Chords for Peter Gabriel says: NO GENESIS REUNION
Tempo:
32.5 bpm
Chords used:
Eb
C
Bbm
Abm
Bb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
for being an icon, whatever that is, so, but, um, you know, I think when you refuse to die
and they can't get rid of you any other way, they give you an award.
How does it feel?
Because I'm wondering, or I'm thinking that maybe [G] Peter Gabriel's been
called an icon more than once, and do [Bbm] you look
A lot of other things too.
[N] Do you look back on what you've done and also what you're going to do as an icon, as someone
who is an icon?
No, of course you don't.
You just think of yourself as you always [Abm] did when you were 17
years old, you know, so it's, um, but it's useful sometimes getting tables in a restaurant.
In terms of your career at the moment, you've done so many things, I'd be [Bb] here for half
an hour if I listed everything you've done, but with Genesis, [E] on your own collaborations,
[A] with WOMAD, and also with your company.
Are you working on any more music at the moment?
Yeah, no I am.
I spent a long time last year working on some benefit projects [Bbm] and I'm trying
to get back into writing at the moment, so I'm very much enjoying it.
In terms of what the BMI stands for, [Ab] in terms of publishers and publishing rights, what
do you think about [Eb] something like, I don't know if you're familiar with what Radiohead
have [N] recently done, what do you think about that, about the idea of selling your music
online for nothing, or, you know, if people want to pay 5p, they can pay 5p.
What's your
take on that?
No, I love it.
I think, you know, the whole thing's been thrown up in the air and we need
to look at lots of different models, and I really hope, because they've trusted their
audience and I really hope the audience come up for them.
I think they are already, so
that's a great model.
Because I know you sell your live shows online, don't you?
You give them away online.
[C] Yeah, but I, and you know, we've got another thing called We7, [F] which is basically getting
music out for free, but people have to tolerate ads, which they can switch off after a number
of weeks.
But [C] I think there's lots of different models there, and obviously people have got
used to getting music for [Eb] free from the Torrent or wherever else, and so it's changing, but
I think this idea of free for people to check out, [Db] low cost digital download, you know,
medium cost physical product, high cost, so deluxe set like [F] Radiohead have done, and then
maybe some [N] super deluxe handmade thing.
And although I don't think musicians will make
what they made before, you know, I think they'll do fine out of it, and [E] the key thing is to
find [B] an income flow for young bands, and starting [D] off a minority of interest artists,
because, you know, [C] we work with a lot of artists, 60% of their [B] income traditionally has come
from record sales, and that's sort of collapsed, [Bb] so they have to find other models that work.
What [D] do you see for the future of music and musicians, because record [Abm] companies aren't
going to stay the same, are they?
It's not going to stay the way it always was.
I just think it's [Ab] wide open at the moment, and that's very exciting, because there's
no real rules, nobody knows for sure what's going to work, what isn't, so people can try
anything, and in a way it reminds me of the beginning of video or something, and it's
a free and exciting time.
[N] You've recently announced that you're going to play at the World Aid Today concert in Johannesburg.
Yeah, no I am, I mean I was trying to get back in the studio, but then I got the call
from Mandela, and although I've done two of those gigs for him, this was another, and
he's not a man you can say no to.
Just finally, Mike and Tony and Phil were out on the road again earlier this year, did
you manage to catch them?
I didn't, I was hoping to in Rome, and I think if they come back in Europe, then I'll try
and catch it.
Is there any chance of them saying, and now, welcome Mr Peter Gabriel while they're playing?
I don't think so, because I learned last time at Milton Keynes that [Gb] it takes quite a lot
of rehearsal to try and get something a reasonable standard, but I mean [Eb] I don't have any sort
of ideological [Cm] objections, it was just at the time, you know, it was expanding and I
had other things I wanted to do, and you know, you have to think twice about making a big
and they can't get rid of you any other way, they give you an award.
How does it feel?
Because I'm wondering, or I'm thinking that maybe [G] Peter Gabriel's been
called an icon more than once, and do [Bbm] you look
A lot of other things too.
[N] Do you look back on what you've done and also what you're going to do as an icon, as someone
who is an icon?
No, of course you don't.
You just think of yourself as you always [Abm] did when you were 17
years old, you know, so it's, um, but it's useful sometimes getting tables in a restaurant.
In terms of your career at the moment, you've done so many things, I'd be [Bb] here for half
an hour if I listed everything you've done, but with Genesis, [E] on your own collaborations,
[A] with WOMAD, and also with your company.
Are you working on any more music at the moment?
Yeah, no I am.
I spent a long time last year working on some benefit projects [Bbm] and I'm trying
to get back into writing at the moment, so I'm very much enjoying it.
In terms of what the BMI stands for, [Ab] in terms of publishers and publishing rights, what
do you think about [Eb] something like, I don't know if you're familiar with what Radiohead
have [N] recently done, what do you think about that, about the idea of selling your music
online for nothing, or, you know, if people want to pay 5p, they can pay 5p.
What's your
take on that?
No, I love it.
I think, you know, the whole thing's been thrown up in the air and we need
to look at lots of different models, and I really hope, because they've trusted their
audience and I really hope the audience come up for them.
I think they are already, so
that's a great model.
Because I know you sell your live shows online, don't you?
You give them away online.
[C] Yeah, but I, and you know, we've got another thing called We7, [F] which is basically getting
music out for free, but people have to tolerate ads, which they can switch off after a number
of weeks.
But [C] I think there's lots of different models there, and obviously people have got
used to getting music for [Eb] free from the Torrent or wherever else, and so it's changing, but
I think this idea of free for people to check out, [Db] low cost digital download, you know,
medium cost physical product, high cost, so deluxe set like [F] Radiohead have done, and then
maybe some [N] super deluxe handmade thing.
And although I don't think musicians will make
what they made before, you know, I think they'll do fine out of it, and [E] the key thing is to
find [B] an income flow for young bands, and starting [D] off a minority of interest artists,
because, you know, [C] we work with a lot of artists, 60% of their [B] income traditionally has come
from record sales, and that's sort of collapsed, [Bb] so they have to find other models that work.
What [D] do you see for the future of music and musicians, because record [Abm] companies aren't
going to stay the same, are they?
It's not going to stay the way it always was.
I just think it's [Ab] wide open at the moment, and that's very exciting, because there's
no real rules, nobody knows for sure what's going to work, what isn't, so people can try
anything, and in a way it reminds me of the beginning of video or something, and it's
a free and exciting time.
[N] You've recently announced that you're going to play at the World Aid Today concert in Johannesburg.
Yeah, no I am, I mean I was trying to get back in the studio, but then I got the call
from Mandela, and although I've done two of those gigs for him, this was another, and
he's not a man you can say no to.
Just finally, Mike and Tony and Phil were out on the road again earlier this year, did
you manage to catch them?
I didn't, I was hoping to in Rome, and I think if they come back in Europe, then I'll try
and catch it.
Is there any chance of them saying, and now, welcome Mr Peter Gabriel while they're playing?
I don't think so, because I learned last time at Milton Keynes that [Gb] it takes quite a lot
of rehearsal to try and get something a reasonable standard, but I mean [Eb] I don't have any sort
of ideological [Cm] objections, it was just at the time, you know, it was expanding and I
had other things I wanted to do, and you know, you have to think twice about making a big
Key:
Eb
C
Bbm
Abm
Bb
Eb
C
Bbm
for being an icon, whatever that is, so, but, um, you know, I think when you refuse to die
and they can't get rid of you any other way, they give you an award.
How does it feel?
Because I'm wondering, or I'm thinking that maybe [G] Peter Gabriel's been
called an icon more than once, and do [Bbm] you look_
A lot of other things too.
[N] Do you look back on what you've done and also what you're going to do as an icon, as someone
who is an icon?
No, of course you don't.
You just think of yourself as you always [Abm] did when you were 17
years old, you know, so it's, um, but it's useful sometimes getting tables in a restaurant.
In terms of your career at the moment, you've done so many things, I'd be [Bb] here for half
an hour if I listed everything you've done, but with Genesis, [E] on your own collaborations,
[A] with WOMAD, and also with your company.
Are you working on any more music at the moment?
Yeah, no I am.
I spent a long time last year working on some benefit projects [Bbm] and I'm trying
to get back into writing at the moment, so I'm very much enjoying it.
In terms of what the BMI stands for, [Ab] in terms of publishers and publishing rights, what
do you think about [Eb] something like, I don't know if you're familiar with what Radiohead
have [N] recently done, what do you think about that, about the idea of selling your music
online for nothing, or, you know, if people want to pay 5p, they can pay 5p.
What's your
take on that?
No, I love it.
I think, you know, the whole thing's been thrown up in the air and we need
to look at lots of different models, and I really hope, because they've trusted their
audience and I really hope the audience come up for them.
I think they are already, so
that's a great model.
Because I know you sell your live shows online, don't you?
You give them away online.
[C] Yeah, but I, and you know, we've got another thing called We7, [F] which is basically getting
music out for free, but people have to tolerate ads, which they can switch off after a number
of weeks.
But [C] I think there's lots of different models there, and obviously people have got
used to getting music for [Eb] free from the Torrent or wherever else, and so it's changing, but
I think this idea of free for people to check out, [Db] low cost digital download, you know,
medium cost physical product, high cost, so deluxe set like [F] Radiohead have done, and then
maybe some [N] super deluxe handmade thing.
And although I don't think musicians will make
what they made before, you know, I think they'll do fine out of it, and [E] the key thing is to
find [B] an income flow for young bands, and starting [D] off a minority of interest artists,
because, you know, [C] we work with a lot of artists, 60% of their [B] income traditionally has come
from record sales, and that's sort of collapsed, [Bb] so they have to find other models that work.
What [D] do you see for the future of music and musicians, because record [Abm] companies aren't
going to stay the same, are they?
It's not going to stay the way it always was.
I just think it's [Ab] wide open at the moment, and that's very exciting, because there's
no real rules, nobody knows for sure what's going to work, what isn't, so people can try
anything, and in a way it reminds me of the beginning of video or something, and it's
a free and exciting time.
[N] You've recently announced that you're going to play at the World Aid Today concert in Johannesburg.
Yeah, no I am, I mean I was trying to get back in the studio, but then I got the call
from Mandela, and although I've done two of those gigs for him, this was another, and
he's not a man you can say no to.
Just finally, Mike and Tony and Phil were out on the road again earlier this year, did
you manage to catch them?
I didn't, I was hoping to in Rome, and I think if they come back in Europe, then I'll try
and catch it.
Is there any chance of them saying, and now, welcome Mr Peter Gabriel while they're playing?
I don't think so, because I learned last time at Milton Keynes that [Gb] it takes quite a lot
of rehearsal to try and get something a reasonable standard, but I mean [Eb] I don't have any sort
of ideological [Cm] objections, it was just at the time, you know, it was expanding and I
had other things I wanted to do, and you know, you have to think twice about making a big
and they can't get rid of you any other way, they give you an award.
How does it feel?
Because I'm wondering, or I'm thinking that maybe [G] Peter Gabriel's been
called an icon more than once, and do [Bbm] you look_
A lot of other things too.
[N] Do you look back on what you've done and also what you're going to do as an icon, as someone
who is an icon?
No, of course you don't.
You just think of yourself as you always [Abm] did when you were 17
years old, you know, so it's, um, but it's useful sometimes getting tables in a restaurant.
In terms of your career at the moment, you've done so many things, I'd be [Bb] here for half
an hour if I listed everything you've done, but with Genesis, [E] on your own collaborations,
[A] with WOMAD, and also with your company.
Are you working on any more music at the moment?
Yeah, no I am.
I spent a long time last year working on some benefit projects [Bbm] and I'm trying
to get back into writing at the moment, so I'm very much enjoying it.
In terms of what the BMI stands for, [Ab] in terms of publishers and publishing rights, what
do you think about [Eb] something like, I don't know if you're familiar with what Radiohead
have [N] recently done, what do you think about that, about the idea of selling your music
online for nothing, or, you know, if people want to pay 5p, they can pay 5p.
What's your
take on that?
No, I love it.
I think, you know, the whole thing's been thrown up in the air and we need
to look at lots of different models, and I really hope, because they've trusted their
audience and I really hope the audience come up for them.
I think they are already, so
that's a great model.
Because I know you sell your live shows online, don't you?
You give them away online.
[C] Yeah, but I, and you know, we've got another thing called We7, [F] which is basically getting
music out for free, but people have to tolerate ads, which they can switch off after a number
of weeks.
But [C] I think there's lots of different models there, and obviously people have got
used to getting music for [Eb] free from the Torrent or wherever else, and so it's changing, but
I think this idea of free for people to check out, [Db] low cost digital download, you know,
medium cost physical product, high cost, so deluxe set like [F] Radiohead have done, and then
maybe some [N] super deluxe handmade thing.
And although I don't think musicians will make
what they made before, you know, I think they'll do fine out of it, and [E] the key thing is to
find [B] an income flow for young bands, and starting [D] off a minority of interest artists,
because, you know, [C] we work with a lot of artists, 60% of their [B] income traditionally has come
from record sales, and that's sort of collapsed, [Bb] so they have to find other models that work.
What [D] do you see for the future of music and musicians, because record [Abm] companies aren't
going to stay the same, are they?
It's not going to stay the way it always was.
I just think it's [Ab] wide open at the moment, and that's very exciting, because there's
no real rules, nobody knows for sure what's going to work, what isn't, so people can try
anything, and in a way it reminds me of the beginning of video or something, and it's
a free and exciting time.
[N] You've recently announced that you're going to play at the World Aid Today concert in Johannesburg.
Yeah, no I am, I mean I was trying to get back in the studio, but then I got the call
from Mandela, and although I've done two of those gigs for him, this was another, and
he's not a man you can say no to.
Just finally, Mike and Tony and Phil were out on the road again earlier this year, did
you manage to catch them?
I didn't, I was hoping to in Rome, and I think if they come back in Europe, then I'll try
and catch it.
Is there any chance of them saying, and now, welcome Mr Peter Gabriel while they're playing?
I don't think so, because I learned last time at Milton Keynes that [Gb] it takes quite a lot
of rehearsal to try and get something a reasonable standard, but I mean [Eb] I don't have any sort
of ideological [Cm] objections, it was just at the time, you know, it was expanding and I
had other things I wanted to do, and you know, you have to think twice about making a big