of burdening the atmosphere in
a room with it.
He wanted to talk about the things he always talked about.
A new record that he had bought, a newspaper article that he'd read, or a poem that he'd
written, or a novel that he'd read, or a film that he'd seen.
He'd still much rather talk about those things than talk about the burden of what was happening
to him internally.
And of course, we'd talked about how he felt and what he wanted to do and whether he wanted
to be part of the band anymore.
But those conversations always seemed [C] to not resolve their selves.
He would not really want to talk about the end of anything.
So I think the bottom line is that it was a breaking point for us personally.
And then when we kind of put ourselves back together, we realised that there were still
three of us and we had a duty to each other because we still wanted to make music with
each other, we still wanted to write songs with each other.
So we just had to see if we could do that.
And the first song that we wrote was Designed for Life, which was serendipity or fate or
just higher circumstance, I don't know, but that's what gave us strength to carry on.
Last question about this, do you still think he's alive?
I never think in those terms.
I find it hard to think in terms of Richard being alive.
But of course, I can never bring myself to think of him as not being around.
But you know, I think once you start trying to answer those questions, you inevitably
start [N] writing a B-movie script.
When you answer those questions about Richie, whether he's alive or whatever, you know,
you get into the realms of a B-movie.
It's just impossible to know.
Do you still keep his royalties?
Because that's what you did?
Well, no, I mean, can I have
Legally they're his, so it goes
I looked [C] into the albums that you've released.
I see two breakpoints.
Can I discuss those breakpoints?
Let's go on.
Well, the first breakpoint is after the Holy Bible, with the disappearance of Richie.
Yeah.
Well, you've made an album, Journal for the Plague Lovers, that consists of lyrics from him.
Yeah.
Was it true?
Was that one breakpoint for you?
[Db] In personal terms, I think you've got to look at stuff in personal terms and band [Eb] terms.
But sometimes it's hard to [C] divide the two.
[N] But we'd all grown up with each other.
We'd all known each other since we were children.
And of course, through those relationships, we formed a band.
So the band was formed through friendship.
So the two things seem indelibly linked together.
When Richie went missing, I think it didn't affect the band.
It affected us as far as I can see, it affected us as people, first of all.
We just didn't know what to do.
We felt as if we were suspended.
We felt as if we couldn't touch anything.
[Ab] Did you see this coming in hindsight?
Well, yeah, there had been dramatic happenings or [C] episodes before he went missing, which
are well documented.
Yeah, the for real thing.
More than what has been documented as a failed suicide attempt before.
But we thought that he had perhaps reached some kind of inner calmness post [C] that suicide attempt.
So whilst [G] never being completely sure that things would be OK, we thought that he was
getting to a better place and we thought he was progressing.
Did you talk about it with him?
Of course he did, yeah.
But I think he was [N] embarrassed to talk about it in terms of burdening the atmosphere in
a room with it.
He wanted to talk about the things he always talked about.
A new record that he had bought, a newspaper article that he'd read, or a poem that he'd
written, or a novel that he'd read, or a film that he'd seen.
He'd still much rather talk about those things than talk about the burden of what was happening
to him internally.
And of course, we'd talked about how he felt and what he wanted to do and whether he wanted
to be part of the band anymore.
But those conversations always seemed [C] to not resolve their selves.
He would not really want to talk about the end of anything.
So I think the bottom line is that it was a breaking point for us personally.
And then when we kind of put ourselves back together, we realised that there were still
three of us and we had a duty to each other because we still wanted to make music with
each other, we still wanted to write songs with each other.
So we just had to see if we could do that.
And the first song that we wrote was Designed for Life, which was serendipity or fate or
just higher circumstance, I don't know, but that's what gave us strength to carry on.
Last question about this, do you still think he's alive?
I never think in those terms.
I find it hard to think in terms of Richard being alive.
But of course, I can never bring myself to think of him as not being around.
But you know, I think once you start trying to answer those questions, you inevitably
start [N] writing a B-movie script.
When you answer those questions about Richie, whether he's alive or whatever, you know,
you get into the realms of a B-movie.
It's just impossible to know.
Do you still keep his royalties?
Because that's what you did?
Well, no, I mean, can I have
Legally they're his, so it goes
Key:
C
Db
Eb
Ab
G
C
Db
Eb
_ _ I just heard a sad grandeur in the woods.
I looked [C] into the albums that you've released.
I see two breakpoints.
Can I discuss those breakpoints?
Let's go on.
Well, the first breakpoint is after the Holy Bible, with the disappearance of Richie.
Yeah.
Well, you've made an album, _ Journal for the Plague Lovers, that consists of lyrics from him.
Yeah.
Was it true?
Was that one breakpoint for you?
_ _ _ [Db] In personal terms, I think you've got to look at stuff in personal terms and band [Eb] terms.
But sometimes it's hard to [C] divide the two. _
[N] _ But we'd all grown up with each other.
We'd all known each other since we were children.
And of course, through those relationships, we formed a band.
So the band was formed through friendship.
So the two things seem indelibly linked together.
_ When Richie went missing, I think it didn't affect the band.
It affected us as far as I can see, it affected us as people, first of all.
We just didn't know what to do.
We felt as if we were suspended.
We felt as if we couldn't touch anything.
[Ab] Did you see this coming in hindsight?
_ Well, yeah, there had been dramatic happenings or _ [C] episodes before he went missing, which
are well documented.
Yeah, the for real thing.
More than what has been documented as a failed suicide attempt before.
_ But we thought that he had perhaps reached some kind of inner calmness post [C] that suicide attempt.
So whilst [G] never being completely sure that things would be OK, we thought that he was
getting to a better place and we thought he was progressing.
Did you talk about it with him?
Of course he did, yeah.
But I think he was _ _ _ [N] embarrassed to talk about it in terms of burdening the atmosphere in
a room with it.
He wanted to talk about the things he always talked about.
A new record that he had bought, a newspaper article that he'd read, or a poem that he'd
written, or a novel that he'd read, or a film that he'd seen.
He'd still much rather talk about those things than talk about the burden of what was happening
to him internally.
And of course, we'd talked about how he felt and what he wanted to do and whether he wanted
to be part of the band anymore.
But those conversations always seemed [C] to not resolve their selves.
He would not really want to talk about the end of anything.
So I think the bottom line is that it was a breaking point for us personally.
And then when we kind of put ourselves back together, we realised that there were still
three of us and we had a duty to each other because we still wanted to make music with
each other, we still wanted to write songs with each other.
So we just had to see if we could do that.
And the first song that we wrote was Designed for Life, which was serendipity or fate or
just higher circumstance, I don't know, but that's what gave us strength to carry on.
Last question about this, do you still think he's alive?
I never think in those terms.
I find it hard to think in terms of Richard being alive.
But of course, I can never bring myself to think of him as not being around.
But you know, I think once you start trying to answer those questions, you inevitably
start [N] writing a B-movie script.
When you answer those questions about Richie, whether he's alive or whatever, you know,
you get into the realms of a B-movie.
It's just impossible to know.
Do you still keep his royalties?
Because that's what you did?
Well, no, I mean, can I have_
Legally they're his, so it goes_ _ _ _ _ _
I looked [C] into the albums that you've released.
I see two breakpoints.
Can I discuss those breakpoints?
Let's go on.
Well, the first breakpoint is after the Holy Bible, with the disappearance of Richie.
Yeah.
Well, you've made an album, _ Journal for the Plague Lovers, that consists of lyrics from him.
Yeah.
Was it true?
Was that one breakpoint for you?
_ _ _ [Db] In personal terms, I think you've got to look at stuff in personal terms and band [Eb] terms.
But sometimes it's hard to [C] divide the two. _
[N] _ But we'd all grown up with each other.
We'd all known each other since we were children.
And of course, through those relationships, we formed a band.
So the band was formed through friendship.
So the two things seem indelibly linked together.
_ When Richie went missing, I think it didn't affect the band.
It affected us as far as I can see, it affected us as people, first of all.
We just didn't know what to do.
We felt as if we were suspended.
We felt as if we couldn't touch anything.
[Ab] Did you see this coming in hindsight?
_ Well, yeah, there had been dramatic happenings or _ [C] episodes before he went missing, which
are well documented.
Yeah, the for real thing.
More than what has been documented as a failed suicide attempt before.
_ But we thought that he had perhaps reached some kind of inner calmness post [C] that suicide attempt.
So whilst [G] never being completely sure that things would be OK, we thought that he was
getting to a better place and we thought he was progressing.
Did you talk about it with him?
Of course he did, yeah.
But I think he was _ _ _ [N] embarrassed to talk about it in terms of burdening the atmosphere in
a room with it.
He wanted to talk about the things he always talked about.
A new record that he had bought, a newspaper article that he'd read, or a poem that he'd
written, or a novel that he'd read, or a film that he'd seen.
He'd still much rather talk about those things than talk about the burden of what was happening
to him internally.
And of course, we'd talked about how he felt and what he wanted to do and whether he wanted
to be part of the band anymore.
But those conversations always seemed [C] to not resolve their selves.
He would not really want to talk about the end of anything.
So I think the bottom line is that it was a breaking point for us personally.
And then when we kind of put ourselves back together, we realised that there were still
three of us and we had a duty to each other because we still wanted to make music with
each other, we still wanted to write songs with each other.
So we just had to see if we could do that.
And the first song that we wrote was Designed for Life, which was serendipity or fate or
just higher circumstance, I don't know, but that's what gave us strength to carry on.
Last question about this, do you still think he's alive?
I never think in those terms.
I find it hard to think in terms of Richard being alive.
But of course, I can never bring myself to think of him as not being around.
But you know, I think once you start trying to answer those questions, you inevitably
start [N] writing a B-movie script.
When you answer those questions about Richie, whether he's alive or whatever, you know,
you get into the realms of a B-movie.
It's just impossible to know.
Do you still keep his royalties?
Because that's what you did?
Well, no, I mean, can I have_
Legally they're his, so it goes_ _ _ _ _ _