Chords for Paul Simon: – Evidently my expression says there's something wrong | SVT/NRK/Skavlan
Tempo:
130.85 bpm
Chords used:
Am
A
C#
F
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Am] [A] [Am]
[N]
Welcome to the show.
Thank you, I'm happy to be here.
We were talking about the brain's chemistry and I know this is something that interests
you, how the brain works.
I wonder what do you know about how the brain works when we listen to music?
Well of course I know about dopamine and serotonin and I started to get interested in it when
I was asking a friend of mine who is a neuroscientist, what's going on in the brain when you get
into what they call flow?
You know sometimes it's described as you feel like you're plugged into the universe or the
music or the words came through you and you were just a vessel for that to happen.
Does that happen often for you?
It's happened often enough to make the career of writing songs something that I've done
since I'm 13.
It's addictive.
I was 21 or 22 years old when I wrote The Sound of Silence and I thought, hmm, that's
good.
And when I wrote Bridge Over Troubled Water which also sort of just came, again I thought
that's better than I usually write.
I wonder why.
But it wasn't until later that I asked the question and the answer was, in chemical terms,
the brain secretes serotonin which creates a feeling of well-being and you're sort of
ready to go to work and looking forward to it and then you get a wash of dopamine and
that's like the kind of wow experience that can be either falling in love with someone
or a god-like connection to the universe, something that fills your heart to overflowing.
And then there's adrenaline which keeps it going and where you say, gee, I had no idea
it was 3 o'clock in the morning and I've been doing this for seven hours, the time just flew by.
So those components seem to be a part of what they call flow and quite often flow produces something extraordinary.
But on the other hand, there are songs that I've written that I think are, well, like
Still Crazy after all these years, you mentioned that in the introduction.
That took me months and months of writing and changing and re -sculpting and all of that
and in fact I didn't even finish writing it until the night that we were in the studio
I wrote the bridge of the song.
So there were no moments of revelation, it was just work.
Do you see yourself as a rational person or a spiritual person?
Both.
Have you become more spiritual getting older or the other way?
Both.
Short but very good answers I think.
Well, one thing for sure is our capacity to edit becomes enhanced because we have more
experience.
You realize, oh this, I do this all the time with sounds.
I'm very interested in sound.
So you start with sound before the words?
I start with, words come last.
Always last.
Yeah.
I'll put the guitar part down and then I'll sing over that of what I made and then I can
sing or drive.
I make a lot of music when I'm driving.
So driving is a good situation to sort of be creative or perhaps even get
It's good for me, bad for other drivers.
I know artists of every sort of capacity, writers, other actors, they see a certain
play or they read a book and they're like, I could have done that, I should have written
that, I should have done that.
Have you ever had a piece of music where you're like, I could have done that, I should have
thought of that first.
Is there something like that?
Oh yeah.
And I, you know, like people say, well if you could have written any song, what would
you have written?
And Silent Night.
You know, so simple, so beautiful.
I love that.
You have a lot of fans and you always had a lot of fans.
And back in the, I [C#] mean when it was Simon and Garfunkel back in the 60s, by the end
of the 60s you were as big as the Beatles.
I mean it was
[F] fantastic in a way.
Did you have the same kind of hysterical fans that the Beatles had?
No, no.
What were they like?
The Beatles were a phenomenon.
That screaming and, that was different.
We sold for a period of time, for a couple of years there from like the Graduate to Bridge
Over Trouble Water, we probably sold more records than they did and maybe even would
have had the same amount of people come to shows, they had stopped performing by then.
But there wasn't, it was a different kind of fan.
It was more about listening.
The Beatles were an explosion of joy, of youth and joy.
And my writing for Simon and Garfunkel was naturally more, I don't know, naturally more
I think introspective than most of the Beatle songs.
John had a tendency to be introspective, Paul didn't really have that.
But I mean it was just filled with, it was great, beautiful music that he wrote and enjoys.
But the fans were different and we're different personalities.
I knew all of them.
And the guy that I was closest to who was most like me was George, that we were most alike.
He was a very, very interesting guy, George.
[N]
Welcome to the show.
Thank you, I'm happy to be here.
We were talking about the brain's chemistry and I know this is something that interests
you, how the brain works.
I wonder what do you know about how the brain works when we listen to music?
Well of course I know about dopamine and serotonin and I started to get interested in it when
I was asking a friend of mine who is a neuroscientist, what's going on in the brain when you get
into what they call flow?
You know sometimes it's described as you feel like you're plugged into the universe or the
music or the words came through you and you were just a vessel for that to happen.
Does that happen often for you?
It's happened often enough to make the career of writing songs something that I've done
since I'm 13.
It's addictive.
I was 21 or 22 years old when I wrote The Sound of Silence and I thought, hmm, that's
good.
And when I wrote Bridge Over Troubled Water which also sort of just came, again I thought
that's better than I usually write.
I wonder why.
But it wasn't until later that I asked the question and the answer was, in chemical terms,
the brain secretes serotonin which creates a feeling of well-being and you're sort of
ready to go to work and looking forward to it and then you get a wash of dopamine and
that's like the kind of wow experience that can be either falling in love with someone
or a god-like connection to the universe, something that fills your heart to overflowing.
And then there's adrenaline which keeps it going and where you say, gee, I had no idea
it was 3 o'clock in the morning and I've been doing this for seven hours, the time just flew by.
So those components seem to be a part of what they call flow and quite often flow produces something extraordinary.
But on the other hand, there are songs that I've written that I think are, well, like
Still Crazy after all these years, you mentioned that in the introduction.
That took me months and months of writing and changing and re -sculpting and all of that
and in fact I didn't even finish writing it until the night that we were in the studio
I wrote the bridge of the song.
So there were no moments of revelation, it was just work.
Do you see yourself as a rational person or a spiritual person?
Both.
Have you become more spiritual getting older or the other way?
Both.
Short but very good answers I think.
Well, one thing for sure is our capacity to edit becomes enhanced because we have more
experience.
You realize, oh this, I do this all the time with sounds.
I'm very interested in sound.
So you start with sound before the words?
I start with, words come last.
Always last.
Yeah.
I'll put the guitar part down and then I'll sing over that of what I made and then I can
sing or drive.
I make a lot of music when I'm driving.
So driving is a good situation to sort of be creative or perhaps even get
It's good for me, bad for other drivers.
I know artists of every sort of capacity, writers, other actors, they see a certain
play or they read a book and they're like, I could have done that, I should have written
that, I should have done that.
Have you ever had a piece of music where you're like, I could have done that, I should have
thought of that first.
Is there something like that?
Oh yeah.
And I, you know, like people say, well if you could have written any song, what would
you have written?
And Silent Night.
You know, so simple, so beautiful.
I love that.
You have a lot of fans and you always had a lot of fans.
And back in the, I [C#] mean when it was Simon and Garfunkel back in the 60s, by the end
of the 60s you were as big as the Beatles.
I mean it was
[F] fantastic in a way.
Did you have the same kind of hysterical fans that the Beatles had?
No, no.
What were they like?
The Beatles were a phenomenon.
That screaming and, that was different.
We sold for a period of time, for a couple of years there from like the Graduate to Bridge
Over Trouble Water, we probably sold more records than they did and maybe even would
have had the same amount of people come to shows, they had stopped performing by then.
But there wasn't, it was a different kind of fan.
It was more about listening.
The Beatles were an explosion of joy, of youth and joy.
And my writing for Simon and Garfunkel was naturally more, I don't know, naturally more
I think introspective than most of the Beatle songs.
John had a tendency to be introspective, Paul didn't really have that.
But I mean it was just filled with, it was great, beautiful music that he wrote and enjoys.
But the fans were different and we're different personalities.
I knew all of them.
And the guy that I was closest to who was most like me was George, that we were most alike.
He was a very, very interesting guy, George.
Key:
Am
A
C#
F
Am
A
C#
F
[Am] _ _ _ [A] _ _ [Am] _ _ _
[N] _ _ _ _ _ _ _ _
_ _ Welcome to the show.
_ Thank you, I'm happy to be here.
We were talking about the brain's chemistry and I know this is something that interests
you, how the brain works.
I wonder what do you know about how the brain works when we listen to music?
_ Well of _ course I know about dopamine and serotonin and _ I started to get interested in it when
I was asking _ a friend of mine who is a neuroscientist, what's going on in the brain when you get
into what they call flow? _
You know sometimes it's described as you feel like you're plugged into _ the universe or _ the
_ _ music or the words came through you and you were just a _ _ _ vessel for that to happen.
Does that happen often for you?
_ It's happened often enough to make the _ _ _ _ _ career of writing songs something that I've done
since I'm 13.
_ _ _ It's addictive. _ _
_ _ I _ was _ 21 or 22 years old when I wrote The Sound of Silence _ and I thought, hmm, _ _ that's
_ good. _ _
_ _ _ _ And when I wrote Bridge Over Troubled Water which also sort of just came, _ _ _ _ again I thought
that's better than I usually write.
_ I wonder _ why.
But it wasn't until later that I asked the question and the answer was, in chemical terms,
_ _ _ _ _ the brain secretes _ serotonin which creates a feeling of well-being and you're sort of
ready to go to work and looking forward to it and then you get a wash of dopamine and
that's like the kind of wow experience that can be either falling in love with _ someone _ _ _
_ or a god-like _ _ connection to _ the universe, something that fills your heart to _ overflowing.
And then there's adrenaline which keeps it going and where you say, _ _ gee, I had no idea
it was _ 3 o'clock in the morning and I've been doing this for seven hours, the time just flew by.
So those components seem to be a part of what they call flow and _ quite often flow produces something _ extraordinary.
But on the other hand, _ there are songs that I've written that I think are, _ well, like
Still Crazy after all these years, you mentioned that in the introduction.
That took me months and months of writing and changing and _ _ re _ -sculpting and all of that
and in fact I didn't even finish writing it until the night that we were in the studio
I wrote the bridge of the song.
So there were no moments of _ _ _ revelation, it was just work.
Do you see yourself as a rational person or a spiritual person?
Both. _ _ _
_ _ _ Have you become more spiritual _ getting older or _ the other way?
_ _ _ _ _ _ Both.
_ _ _ _ _ Short but very good answers I think.
_ _ Well, one thing for sure is our capacity to edit _ _ _ becomes _ enhanced because we have more
_ experience.
You realize, oh this, _ I do this all the time with sounds.
I'm very interested in sound.
So you start with sound before the words?
I start with, words come last.
_ Always last.
Yeah.
I'll put the guitar part down and then I'll sing over that _ _ of what I made and then I can
sing _ or drive.
I make a lot of music when I'm driving.
_ So driving is a good situation to sort of be creative or perhaps even get_
It's good for me, bad for other drivers. _ _ _
I know artists of every sort of capacity, writers, other actors, they see a certain
play or they read a book and they're like, I could have done that, I should have written
that, I should have done that.
Have you ever had a piece of music where you're like, I could have done that, I should have
thought of that first.
Is there something like that?
Oh yeah.
And I, you know, like people say, well if you could have written any song, what would
you have written?
And Silent _ Night.
_ You know, so simple, so beautiful.
I love that.
You have a lot of fans and you always had a lot of fans.
And back in the, I [C#] mean when it was Simon and Garfunkel back in the 60s, by the end
of the 60s you were as big as the Beatles.
I mean it was _
[F] _ fantastic in a way.
Did you have the same kind of hysterical fans that the Beatles had?
_ No, no.
What were they like?
The Beatles were a phenomenon. _ _ _ _ _
That screaming and, _ that was different.
_ We sold for a period of time, for a couple of years there from like the Graduate to Bridge
Over Trouble Water, we probably sold more records than they did and maybe even would
have had the same amount of people _ come to shows, they had stopped performing by then.
But there wasn't, it was a different kind of fan.
It was more about _ _ listening.
The Beatles were an explosion of joy, of youth and joy.
_ _ And my writing for _ Simon and Garfunkel was naturally more, _ _ _ _ _ I don't know, _ naturally more
I think introspective than most of the Beatle songs.
John had a tendency to be _ introspective, Paul didn't really have that.
But I mean it was just filled with, _ it was great, beautiful music that he wrote and enjoys.
But the fans were _ different _ and we're different personalities.
I knew _ _ _ all of them.
_ _ And _ the guy that I was closest to who was most like me was George, that we were most alike. _ _
_ He was a very, very interesting guy, George. _
[N] _ _ _ _ _ _ _ _
_ _ Welcome to the show.
_ Thank you, I'm happy to be here.
We were talking about the brain's chemistry and I know this is something that interests
you, how the brain works.
I wonder what do you know about how the brain works when we listen to music?
_ Well of _ course I know about dopamine and serotonin and _ I started to get interested in it when
I was asking _ a friend of mine who is a neuroscientist, what's going on in the brain when you get
into what they call flow? _
You know sometimes it's described as you feel like you're plugged into _ the universe or _ the
_ _ music or the words came through you and you were just a _ _ _ vessel for that to happen.
Does that happen often for you?
_ It's happened often enough to make the _ _ _ _ _ career of writing songs something that I've done
since I'm 13.
_ _ _ It's addictive. _ _
_ _ I _ was _ 21 or 22 years old when I wrote The Sound of Silence _ and I thought, hmm, _ _ that's
_ good. _ _
_ _ _ _ And when I wrote Bridge Over Troubled Water which also sort of just came, _ _ _ _ again I thought
that's better than I usually write.
_ I wonder _ why.
But it wasn't until later that I asked the question and the answer was, in chemical terms,
_ _ _ _ _ the brain secretes _ serotonin which creates a feeling of well-being and you're sort of
ready to go to work and looking forward to it and then you get a wash of dopamine and
that's like the kind of wow experience that can be either falling in love with _ someone _ _ _
_ or a god-like _ _ connection to _ the universe, something that fills your heart to _ overflowing.
And then there's adrenaline which keeps it going and where you say, _ _ gee, I had no idea
it was _ 3 o'clock in the morning and I've been doing this for seven hours, the time just flew by.
So those components seem to be a part of what they call flow and _ quite often flow produces something _ extraordinary.
But on the other hand, _ there are songs that I've written that I think are, _ well, like
Still Crazy after all these years, you mentioned that in the introduction.
That took me months and months of writing and changing and _ _ re _ -sculpting and all of that
and in fact I didn't even finish writing it until the night that we were in the studio
I wrote the bridge of the song.
So there were no moments of _ _ _ revelation, it was just work.
Do you see yourself as a rational person or a spiritual person?
Both. _ _ _
_ _ _ Have you become more spiritual _ getting older or _ the other way?
_ _ _ _ _ _ Both.
_ _ _ _ _ Short but very good answers I think.
_ _ Well, one thing for sure is our capacity to edit _ _ _ becomes _ enhanced because we have more
_ experience.
You realize, oh this, _ I do this all the time with sounds.
I'm very interested in sound.
So you start with sound before the words?
I start with, words come last.
_ Always last.
Yeah.
I'll put the guitar part down and then I'll sing over that _ _ of what I made and then I can
sing _ or drive.
I make a lot of music when I'm driving.
_ So driving is a good situation to sort of be creative or perhaps even get_
It's good for me, bad for other drivers. _ _ _
I know artists of every sort of capacity, writers, other actors, they see a certain
play or they read a book and they're like, I could have done that, I should have written
that, I should have done that.
Have you ever had a piece of music where you're like, I could have done that, I should have
thought of that first.
Is there something like that?
Oh yeah.
And I, you know, like people say, well if you could have written any song, what would
you have written?
And Silent _ Night.
_ You know, so simple, so beautiful.
I love that.
You have a lot of fans and you always had a lot of fans.
And back in the, I [C#] mean when it was Simon and Garfunkel back in the 60s, by the end
of the 60s you were as big as the Beatles.
I mean it was _
[F] _ fantastic in a way.
Did you have the same kind of hysterical fans that the Beatles had?
_ No, no.
What were they like?
The Beatles were a phenomenon. _ _ _ _ _
That screaming and, _ that was different.
_ We sold for a period of time, for a couple of years there from like the Graduate to Bridge
Over Trouble Water, we probably sold more records than they did and maybe even would
have had the same amount of people _ come to shows, they had stopped performing by then.
But there wasn't, it was a different kind of fan.
It was more about _ _ listening.
The Beatles were an explosion of joy, of youth and joy.
_ _ And my writing for _ Simon and Garfunkel was naturally more, _ _ _ _ _ I don't know, _ naturally more
I think introspective than most of the Beatle songs.
John had a tendency to be _ introspective, Paul didn't really have that.
But I mean it was just filled with, _ it was great, beautiful music that he wrote and enjoys.
But the fans were _ different _ and we're different personalities.
I knew _ _ _ all of them.
_ _ And _ the guy that I was closest to who was most like me was George, that we were most alike. _ _
_ He was a very, very interesting guy, George. _