Chords for Mike Pender and Tony Jackson talk.wmv
Tempo:
127.25 bpm
Chords used:
C
G
D
Em
F
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[C] Sweet, [D] oh my sweet, you show them all my heart
Next, it was The Searchers' turn to record, [Gm] this time with [C] Tony Hatch.
[G] I can remember going into the studios and we rehearsed the song, and I think we did it in three takes,
all standing around one microphone, [C]
and I thought it wasn't perfect.
But of course Tony, Tony Hatch, he's up in the box and [Em] he's saying,
that's it boys, we've [E] got one, we've got a master.
You know what he's saying, we can do a better one.
[G] No, no, that's it, that's good enough.
[Em] Again, it was a hit.
[C] Darling, [F] I would chase [G] that bright star [F] nightly
[C]
[D] And try to steal it from the [F] sky
And I [C] would bring [D] sweets for my [G] sweet, show them all [F] my heart
Your first big kiss, thrilled me so
[C]
Right down through the history of rock and roll, if you find a band [G] that has a success with one record,
you'll always find that their follow-up is very, very similar.
So anyway, Tony said, I've got this song, a friend of mine has [C] written it for you, blah, blah, blah, great.
And we did it, Chill and Spice, sure enough, [Em] [C] back up to the top of the [G] charts.
[C] We actually found out later [Gm] that Tony Hatch had written the [C] song himself.
[Bb] Sweeter than [G] wine, sugar and [A] spice and all things nice
[Cm] You know that little [Bb] girl is [G] mine
[C] With this newfound success, the Searchers' [G] flamboyant drummer, [C] Chris Curtis, [Em] began to see himself as [G] group leader.
[Cm] Chris was [D] the showman of the band.
And because of that, although we were all equal guys and we all loved the same music and all that,
Chris then began to get a bit, well, it's my band, you know, so I tell everyone what to do.
And I think that's where the [Eb] start of the friction was.
[D] I [Gm] walked in the studio, all set up, and he just walked [Eb] up to me and said,
I don't [Ab] want you to sing on this album, [D] Tony, your voice isn't good enough.
Which, you know, I fell through the floor, I said, what do you mean?
Well, that's the polite version of what do you mean?
He said, no, he said, no, Michael's going to do it, Mike's going to sing, take all the leads, you're just playing bass.
I said, well, look, I've been lead singer on two albums, [Dm] two number [Ab] ones,
and then he says, I [Bb] don't like the way you're playing bass, I want you to do it [Ab] this way.
So I blew my [G] top, you know, and I said, Chris, I said, what [D] the F&L are you on about?
I said, you're the drummer in the band, I said, you don't lead it.
I said, why don't you stick to your drums?
Tony lost out [B] in the battle with Chris and was kicked out of the band.
Your [Abm] dreams of fame have all come [A]
true, now I'm just [B] a no one next to [A] you.
I was [B] expecting, stupidly, when [Ab] the news broke that I was out [D] of the band,
I'd have a flood of phone calls, like from Hollies or anyone who thought I could do a job for them.
Will you join us, you know, Foremost or Merseybeats or somebody, but nothing came.
[G] I wished him well, [E] you know, I wished he would have made a big name.
[Gb]
I mean, [G] I didn't really want him to leave the band,
but you get caught up in so many emotions in those circumstances.
Tony formed a band [D] called The Vibrations, but even then couldn't escape his past in the searches.
My agent said, no one's going to book you with that name, they've got to know it's you.
You've got to use your name up front.
I said, yeah, but I don't want to be.
He said, well, you won't get any bookings if you don't.
So it ended up as Tony Jackson and The Vibrations, but it was just going to be The Vibrations.
But just to get the bookings and so people could say, oh, yeah, Tony Jackson searches, you know, [Eb] X or whatever.
We'll go and see him.
Next, it was The Searchers' turn to record, [Gm] this time with [C] Tony Hatch.
[G] I can remember going into the studios and we rehearsed the song, and I think we did it in three takes,
all standing around one microphone, [C]
and I thought it wasn't perfect.
But of course Tony, Tony Hatch, he's up in the box and [Em] he's saying,
that's it boys, we've [E] got one, we've got a master.
You know what he's saying, we can do a better one.
[G] No, no, that's it, that's good enough.
[Em] Again, it was a hit.
[C] Darling, [F] I would chase [G] that bright star [F] nightly
[C]
[D] And try to steal it from the [F] sky
And I [C] would bring [D] sweets for my [G] sweet, show them all [F] my heart
Your first big kiss, thrilled me so
[C]
Right down through the history of rock and roll, if you find a band [G] that has a success with one record,
you'll always find that their follow-up is very, very similar.
So anyway, Tony said, I've got this song, a friend of mine has [C] written it for you, blah, blah, blah, great.
And we did it, Chill and Spice, sure enough, [Em] [C] back up to the top of the [G] charts.
[C] We actually found out later [Gm] that Tony Hatch had written the [C] song himself.
[Bb] Sweeter than [G] wine, sugar and [A] spice and all things nice
[Cm] You know that little [Bb] girl is [G] mine
[C] With this newfound success, the Searchers' [G] flamboyant drummer, [C] Chris Curtis, [Em] began to see himself as [G] group leader.
[Cm] Chris was [D] the showman of the band.
And because of that, although we were all equal guys and we all loved the same music and all that,
Chris then began to get a bit, well, it's my band, you know, so I tell everyone what to do.
And I think that's where the [Eb] start of the friction was.
[D] I [Gm] walked in the studio, all set up, and he just walked [Eb] up to me and said,
I don't [Ab] want you to sing on this album, [D] Tony, your voice isn't good enough.
Which, you know, I fell through the floor, I said, what do you mean?
Well, that's the polite version of what do you mean?
He said, no, he said, no, Michael's going to do it, Mike's going to sing, take all the leads, you're just playing bass.
I said, well, look, I've been lead singer on two albums, [Dm] two number [Ab] ones,
and then he says, I [Bb] don't like the way you're playing bass, I want you to do it [Ab] this way.
So I blew my [G] top, you know, and I said, Chris, I said, what [D] the F&L are you on about?
I said, you're the drummer in the band, I said, you don't lead it.
I said, why don't you stick to your drums?
Tony lost out [B] in the battle with Chris and was kicked out of the band.
Your [Abm] dreams of fame have all come [A]
true, now I'm just [B] a no one next to [A] you.
I was [B] expecting, stupidly, when [Ab] the news broke that I was out [D] of the band,
I'd have a flood of phone calls, like from Hollies or anyone who thought I could do a job for them.
Will you join us, you know, Foremost or Merseybeats or somebody, but nothing came.
[G] I wished him well, [E] you know, I wished he would have made a big name.
[Gb]
I mean, [G] I didn't really want him to leave the band,
but you get caught up in so many emotions in those circumstances.
Tony formed a band [D] called The Vibrations, but even then couldn't escape his past in the searches.
My agent said, no one's going to book you with that name, they've got to know it's you.
You've got to use your name up front.
I said, yeah, but I don't want to be.
He said, well, you won't get any bookings if you don't.
So it ended up as Tony Jackson and The Vibrations, but it was just going to be The Vibrations.
But just to get the bookings and so people could say, oh, yeah, Tony Jackson searches, you know, [Eb] X or whatever.
We'll go and see him.
Key:
C
G
D
Em
F
C
G
D
_ [C] _ Sweet, [D] oh my sweet, you show them all my heart
Next, it was The Searchers' turn to record, [Gm] this time with [C] Tony Hatch.
[G] I can remember going into the studios and we rehearsed the song, _ and I think we did it in three takes,
_ all standing around one microphone, _ _ [C]
and I thought it wasn't perfect.
But of course Tony, Tony Hatch, he's up in the box and [Em] he's saying,
that's it boys, we've [E] got one, we've got a master.
_ You know what he's saying, we can do a better one.
[G] No, no, that's it, that's good enough.
_ [Em] Again, it was a hit.
[C] Darling, [F] I would chase [G] that bright star [F] nightly
[C] _
[D] And try to steal it from the [F] sky
And I [C] would bring [D] sweets for my [G] sweet, show them all [F] my heart
Your first big kiss, thrilled me so
[C]
Right down through the history of rock and roll, if you find a band [G] that has a success with one record,
you'll always find that their follow-up is very, very similar.
So anyway, Tony said, I've got this song, a friend of mine has [C] written it for you, blah, blah, blah, great.
And we did it, Chill and Spice, sure enough, [Em] _ [C] back up to the top of the [G] charts. _
[C] We actually found out later [Gm] that Tony Hatch had written the [C] song himself. _
[Bb] Sweeter than [G] wine, sugar and [A] spice and all things nice
[Cm] You know that little [Bb] girl is [G] mine
[C] With this newfound success, the Searchers' [G] flamboyant drummer, [C] Chris Curtis, [Em] began to see himself as [G] group leader.
[Cm] Chris was [D] the showman of the band.
And because of that, although we were all equal guys and we all loved the same music and all that,
_ _ Chris then began to get a bit, _ well, it's my band, you know, so I tell everyone what to do.
_ And I think that's where the [Eb] start of the friction was.
[D] _ _ I [Gm] walked in the studio, all set up, and he just walked [Eb] up to me and said,
I don't [Ab] want you to sing on this album, [D] Tony, your voice isn't good enough. _
_ Which, you know, I fell through the floor, I said, what do you mean?
Well, that's the polite version of what do you mean?
_ _ He said, no, he said, no, Michael's going to do it, Mike's going to sing, take all the leads, you're just playing bass.
_ _ _ I said, well, look, I've been lead singer on two albums, [Dm] _ two number [Ab] ones,
and then he says, I [Bb] don't like the way you're playing bass, I want you to do it [Ab] this way.
_ So I blew my [G] top, you know, and I said, Chris, I said, what [D] the F&L are you on about?
I said, you're the drummer in the band, I said, you don't lead it.
I said, why don't you stick to your drums?
Tony lost out [B] in the battle with Chris and was kicked out of the band. _
Your [Abm] dreams of fame have all come [A]
true, now I'm just [B] a no one next to [A] you.
I was [B] expecting, _ stupidly, when [Ab] the news broke that I was out [D] of the band,
I'd have a flood of phone calls, _ like from Hollies or anyone who thought I could do a job for them.
Will you join us, you know, Foremost or Merseybeats or somebody, but nothing came.
[G] I wished him well, [E] you know, I wished he would have made a big name.
[Gb]
I mean, [G] I didn't really want him to leave the band,
but you get caught up in so many emotions in those circumstances.
_ Tony formed a band [D] called The Vibrations, but even then couldn't escape his past in the searches.
My agent said, no one's going to book you with that name, they've got to know it's you.
You've got to use your name up front.
I said, yeah, but I don't want to be.
He said, well, you won't get any bookings if you don't.
So it ended up as Tony Jackson and The Vibrations, but it was just going to be The Vibrations.
But just to get the bookings and so people could say, oh, yeah, Tony Jackson searches, you know, [Eb] X or whatever.
We'll go and see him.
Next, it was The Searchers' turn to record, [Gm] this time with [C] Tony Hatch.
[G] I can remember going into the studios and we rehearsed the song, _ and I think we did it in three takes,
_ all standing around one microphone, _ _ [C]
and I thought it wasn't perfect.
But of course Tony, Tony Hatch, he's up in the box and [Em] he's saying,
that's it boys, we've [E] got one, we've got a master.
_ You know what he's saying, we can do a better one.
[G] No, no, that's it, that's good enough.
_ [Em] Again, it was a hit.
[C] Darling, [F] I would chase [G] that bright star [F] nightly
[C] _
[D] And try to steal it from the [F] sky
And I [C] would bring [D] sweets for my [G] sweet, show them all [F] my heart
Your first big kiss, thrilled me so
[C]
Right down through the history of rock and roll, if you find a band [G] that has a success with one record,
you'll always find that their follow-up is very, very similar.
So anyway, Tony said, I've got this song, a friend of mine has [C] written it for you, blah, blah, blah, great.
And we did it, Chill and Spice, sure enough, [Em] _ [C] back up to the top of the [G] charts. _
[C] We actually found out later [Gm] that Tony Hatch had written the [C] song himself. _
[Bb] Sweeter than [G] wine, sugar and [A] spice and all things nice
[Cm] You know that little [Bb] girl is [G] mine
[C] With this newfound success, the Searchers' [G] flamboyant drummer, [C] Chris Curtis, [Em] began to see himself as [G] group leader.
[Cm] Chris was [D] the showman of the band.
And because of that, although we were all equal guys and we all loved the same music and all that,
_ _ Chris then began to get a bit, _ well, it's my band, you know, so I tell everyone what to do.
_ And I think that's where the [Eb] start of the friction was.
[D] _ _ I [Gm] walked in the studio, all set up, and he just walked [Eb] up to me and said,
I don't [Ab] want you to sing on this album, [D] Tony, your voice isn't good enough. _
_ Which, you know, I fell through the floor, I said, what do you mean?
Well, that's the polite version of what do you mean?
_ _ He said, no, he said, no, Michael's going to do it, Mike's going to sing, take all the leads, you're just playing bass.
_ _ _ I said, well, look, I've been lead singer on two albums, [Dm] _ two number [Ab] ones,
and then he says, I [Bb] don't like the way you're playing bass, I want you to do it [Ab] this way.
_ So I blew my [G] top, you know, and I said, Chris, I said, what [D] the F&L are you on about?
I said, you're the drummer in the band, I said, you don't lead it.
I said, why don't you stick to your drums?
Tony lost out [B] in the battle with Chris and was kicked out of the band. _
Your [Abm] dreams of fame have all come [A]
true, now I'm just [B] a no one next to [A] you.
I was [B] expecting, _ stupidly, when [Ab] the news broke that I was out [D] of the band,
I'd have a flood of phone calls, _ like from Hollies or anyone who thought I could do a job for them.
Will you join us, you know, Foremost or Merseybeats or somebody, but nothing came.
[G] I wished him well, [E] you know, I wished he would have made a big name.
[Gb]
I mean, [G] I didn't really want him to leave the band,
but you get caught up in so many emotions in those circumstances.
_ Tony formed a band [D] called The Vibrations, but even then couldn't escape his past in the searches.
My agent said, no one's going to book you with that name, they've got to know it's you.
You've got to use your name up front.
I said, yeah, but I don't want to be.
He said, well, you won't get any bookings if you don't.
So it ended up as Tony Jackson and The Vibrations, but it was just going to be The Vibrations.
But just to get the bookings and so people could say, oh, yeah, Tony Jackson searches, you know, [Eb] X or whatever.
We'll go and see him.