Chords for Marmalade - Interview - Reflections Of Their Lives part 2 - 1970.wmv
Tempo:
63.9 bpm
Chords used:
E
Em
C
D
F#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[C#m] [Em]
It was really like the Shiara's and groups like that who [C#m] gave us the initial sort of
urge [Em] to get into the business and they were all [F#] sort of three guitars and the singer stood out front and
the lead guitarist had an echo unit.
You pressed the echo unit when it came to your [E] guitar solo and everybody went berserk.
[Em]
[C]
[E] [D]
[C] [E]
[Em] [E]
[Em] Please, I want to tell the child that you're leaving.
Can [C] you help me?
[G#] It's the only way to sort of be happy, [F#] you know, in what you're doing.
I think it's to write your own material.
But [G] also to record some of these material that you really [G#] dig and, you know, [E] do it really well.
[D] Can you [C] help me?
[F#] We don't want to go to the boundaries, you know, and make it really way out, you know, avant-garde or anything like that.
I don't think we could play avant-garde anyway.
What is it?
[D] Can you [C] help me?
[E] [D]
[C] We [N] don't want to be an underground group.
We just want to be a good group and [Bm] we're learning all the time.
A child will always turn [E] to rhyme
[Bm]
When he or she can't find [E] the time
[G]
It doesn't matter how [D] it flows
Oh, oh, oh, [G] oh
As long as pleasure [F#] heals the blow
[Bm]
Have a different point [E] of view
Or [Bm] they will tell you what [E] to do
[G]
Be yourself in every [D] way
Hey, hey, hey, hey
[C]
Truth is strength, the wise [E] men say
The [F] Beatles really are the basic sort of influence in everybody nowadays, whether they admit it or not.
But they have a tremendous amount of strength, really, in the music business.
And people like Bob Dylan and Leonard Cohen and all these sort of people started people to think that maybe they could try and write their own songs.
Bob Dylan had a great influence on lyric writing and I'm sure that the Beatles did, if for no other reason than the fact that they set an example that the way that they wrote definitely sold.
So if you were in there to make a buck, the first thing you want to do is write like John Lennon or Bob Dylan.
I can see that if Richard Nixon wrote lyrics and he had a whole string of hits, everybody would be writing like him.
Wearing the same makeup, too.
And that's a thought.
I don't think Zappa's cynical remarks can really be applied to Marmalade.
They obviously bring a great deal of care and conviction to their music.
Marmalade see themselves in the [Em] mainstream of pop music.
I see her face, I close my eyes, I'm just calm, I really don't want to show off my face.
And through the heat I see you figure, [E] unclear.
Sitting here, I [Em] seem to freeze.
I want to touch your essentially.
Can [D] you [C] help [E]
[D] [Am] me?
[E] [Am]
[D] [Am]
[Em] [C]
[Am] [Em]
It was really like the Shiara's and groups like that who [C#m] gave us the initial sort of
urge [Em] to get into the business and they were all [F#] sort of three guitars and the singer stood out front and
the lead guitarist had an echo unit.
You pressed the echo unit when it came to your [E] guitar solo and everybody went berserk.
[Em]
[C]
[E] [D]
[C] [E]
[Em] [E]
[Em] Please, I want to tell the child that you're leaving.
Can [C] you help me?
[G#] It's the only way to sort of be happy, [F#] you know, in what you're doing.
I think it's to write your own material.
But [G] also to record some of these material that you really [G#] dig and, you know, [E] do it really well.
[D] Can you [C] help me?
[F#] We don't want to go to the boundaries, you know, and make it really way out, you know, avant-garde or anything like that.
I don't think we could play avant-garde anyway.
What is it?
[D] Can you [C] help me?
[E] [D]
[C] We [N] don't want to be an underground group.
We just want to be a good group and [Bm] we're learning all the time.
A child will always turn [E] to rhyme
[Bm]
When he or she can't find [E] the time
[G]
It doesn't matter how [D] it flows
Oh, oh, oh, [G] oh
As long as pleasure [F#] heals the blow
[Bm]
Have a different point [E] of view
Or [Bm] they will tell you what [E] to do
[G]
Be yourself in every [D] way
Hey, hey, hey, hey
[C]
Truth is strength, the wise [E] men say
The [F] Beatles really are the basic sort of influence in everybody nowadays, whether they admit it or not.
But they have a tremendous amount of strength, really, in the music business.
And people like Bob Dylan and Leonard Cohen and all these sort of people started people to think that maybe they could try and write their own songs.
Bob Dylan had a great influence on lyric writing and I'm sure that the Beatles did, if for no other reason than the fact that they set an example that the way that they wrote definitely sold.
So if you were in there to make a buck, the first thing you want to do is write like John Lennon or Bob Dylan.
I can see that if Richard Nixon wrote lyrics and he had a whole string of hits, everybody would be writing like him.
Wearing the same makeup, too.
And that's a thought.
I don't think Zappa's cynical remarks can really be applied to Marmalade.
They obviously bring a great deal of care and conviction to their music.
Marmalade see themselves in the [Em] mainstream of pop music.
I see her face, I close my eyes, I'm just calm, I really don't want to show off my face.
And through the heat I see you figure, [E] unclear.
Sitting here, I [Em] seem to freeze.
I want to touch your essentially.
Can [D] you [C] help [E]
[D] [Am] me?
[E] [Am]
[D] [Am]
[Em] [C]
[Am] [Em]
Key:
E
Em
C
D
F#
E
Em
C
_ _ _ _ _ _
_ [C#m] _ _ _ _ [Em]
It was really like the Shiara's and groups like that who [C#m] gave us the initial sort of
urge [Em] to get into the business and they were all [F#] sort of three guitars and the singer stood out front and
the lead guitarist had an echo unit.
You pressed the echo unit when it came to your [E] guitar solo and everybody went berserk.
_ _ _ _ _ [Em] _
_ _ _ _ _ _
_ _ _ _ [C] _ _
_ _ [E] _ _ [D] _ _
_ [C] _ _ [E] _ _ _
_ _ _ _ _ _
_ _ _ _ _ _
[Em] _ _ _ [E] _ _ _
_ _ [Em] Please, I want to tell the child that you're leaving.
Can [C] you help me?
[G#] It's the only way to sort of be happy, [F#] you know, in what you're doing.
I think it's to write your own material.
But [G] also to record some of these material that you really [G#] dig and, you know, [E] do it really well.
_ [D] Can you [C] help me?
[F#] We don't want to go to the boundaries, you know, and make it really way out, you know, avant-garde or anything like that.
I don't think we could play avant-garde anyway.
What is it?
[D] Can you [C] help me?
_ [E] _ _ [D] _
_ [C] We [N] don't want to be an underground group.
We just want to be a good group and [Bm] we're learning all the time.
A child will always turn [E] to rhyme
_ _ _ _ [Bm] _
When he or she can't find [E] the time
_ _ _ _ [G] _
It doesn't matter how [D] it flows
Oh, oh, oh, [G] oh
As long as pleasure [F#] heals the blow
_ _ _ [Bm] _
Have a different point [E] of view
Or _ _ [Bm] they _ will tell you what [E] to do
_ _ _ _ [G] _
Be yourself in every [D] way
Hey, hey, hey, hey
[C] _
Truth is strength, the wise [E] men say
The [F] Beatles really are the basic sort of influence in everybody nowadays, whether they admit it or not.
But they have a tremendous amount of strength, really, in the music business.
And people like Bob Dylan and Leonard Cohen and all these sort of people started people to think that maybe they could try and write their own songs.
Bob Dylan had a great influence on lyric writing and I'm sure that the Beatles did, if for no other reason than the fact that they set an example that the way that they wrote definitely sold.
So if you were in there to make a buck, the first thing you want to do is write like John Lennon or Bob Dylan.
I can see that if Richard Nixon wrote lyrics and he had a whole string of hits, everybody would be writing like him.
Wearing the same makeup, too.
And that's a thought.
I don't think Zappa's cynical remarks can really be applied to Marmalade.
They obviously bring a great deal of care and conviction to their music.
Marmalade see themselves in the [Em] mainstream of pop music.
I see her face, I close my eyes, I'm just calm, I really don't want to show off my face.
And through the heat I see you figure, [E] unclear.
Sitting here, I [Em] seem to freeze.
I want to touch your essentially.
Can [D] you [C] help _ _ _ [E] _ _
[D] _ [Am] me?
_ [E] _ _ _ _ [Am] _ _ _ _
_ [D] _ _ _ [Am] _ _
_ [Em] _ _ _ [C] _ _
[Am] _ _ _ _ [Em] _ _
_ _ _ _ _ _
_ [C#m] _ _ _ _ [Em]
It was really like the Shiara's and groups like that who [C#m] gave us the initial sort of
urge [Em] to get into the business and they were all [F#] sort of three guitars and the singer stood out front and
the lead guitarist had an echo unit.
You pressed the echo unit when it came to your [E] guitar solo and everybody went berserk.
_ _ _ _ _ [Em] _
_ _ _ _ _ _
_ _ _ _ [C] _ _
_ _ [E] _ _ [D] _ _
_ [C] _ _ [E] _ _ _
_ _ _ _ _ _
_ _ _ _ _ _
[Em] _ _ _ [E] _ _ _
_ _ [Em] Please, I want to tell the child that you're leaving.
Can [C] you help me?
[G#] It's the only way to sort of be happy, [F#] you know, in what you're doing.
I think it's to write your own material.
But [G] also to record some of these material that you really [G#] dig and, you know, [E] do it really well.
_ [D] Can you [C] help me?
[F#] We don't want to go to the boundaries, you know, and make it really way out, you know, avant-garde or anything like that.
I don't think we could play avant-garde anyway.
What is it?
[D] Can you [C] help me?
_ [E] _ _ [D] _
_ [C] We [N] don't want to be an underground group.
We just want to be a good group and [Bm] we're learning all the time.
A child will always turn [E] to rhyme
_ _ _ _ [Bm] _
When he or she can't find [E] the time
_ _ _ _ [G] _
It doesn't matter how [D] it flows
Oh, oh, oh, [G] oh
As long as pleasure [F#] heals the blow
_ _ _ [Bm] _
Have a different point [E] of view
Or _ _ [Bm] they _ will tell you what [E] to do
_ _ _ _ [G] _
Be yourself in every [D] way
Hey, hey, hey, hey
[C] _
Truth is strength, the wise [E] men say
The [F] Beatles really are the basic sort of influence in everybody nowadays, whether they admit it or not.
But they have a tremendous amount of strength, really, in the music business.
And people like Bob Dylan and Leonard Cohen and all these sort of people started people to think that maybe they could try and write their own songs.
Bob Dylan had a great influence on lyric writing and I'm sure that the Beatles did, if for no other reason than the fact that they set an example that the way that they wrote definitely sold.
So if you were in there to make a buck, the first thing you want to do is write like John Lennon or Bob Dylan.
I can see that if Richard Nixon wrote lyrics and he had a whole string of hits, everybody would be writing like him.
Wearing the same makeup, too.
And that's a thought.
I don't think Zappa's cynical remarks can really be applied to Marmalade.
They obviously bring a great deal of care and conviction to their music.
Marmalade see themselves in the [Em] mainstream of pop music.
I see her face, I close my eyes, I'm just calm, I really don't want to show off my face.
And through the heat I see you figure, [E] unclear.
Sitting here, I [Em] seem to freeze.
I want to touch your essentially.
Can [D] you [C] help _ _ _ [E] _ _
[D] _ [Am] me?
_ [E] _ _ _ _ [Am] _ _ _ _
_ [D] _ _ _ [Am] _ _
_ [Em] _ _ _ [C] _ _
[Am] _ _ _ _ [Em] _ _
_ _ _ _ _ _