Chords for Peter Murphy 1989 TV interview with Bauhaus vocalist
Tempo:
74.5 bpm
Chords used:
B
G
C
Bb
Dm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
So while Bela Lugosi [B] himself may be dead, his spirit lives on.
[D] I don't mind the black [Db] people, black pigs, [B] black of the rack.
[D] [Db] [B]
Bela Lugosi's [D] dead, the bats have [Db] left the bell tower.
[B] The victims have been bled red [Bm]-bellied lines [Db] of black pus.
[B]
Bela Lugosi's [A] dead, [Bb] [B]
[A] [Bb] [B]
Bela Lugosi's dead.
[D] When we chose Bela [G] Lugosi, it was a really neat idea.
Bela was immediately not the [N] classic vampire actor, was he?
In England, it was Vincent Price, for instance.
He was fat.
He wasn't the classic gaunt person.
So we were talking about the whole vampire thing,
and how it was really erotic, and how it was very, very
He was the most frightening monster of the monster movies.
Frankenstein was [B] incredible.
It wasn't really
You couldn't [C] really [G] take it seriously,
but Dracula was [N] almost, like, really attractive.
And it was that.
We wrote [Bb] it around that idea and performed it like that.
I like it.
It was just a [Gb] parody on that, but [G] underneath it was [B] coming out.
There were those that you reckon, [N] like, it fitted perfectly within our set.
The vampire legend and rock and roll seem to go particularly well together.
What do the two of them have in common, do you think?
[G] It's the notion of the, like, erotic, of the distant, [B] isolated,
subtle, like, eroticism, [N] which goes with the rock and roll.
Like, it's like the shaman of old who could actually command with his charisma.
Vampire's got that sort of feel.
You know, the perfect rock star, really.
You know, like, he can't have sex, physical sex, but with his victims, or his audience, you know.
But he can have that sort of, like, erotic link with them.
It sucks.
It sucks energy out of an audience, which the Bauhaus certainly did.
Like, I hopefully give more.
Everyone seems to be reading these books these days by Anne Reith.
The first one is called Interview with the Vampire, and the second one is called The Vampire Lestat.
In this one, Lestat forms a rock band in New Orleans in the 1980s,
and reveals his true identity to the audience.
It seems like such a natural occupation for a vampire.
And after you read this book, you realize that the two, rock stars and vampires, are cut from the same shroud.
Anne Reith is getting hundreds of letters saying that Sting should play Lestat in the movie.
And he's read the book, and his song Moon Over Bourbon Street is inspired by it.
But there are plenty of other people who could do a good job as well.
I'm just reading it.
Are you?
Yeah.
Well, it's wonderful.
I think it'll make a better movie than a book, actually.
It'll make a brilliant movie.
I'd like to [G] play it.
Well, that was my perfect question, because [B] when I read it, you were the person I was thinking of.
With String Light, I immediately, [G] like, identified with [B] it.
Although, like, it's important to take it as fiction.
It's like a [F] good severe [Gb] cause.
[G] Teresa, look at a rock star.
[Ab] [Bb] From a deeper level, then, just, you know, the [N] usual crap of, uh, going hedonism and drinking drugs and all that stuff.
Because that's not always the case.
[C] Like, I don't take drugs, and I [B] don't drink all the time.
The streets fill with [G] streets of garbage thoughts.
[B] The stain of [C] anxious eyes.
[B] The weakness of [G] anxious notes.
But the madness [C] of an [B] ambulance.
Of the [G] desires of all the wise.
[E] The streets [G] [C] fill with [G]
[C] streets.
[E] The [G] streets fill with streets.
[Em]
The streets fill [G] with streets.
[Em] The streets fill [C] with [G] streets.
Derek, the production assistant that works on our show, said he saw you when he [B] was 15, and you scared the bejesus out of him.
I scared somebody the other night.
There was this really nice 17 year old [N] boy at the front.
He was looking, he was loving it.
And, like, I approached him, and he freaked.
I thought, what's going on?
So, like, I just held his head, I said, it's okay, it's okay.
And he sort of went, oh, thank God for that.
And he smiled, you know.
But that was the most important part of that show.
Because, you know, I don't really want to scare people.
It's just that, like, I'm not there to scare.
Like, I'm there to really act out something.
Like, and live something.
And let somebody experience [Gm] the [Dm] show.
For the person, [C] raised and grown,
[Dm]
Spirit, sound, [Am] soul, [C] [Dm] noise.
For the [F] person, raised and [G] grown,
We love our audience.
[Dm] We love, [C]
[Dm] we love, we love.
[G] We love our audience.
[Bb] Coming up on the new [Eb] music, Frank Stallone, Luba,
[D] I don't mind the black [Db] people, black pigs, [B] black of the rack.
[D] [Db] [B]
Bela Lugosi's [D] dead, the bats have [Db] left the bell tower.
[B] The victims have been bled red [Bm]-bellied lines [Db] of black pus.
[B]
Bela Lugosi's [A] dead, [Bb] [B]
[A] [Bb] [B]
Bela Lugosi's dead.
[D] When we chose Bela [G] Lugosi, it was a really neat idea.
Bela was immediately not the [N] classic vampire actor, was he?
In England, it was Vincent Price, for instance.
He was fat.
He wasn't the classic gaunt person.
So we were talking about the whole vampire thing,
and how it was really erotic, and how it was very, very
He was the most frightening monster of the monster movies.
Frankenstein was [B] incredible.
It wasn't really
You couldn't [C] really [G] take it seriously,
but Dracula was [N] almost, like, really attractive.
And it was that.
We wrote [Bb] it around that idea and performed it like that.
I like it.
It was just a [Gb] parody on that, but [G] underneath it was [B] coming out.
There were those that you reckon, [N] like, it fitted perfectly within our set.
The vampire legend and rock and roll seem to go particularly well together.
What do the two of them have in common, do you think?
[G] It's the notion of the, like, erotic, of the distant, [B] isolated,
subtle, like, eroticism, [N] which goes with the rock and roll.
Like, it's like the shaman of old who could actually command with his charisma.
Vampire's got that sort of feel.
You know, the perfect rock star, really.
You know, like, he can't have sex, physical sex, but with his victims, or his audience, you know.
But he can have that sort of, like, erotic link with them.
It sucks.
It sucks energy out of an audience, which the Bauhaus certainly did.
Like, I hopefully give more.
Everyone seems to be reading these books these days by Anne Reith.
The first one is called Interview with the Vampire, and the second one is called The Vampire Lestat.
In this one, Lestat forms a rock band in New Orleans in the 1980s,
and reveals his true identity to the audience.
It seems like such a natural occupation for a vampire.
And after you read this book, you realize that the two, rock stars and vampires, are cut from the same shroud.
Anne Reith is getting hundreds of letters saying that Sting should play Lestat in the movie.
And he's read the book, and his song Moon Over Bourbon Street is inspired by it.
But there are plenty of other people who could do a good job as well.
I'm just reading it.
Are you?
Yeah.
Well, it's wonderful.
I think it'll make a better movie than a book, actually.
It'll make a brilliant movie.
I'd like to [G] play it.
Well, that was my perfect question, because [B] when I read it, you were the person I was thinking of.
With String Light, I immediately, [G] like, identified with [B] it.
Although, like, it's important to take it as fiction.
It's like a [F] good severe [Gb] cause.
[G] Teresa, look at a rock star.
[Ab] [Bb] From a deeper level, then, just, you know, the [N] usual crap of, uh, going hedonism and drinking drugs and all that stuff.
Because that's not always the case.
[C] Like, I don't take drugs, and I [B] don't drink all the time.
The streets fill with [G] streets of garbage thoughts.
[B] The stain of [C] anxious eyes.
[B] The weakness of [G] anxious notes.
But the madness [C] of an [B] ambulance.
Of the [G] desires of all the wise.
[E] The streets [G] [C] fill with [G]
[C] streets.
[E] The [G] streets fill with streets.
[Em]
The streets fill [G] with streets.
[Em] The streets fill [C] with [G] streets.
Derek, the production assistant that works on our show, said he saw you when he [B] was 15, and you scared the bejesus out of him.
I scared somebody the other night.
There was this really nice 17 year old [N] boy at the front.
He was looking, he was loving it.
And, like, I approached him, and he freaked.
I thought, what's going on?
So, like, I just held his head, I said, it's okay, it's okay.
And he sort of went, oh, thank God for that.
And he smiled, you know.
But that was the most important part of that show.
Because, you know, I don't really want to scare people.
It's just that, like, I'm not there to scare.
Like, I'm there to really act out something.
Like, and live something.
And let somebody experience [Gm] the [Dm] show.
For the person, [C] raised and grown,
[Dm]
Spirit, sound, [Am] soul, [C] [Dm] noise.
For the [F] person, raised and [G] grown,
We love our audience.
[Dm] We love, [C]
[Dm] we love, we love.
[G] We love our audience.
[Bb] Coming up on the new [Eb] music, Frank Stallone, Luba,
Key:
B
G
C
Bb
Dm
B
G
C
_ _ So while Bela Lugosi [B] himself may be dead, his spirit lives on.
[D] I don't mind the black [Db] people, black pigs, [B] black of the rack.
[D] _ _ [Db] _ _ [B] _
Bela Lugosi's [D] dead, the bats have [Db] left the bell tower.
[B] The victims have been bled red [Bm]-bellied lines [Db] of black pus.
[B] _
Bela Lugosi's [A] dead, _ [Bb] _ _ [B] _ _
_ _ [A] _ _ [Bb] _ _ [B] _
Bela Lugosi's dead.
[D] When we chose Bela [G] Lugosi, it was a really neat idea.
Bela was immediately not the [N] classic vampire actor, was he?
In England, it was Vincent Price, for instance.
He was fat.
He wasn't the classic gaunt _ _ person.
_ So we were talking about the whole vampire thing,
and how it was really erotic, and how it was very, very_
He was the most frightening monster of the monster movies.
Frankenstein was [B] incredible.
It wasn't really_
You couldn't [C] really [G] take it seriously,
but Dracula was [N] almost, like, really attractive.
And it was that.
We wrote [Bb] it around that idea and performed it like that.
I like it.
It was just a [Gb] parody on that, but [G] underneath it was [B] coming out.
There were those that you reckon, [N] like, it fitted perfectly within our set.
The vampire legend and rock and roll seem to go particularly well together.
What do the two of them have in common, do you think?
[G] It's the notion of the, like, erotic, of the distant, _ _ [B] isolated,
_ subtle, like, eroticism, [N] which goes with the rock and roll.
Like, it's like the shaman of old who could actually command with his charisma.
Vampire's got that sort of feel.
You know, the perfect rock star, really.
You know, like, he can't have sex, physical sex, but with his victims, or his audience, you know.
But he can have that sort of, like, erotic link with them.
It sucks.
_ It sucks energy out of an audience, which the Bauhaus certainly did.
Like, I hopefully give more.
Everyone seems to be reading these books these days by Anne Reith.
The first one is called Interview with the Vampire, and the second one is called The Vampire Lestat.
In this one, Lestat forms a rock band in New Orleans in the 1980s,
and reveals his true identity to the audience.
It seems like such a natural occupation for a vampire.
And after you read this book, you realize that the two, rock stars and vampires, are cut from the same shroud.
Anne Reith is getting hundreds of letters saying that Sting should play Lestat in the movie.
And he's read the book, and his song Moon Over Bourbon Street is inspired by it.
But there are plenty of other people who could do a good job as well.
I'm just reading it.
Are you?
Yeah.
Well, it's wonderful.
I think it'll make a better movie than a book, actually.
It'll make a brilliant movie.
I'd like to [G] play it.
Well, that was my perfect question, because [B] when I read it, you were the person I was thinking of.
With String Light, I immediately, [G] like, identified with [B] it.
Although, like, it's important to take it as fiction.
It's like a [F] good severe [Gb] cause.
[G] Teresa, look at a rock star.
_ _ [Ab] [Bb] From a deeper level, then, just, you know, the [N] usual crap of, uh, going hedonism and drinking drugs and all that stuff.
Because that's not always the case.
[C] Like, I don't take drugs, and I [B] don't drink all the time.
The streets fill with [G] streets of garbage thoughts.
[B] The stain of [C] anxious eyes.
[B] The weakness of [G] anxious notes.
But the madness [C] of an [B] ambulance.
Of the [G] desires of all the wise.
[E] The streets [G] [C] fill with [G]
[C] streets.
[E] _ The [G] streets fill with streets.
[Em]
The streets fill [G] with streets.
[Em] The streets fill [C] with [G] streets.
_ Derek, the production assistant that works on our show, said he saw you when he [B] was 15, and you scared the bejesus out of him.
I scared somebody the other night.
There was this really nice 17 year old [N] boy at the front.
He was looking, he was loving it.
And, like, I approached him, and he freaked.
I thought, what's going on?
So, like, I just held his head, I said, it's okay, it's okay.
And he sort of went, oh, thank God for that.
And he smiled, you know.
But that was the most important part of that show.
Because, you know, _ I don't really want to scare people.
It's just that, like, I'm not there to scare.
Like, I'm there to really act out something.
Like, and live something.
And let somebody experience [Gm] the [Dm] show.
For the person, [C] raised and grown,
[Dm]
Spirit, sound, [Am] soul, [C] [Dm] noise.
For the [F] person, raised and [G] grown,
We love our audience.
[Dm] We love, [C] _
[Dm] we love, _ we love. _
[G] _ We love our audience.
[Bb] Coming up on the new [Eb] music, Frank Stallone, Luba,
[D] I don't mind the black [Db] people, black pigs, [B] black of the rack.
[D] _ _ [Db] _ _ [B] _
Bela Lugosi's [D] dead, the bats have [Db] left the bell tower.
[B] The victims have been bled red [Bm]-bellied lines [Db] of black pus.
[B] _
Bela Lugosi's [A] dead, _ [Bb] _ _ [B] _ _
_ _ [A] _ _ [Bb] _ _ [B] _
Bela Lugosi's dead.
[D] When we chose Bela [G] Lugosi, it was a really neat idea.
Bela was immediately not the [N] classic vampire actor, was he?
In England, it was Vincent Price, for instance.
He was fat.
He wasn't the classic gaunt _ _ person.
_ So we were talking about the whole vampire thing,
and how it was really erotic, and how it was very, very_
He was the most frightening monster of the monster movies.
Frankenstein was [B] incredible.
It wasn't really_
You couldn't [C] really [G] take it seriously,
but Dracula was [N] almost, like, really attractive.
And it was that.
We wrote [Bb] it around that idea and performed it like that.
I like it.
It was just a [Gb] parody on that, but [G] underneath it was [B] coming out.
There were those that you reckon, [N] like, it fitted perfectly within our set.
The vampire legend and rock and roll seem to go particularly well together.
What do the two of them have in common, do you think?
[G] It's the notion of the, like, erotic, of the distant, _ _ [B] isolated,
_ subtle, like, eroticism, [N] which goes with the rock and roll.
Like, it's like the shaman of old who could actually command with his charisma.
Vampire's got that sort of feel.
You know, the perfect rock star, really.
You know, like, he can't have sex, physical sex, but with his victims, or his audience, you know.
But he can have that sort of, like, erotic link with them.
It sucks.
_ It sucks energy out of an audience, which the Bauhaus certainly did.
Like, I hopefully give more.
Everyone seems to be reading these books these days by Anne Reith.
The first one is called Interview with the Vampire, and the second one is called The Vampire Lestat.
In this one, Lestat forms a rock band in New Orleans in the 1980s,
and reveals his true identity to the audience.
It seems like such a natural occupation for a vampire.
And after you read this book, you realize that the two, rock stars and vampires, are cut from the same shroud.
Anne Reith is getting hundreds of letters saying that Sting should play Lestat in the movie.
And he's read the book, and his song Moon Over Bourbon Street is inspired by it.
But there are plenty of other people who could do a good job as well.
I'm just reading it.
Are you?
Yeah.
Well, it's wonderful.
I think it'll make a better movie than a book, actually.
It'll make a brilliant movie.
I'd like to [G] play it.
Well, that was my perfect question, because [B] when I read it, you were the person I was thinking of.
With String Light, I immediately, [G] like, identified with [B] it.
Although, like, it's important to take it as fiction.
It's like a [F] good severe [Gb] cause.
[G] Teresa, look at a rock star.
_ _ [Ab] [Bb] From a deeper level, then, just, you know, the [N] usual crap of, uh, going hedonism and drinking drugs and all that stuff.
Because that's not always the case.
[C] Like, I don't take drugs, and I [B] don't drink all the time.
The streets fill with [G] streets of garbage thoughts.
[B] The stain of [C] anxious eyes.
[B] The weakness of [G] anxious notes.
But the madness [C] of an [B] ambulance.
Of the [G] desires of all the wise.
[E] The streets [G] [C] fill with [G]
[C] streets.
[E] _ The [G] streets fill with streets.
[Em]
The streets fill [G] with streets.
[Em] The streets fill [C] with [G] streets.
_ Derek, the production assistant that works on our show, said he saw you when he [B] was 15, and you scared the bejesus out of him.
I scared somebody the other night.
There was this really nice 17 year old [N] boy at the front.
He was looking, he was loving it.
And, like, I approached him, and he freaked.
I thought, what's going on?
So, like, I just held his head, I said, it's okay, it's okay.
And he sort of went, oh, thank God for that.
And he smiled, you know.
But that was the most important part of that show.
Because, you know, _ I don't really want to scare people.
It's just that, like, I'm not there to scare.
Like, I'm there to really act out something.
Like, and live something.
And let somebody experience [Gm] the [Dm] show.
For the person, [C] raised and grown,
[Dm]
Spirit, sound, [Am] soul, [C] [Dm] noise.
For the [F] person, raised and [G] grown,
We love our audience.
[Dm] We love, [C] _
[Dm] we love, _ we love. _
[G] _ We love our audience.
[Bb] Coming up on the new [Eb] music, Frank Stallone, Luba,