Chords for Phil Lynott interview 1985
Tempo:
67.85 bpm
Chords used:
D
Eb
G
Db
Gm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Tell me, do you get paranoid about that?
Yeah, I do.
Really?
Come on, you're an egotist.
[Eb] You can't handle it like that.
No, it was okay when I was younger, [G] but now I'm paranoid.
That single, it's political, quite political.
So at last you've come out and said something.
What drove you to do that?
It's not at last.
It's the same thing for me,
believe me.
Really?
Yeah.
Can't say I've noticed.
Because what drove you to, in that instance, I mean it deals very
particularly with Ireland.
Gary wrote that song.
It's his song?
Yeah.
Yeah.
Now you're back together again after, well, Ground Slam have folded.
I didn't know they'd fold up, I thought you'd just given it a bit of a [N] rest.
You've
folded with Ground Slam.
They all left me.
They left you?
Forrester [G] goes solo.
Was he pushed or did he jump?
No.
Back with Gary Moore, patched up all the
differences and everything there.
You went through a period where you didn't get on that well,
and led to believe.
Is that right?
[Db] Yeah, we didn't get on for a while.
I mean,
it was three years ago.
[Gb] To promote [D] a single, everybody's jumped on that particular story.
[Gm] How do you control all that sort of thing?
[G] I don't.
You can't?
You can't control [Eb] the media,
the [Ab] pick up on the weirdest things, [N] whatever.
What's that weird guitar like thing that Gary's
playing in that?
The syntax, yeah.
Syntax, I didn't
Yeah, you can play them like a keyboard.
The strings are only there
[G] because when you [E] play it, they're only there just as a token gesture, [N] just to show you the notes,
so you don't have to relay on your instrument like a keyboard.
They're really for guitar players to
come to terms with, synthesizers, so they can play things the way they do.
They cross over instrument.
Yeah, well, no.
I mean, a synthesizer really has the full spectrum of sound.
I don't see why it
just has to always be keyboards.
I don't see why guitar players should have to relay, you know,
keyboards.
I think the sound should be there for the musician.
He's coming back to the subject
matter of Out In The Fields.
Island, obviously.
[Ab] [F] With him being from Belfast and me [D] being from
Dublin, obviously Island was the
But it's just a general anti-war sound.
I mean, [Eb] obviously,
[D] we've aimed to talk more towards Island because it related [Eb] more to us, and you [Db] always talk about
what you know.
Stuff [G] that means something to you.
Yeah.
You're doing something again with Gary
before long, [Eb] aren't you?
Yeah, I mean, due to the [D] success of this one.
And even if this one really
hadn't been successful, it was [E] successful as far [D] as we were concerned because we enjoyed doing it
and we [Eb] liked the end result.
So he's going to work on [G] my solo album and I'm going to do a couple [D] of
touches for him.
And you're single together before long?
Well, I'm [Db] sure they'll find a way [N] for us to
do it.
How about gigging?
Have you finally retired from gigging or are you going to get back to it
with Gary?
No, because I've got a solo deal now.
No, I'm going to do [Db] the solo album, get a band
together and go out on the road, hopefully by the end of this year.
[Gm] I shall look forward to that
mentally.
I must confess, I missed [Db] Little Lizzy.
I never saw him.
I [D] was only a nipper.
Sadrick.
I'm a big influencer.
Yeah.
[B] I like Hendrix and that.
I've never actually seen him live.
He's one of the first sort of black rock [Gm] artists, really, apart from Chuck Berry, of course,
like rewrote rock and roll.
[N] I think Barry and Chuck Berry, Bo Diddley, I suppose I'm wrong here.
He's so he invented heavy metal, isn't he?
No.
No?
I don't think so.
I think he was the first
black artist that was sold to the white public.
Yeah.
And be accepted on a sexual basis.
Thanks to Chaz Chandler.
A bit late catching up, you know.
I wasn't [E] around then.
Tough.
[D] Hendrix, we lost him though, didn't we?
Unfortunate circumstances and the like.
I mean, that's still happening.
You were talking about Malcolm Owen from the Ruts,
who was a friend of yours as well.
I lost him.
I mean, what do you do to stop [Abm] that sort of thing
happening?
Do you get involved in [Eb] any kind of drugs, benefits or anything?
[Gb] I try to, yeah.
I'm
[D] notorious for [N] being a buster bum.
[D] I am anti-drugs for other things.
[Db] [G] [D] I wouldn't advise people to [Bb] do that.
Yeah, I do.
Really?
Come on, you're an egotist.
[Eb] You can't handle it like that.
No, it was okay when I was younger, [G] but now I'm paranoid.
That single, it's political, quite political.
So at last you've come out and said something.
What drove you to do that?
It's not at last.
It's the same thing for me,
believe me.
Really?
Yeah.
Can't say I've noticed.
Because what drove you to, in that instance, I mean it deals very
particularly with Ireland.
Gary wrote that song.
It's his song?
Yeah.
Yeah.
Now you're back together again after, well, Ground Slam have folded.
I didn't know they'd fold up, I thought you'd just given it a bit of a [N] rest.
You've
folded with Ground Slam.
They all left me.
They left you?
Forrester [G] goes solo.
Was he pushed or did he jump?
No.
Back with Gary Moore, patched up all the
differences and everything there.
You went through a period where you didn't get on that well,
and led to believe.
Is that right?
[Db] Yeah, we didn't get on for a while.
I mean,
it was three years ago.
[Gb] To promote [D] a single, everybody's jumped on that particular story.
[Gm] How do you control all that sort of thing?
[G] I don't.
You can't?
You can't control [Eb] the media,
the [Ab] pick up on the weirdest things, [N] whatever.
What's that weird guitar like thing that Gary's
playing in that?
The syntax, yeah.
Syntax, I didn't
Yeah, you can play them like a keyboard.
The strings are only there
[G] because when you [E] play it, they're only there just as a token gesture, [N] just to show you the notes,
so you don't have to relay on your instrument like a keyboard.
They're really for guitar players to
come to terms with, synthesizers, so they can play things the way they do.
They cross over instrument.
Yeah, well, no.
I mean, a synthesizer really has the full spectrum of sound.
I don't see why it
just has to always be keyboards.
I don't see why guitar players should have to relay, you know,
keyboards.
I think the sound should be there for the musician.
He's coming back to the subject
matter of Out In The Fields.
Island, obviously.
[Ab] [F] With him being from Belfast and me [D] being from
Dublin, obviously Island was the
But it's just a general anti-war sound.
I mean, [Eb] obviously,
[D] we've aimed to talk more towards Island because it related [Eb] more to us, and you [Db] always talk about
what you know.
Stuff [G] that means something to you.
Yeah.
You're doing something again with Gary
before long, [Eb] aren't you?
Yeah, I mean, due to the [D] success of this one.
And even if this one really
hadn't been successful, it was [E] successful as far [D] as we were concerned because we enjoyed doing it
and we [Eb] liked the end result.
So he's going to work on [G] my solo album and I'm going to do a couple [D] of
touches for him.
And you're single together before long?
Well, I'm [Db] sure they'll find a way [N] for us to
do it.
How about gigging?
Have you finally retired from gigging or are you going to get back to it
with Gary?
No, because I've got a solo deal now.
No, I'm going to do [Db] the solo album, get a band
together and go out on the road, hopefully by the end of this year.
[Gm] I shall look forward to that
mentally.
I must confess, I missed [Db] Little Lizzy.
I never saw him.
I [D] was only a nipper.
Sadrick.
I'm a big influencer.
Yeah.
[B] I like Hendrix and that.
I've never actually seen him live.
He's one of the first sort of black rock [Gm] artists, really, apart from Chuck Berry, of course,
like rewrote rock and roll.
[N] I think Barry and Chuck Berry, Bo Diddley, I suppose I'm wrong here.
He's so he invented heavy metal, isn't he?
No.
No?
I don't think so.
I think he was the first
black artist that was sold to the white public.
Yeah.
And be accepted on a sexual basis.
Thanks to Chaz Chandler.
A bit late catching up, you know.
I wasn't [E] around then.
Tough.
[D] Hendrix, we lost him though, didn't we?
Unfortunate circumstances and the like.
I mean, that's still happening.
You were talking about Malcolm Owen from the Ruts,
who was a friend of yours as well.
I lost him.
I mean, what do you do to stop [Abm] that sort of thing
happening?
Do you get involved in [Eb] any kind of drugs, benefits or anything?
[Gb] I try to, yeah.
I'm
[D] notorious for [N] being a buster bum.
[D] I am anti-drugs for other things.
[Db] [G] [D] I wouldn't advise people to [Bb] do that.
Key:
D
Eb
G
Db
Gm
D
Eb
G
Tell me, do you get paranoid about that?
Yeah, I do.
Really?
Come on, you're an egotist.
[Eb] You can't handle it like that.
No, it was okay when I was younger, [G] but now I'm paranoid.
That single, it's political, quite political.
So at last you've come out and said something.
What drove you to do that?
It's not at last.
It's the same thing for me,
believe me.
Really?
Yeah.
Can't say I've noticed.
Because what drove you to, in that instance, I mean it deals very
particularly with Ireland.
Gary wrote that song.
It's his song?
Yeah.
Yeah.
Now you're back together again after, well, Ground Slam have folded.
I didn't know they'd fold up, I thought you'd just given it a bit of a [N] rest.
You've
folded with Ground Slam.
They all left me.
They left you?
Forrester [G] goes solo.
Was he pushed or did he jump?
No.
Back with Gary Moore, patched up all the
differences and everything there.
You went through a period where you didn't get on that well,
and led to believe.
Is that right?
[Db] Yeah, we didn't get on for a while.
I mean,
it was three years ago.
[Gb] To promote [D] a single, everybody's jumped on that particular story.
[Gm] How do you control all that sort of thing?
[G] I don't.
You can't?
You can't control [Eb] the media,
the [Ab] pick up on the weirdest things, [N] whatever. _ _
What's that weird guitar like thing that Gary's
playing in that?
The syntax, yeah.
Syntax, I didn't_
Yeah, you can play them like a keyboard.
The strings are only there
[G] _ because when you [E] play it, they're only there just as a token gesture, [N] just to show you the notes,
so you don't have to relay on your instrument like a keyboard.
They're really for guitar players to
come to terms with, synthesizers, so they can play things the way they do.
They cross over instrument.
Yeah, well, no.
I mean, a synthesizer really has the full spectrum of sound.
I don't see why it
just has to always be keyboards.
I don't see why guitar players should have to relay, you know,
keyboards.
I think the sound should be there for the musician.
He's coming back to the _ subject
matter of Out In The Fields.
Island, obviously.
[Ab] [F] With him being from Belfast and me [D] being from
Dublin, obviously Island was the_
But it's just a general anti-war sound.
I mean, [Eb] obviously,
[D] we've aimed to talk more towards Island because it related [Eb] more to us, and you [Db] always talk about
what you know.
Stuff [G] that means something to you.
Yeah.
You're doing something again with Gary
before long, [Eb] aren't you?
Yeah, I mean, due to the [D] success of this one.
And even if this one really
hadn't been successful, it was [E] successful as far [D] as we were concerned because we enjoyed doing it
and we [Eb] liked the end result.
So he's going to work on [G] my solo album and I'm going to do a couple [D] of
touches for him.
And you're single together before long?
Well, I'm [Db] sure they'll find a way [N] for us to
do it.
How about gigging?
Have you finally retired from gigging or are you going to get back to it
with Gary?
No, because I've got a solo deal now.
No, I'm going to do [Db] the solo album, get a band
together and go out on the road, hopefully by the end of this year.
[Gm] I shall look forward to that
mentally.
I must confess, I missed [Db] Little Lizzy.
I never saw him.
I [D] was only a nipper.
Sadrick.
I'm a big influencer.
Yeah.
[B] I like Hendrix and that.
I've never actually seen him live. _ _
He's one of the first sort of black rock [Gm] artists, really, apart from Chuck Berry, of course,
like rewrote rock and roll.
[N] I think Barry and Chuck Berry, Bo Diddley, I suppose I'm wrong here.
He's so he invented heavy metal, isn't he?
No.
No?
I don't think so.
I think he was the first
black artist that was sold to the white public.
Yeah.
And be accepted on a sexual basis.
Thanks to Chaz Chandler.
A bit late catching up, you know.
I wasn't [E] around then.
Tough.
_ _ [D] Hendrix, we lost him though, didn't we?
Unfortunate circumstances and the like.
I mean, that's still happening.
You were talking about Malcolm Owen from the Ruts,
who was a friend of yours as well.
I lost him.
I mean, what do you do to stop [Abm] that sort of thing
happening?
Do you get involved in [Eb] any kind of drugs, benefits or anything?
[Gb] I try to, yeah.
I'm
[D] notorious for [N] being a buster bum.
[D] I am anti-drugs for other things.
_ [Db] _ [G] _ [D] I wouldn't advise people to [Bb] do that. _
Yeah, I do.
Really?
Come on, you're an egotist.
[Eb] You can't handle it like that.
No, it was okay when I was younger, [G] but now I'm paranoid.
That single, it's political, quite political.
So at last you've come out and said something.
What drove you to do that?
It's not at last.
It's the same thing for me,
believe me.
Really?
Yeah.
Can't say I've noticed.
Because what drove you to, in that instance, I mean it deals very
particularly with Ireland.
Gary wrote that song.
It's his song?
Yeah.
Yeah.
Now you're back together again after, well, Ground Slam have folded.
I didn't know they'd fold up, I thought you'd just given it a bit of a [N] rest.
You've
folded with Ground Slam.
They all left me.
They left you?
Forrester [G] goes solo.
Was he pushed or did he jump?
No.
Back with Gary Moore, patched up all the
differences and everything there.
You went through a period where you didn't get on that well,
and led to believe.
Is that right?
[Db] Yeah, we didn't get on for a while.
I mean,
it was three years ago.
[Gb] To promote [D] a single, everybody's jumped on that particular story.
[Gm] How do you control all that sort of thing?
[G] I don't.
You can't?
You can't control [Eb] the media,
the [Ab] pick up on the weirdest things, [N] whatever. _ _
What's that weird guitar like thing that Gary's
playing in that?
The syntax, yeah.
Syntax, I didn't_
Yeah, you can play them like a keyboard.
The strings are only there
[G] _ because when you [E] play it, they're only there just as a token gesture, [N] just to show you the notes,
so you don't have to relay on your instrument like a keyboard.
They're really for guitar players to
come to terms with, synthesizers, so they can play things the way they do.
They cross over instrument.
Yeah, well, no.
I mean, a synthesizer really has the full spectrum of sound.
I don't see why it
just has to always be keyboards.
I don't see why guitar players should have to relay, you know,
keyboards.
I think the sound should be there for the musician.
He's coming back to the _ subject
matter of Out In The Fields.
Island, obviously.
[Ab] [F] With him being from Belfast and me [D] being from
Dublin, obviously Island was the_
But it's just a general anti-war sound.
I mean, [Eb] obviously,
[D] we've aimed to talk more towards Island because it related [Eb] more to us, and you [Db] always talk about
what you know.
Stuff [G] that means something to you.
Yeah.
You're doing something again with Gary
before long, [Eb] aren't you?
Yeah, I mean, due to the [D] success of this one.
And even if this one really
hadn't been successful, it was [E] successful as far [D] as we were concerned because we enjoyed doing it
and we [Eb] liked the end result.
So he's going to work on [G] my solo album and I'm going to do a couple [D] of
touches for him.
And you're single together before long?
Well, I'm [Db] sure they'll find a way [N] for us to
do it.
How about gigging?
Have you finally retired from gigging or are you going to get back to it
with Gary?
No, because I've got a solo deal now.
No, I'm going to do [Db] the solo album, get a band
together and go out on the road, hopefully by the end of this year.
[Gm] I shall look forward to that
mentally.
I must confess, I missed [Db] Little Lizzy.
I never saw him.
I [D] was only a nipper.
Sadrick.
I'm a big influencer.
Yeah.
[B] I like Hendrix and that.
I've never actually seen him live. _ _
He's one of the first sort of black rock [Gm] artists, really, apart from Chuck Berry, of course,
like rewrote rock and roll.
[N] I think Barry and Chuck Berry, Bo Diddley, I suppose I'm wrong here.
He's so he invented heavy metal, isn't he?
No.
No?
I don't think so.
I think he was the first
black artist that was sold to the white public.
Yeah.
And be accepted on a sexual basis.
Thanks to Chaz Chandler.
A bit late catching up, you know.
I wasn't [E] around then.
Tough.
_ _ [D] Hendrix, we lost him though, didn't we?
Unfortunate circumstances and the like.
I mean, that's still happening.
You were talking about Malcolm Owen from the Ruts,
who was a friend of yours as well.
I lost him.
I mean, what do you do to stop [Abm] that sort of thing
happening?
Do you get involved in [Eb] any kind of drugs, benefits or anything?
[Gb] I try to, yeah.
I'm
[D] notorious for [N] being a buster bum.
[D] I am anti-drugs for other things.
_ [Db] _ [G] _ [D] I wouldn't advise people to [Bb] do that. _