Chords for PJ Harvey Interview with Frank Skinner Hay Festival 2022
Tempo:
85.8 bpm
Chords used:
G
C
D
F
Eb
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[C]
Welcome back to the Big High [G] weekend.
Now it's time to see a chat I did earlier with someone who is a massive hero of mine.
Not only has she received multiple NME Britain Grammy nominations throughout her illustrious career,
but she's won a prestigious Ivor Novello Award and is the only artist in history to win the Mercury Prize on two separate occasions.
She has now turned her attention to poetry with her new book Orlam.
Here I am talking to the magnificent PJ Harville.
[N]
Hooray, thank you so much for coming on, it's great to meet you.
Should I call you PJ?
[D] You can call me PJ, you can call me Polly, whichever is more comfortable.
Look, just being able to call you Polly without you slapping my face, I'm already glad, that's enough for me.
So look, you've written a book of poetry called Orlam.
I've got to tell you, I love it.
I love it.
It's a world, it's like sort of reading Gormenghast or something like that,
when you go into a world and I can still sort of feel it in my bones a bit after.
When you bring out a book of poetry like this, is it different from bringing out an album
or is it just a ladle going into the same cauldron of creativity?
Well, that's an interesting question.
I do think the creative source comes from the [G] same place.
Because I think as an artist, you sort of absorb everything around you, all your life.
Films, books, exhibitions, landscape, everything, it all goes in.
And it's from that same source that things will come out.
And for me, it comes out as words or it comes out through music or drawing.
And so I think that's the same source, but the actual craft is quite different.
So very different, in fact, in writing a poem to writing a song are miles apart and very different studies.
I think I find poetry writing a lot harder than [N] song and lyric writing.
OK, because, I mean, how do you feel about, would you ever set any of these to music?
I think they would lend themselves really well to almost a narrative story piece with music.
I think and I hope that it will continue to have a life of its own
because I could imagine it as a strange film or a theatre piece.
I just I just hope it will sort of grow away from me over the years to come.
Or a dress.
Or a dress.
It's come out as a dress.
Yeah, it has come out as a dress.
I have to say this is by the designer Todd Lynn, who's a great friend of mine, great friend of mine.
And we sort of came up with the idea together.
He he used one of my drawings and this is the bag too.
And then he made the design and the Royal School of Needlework embroidered the design that Todd made.
And it's done in based upon the Dorset Feather Stitch.
The book, it's got lots of folklore in it.
Lots of stuff.
I love all that stuff.
Superstition.
And there's things like if you see a toad, you have to spit on it and throw a stone at it.
Yeah, not that modern a concept of nature.
But I love all that stuff.
And the dialect.
You've done an incredibly clever thing, I think.
And I don't know if this was your idea, but the book has got the dialect poem on the right hand page.
And then what we might call the standard English version on the other.
And what made me so happy is the more I read the book, the more I looked at that, the less I looked at the left hand.
Exactly, because you start learning the language.
It is like learning a foreign language.
And when I was writing the book, I was basing all of my words from William Barnes's dictionary of the Dorset dialect that he very carefully crafted and saved.
And so I just refer to that all the time and basically learn the language from this book because he [F] not only had the individual words,
but he'd saved phrases that people would use like semen I, which is a [Eb] title in the book means, oh, it seems to me.
Yeah, you go, see, Manoi.
So, you know, it's all these lovely little phrases that come with it.
Now, you've bought a copy of the book with you and you can say no to this.
But when you got it out, I thought, does that mean that Polly might read a bit?
Well, I asked her glasses already.
If you do want me, I would love to read a bit.
Is there a poem you'd like?
Well, I really there's one on page 73, which it begins with a fabulous piece in italics.
I don't know if it's yours.
Oh, yeah.
But it's about longing to be where you can be.
But the whole poem, I think, is stunning.
So the part in italics at the top, that's no one knows who the author is.
It's so old.
It's a [G] phrase.
It's just one of those tiny little rhymes that nobody knew who wrote it.
So I'll start there.
OK.
Oh, that I were where I would be.
Then would I be where I am not.
But where I am, there I must be.
And where I would be, I can not.
Childhood.
Hook farm bent my infancy.
So I fled through the back door for the company of gore woods.
It's Sooners, Eldrude and soft mish.
There I wept intimacies into crypts of bracken and fern.
Twode's meat, Jew's ears and gukoo's spettles sustained me through Underwhelm.
A West Country misty outstep with three horse stones, the golden fleece and the red post.
Nesh, necromancer.
I lay with corpses in my limepit, begging them answer.
Then scratch their charms in the oak skin under the glow of Orlam.
Ira, you seer, you sleepwalker.
I see you stumbling and outsized boots through the wrong era,
cradling the pale blue sick bowl of childhood.
Yet you shall meet him, the eternally bleeding soldier.
You, a shepherdess who cannot whistle, who only ever saw one for sorrow.
A knot girl, knot boy, bride [N] of his word.
I'm going to have to gel the hairs on the back of my neck to get them back down again.
That was really outstanding.
Polly, thanks so much for coming on.
Thanks for reading for us.
Thanks for letting me call you Polly.
And all I can say is please thank the fabulous PJ Harper.
Thank you.
Welcome back to the Big High [G] weekend.
Now it's time to see a chat I did earlier with someone who is a massive hero of mine.
Not only has she received multiple NME Britain Grammy nominations throughout her illustrious career,
but she's won a prestigious Ivor Novello Award and is the only artist in history to win the Mercury Prize on two separate occasions.
She has now turned her attention to poetry with her new book Orlam.
Here I am talking to the magnificent PJ Harville.
[N]
Hooray, thank you so much for coming on, it's great to meet you.
Should I call you PJ?
[D] You can call me PJ, you can call me Polly, whichever is more comfortable.
Look, just being able to call you Polly without you slapping my face, I'm already glad, that's enough for me.
So look, you've written a book of poetry called Orlam.
I've got to tell you, I love it.
I love it.
It's a world, it's like sort of reading Gormenghast or something like that,
when you go into a world and I can still sort of feel it in my bones a bit after.
When you bring out a book of poetry like this, is it different from bringing out an album
or is it just a ladle going into the same cauldron of creativity?
Well, that's an interesting question.
I do think the creative source comes from the [G] same place.
Because I think as an artist, you sort of absorb everything around you, all your life.
Films, books, exhibitions, landscape, everything, it all goes in.
And it's from that same source that things will come out.
And for me, it comes out as words or it comes out through music or drawing.
And so I think that's the same source, but the actual craft is quite different.
So very different, in fact, in writing a poem to writing a song are miles apart and very different studies.
I think I find poetry writing a lot harder than [N] song and lyric writing.
OK, because, I mean, how do you feel about, would you ever set any of these to music?
I think they would lend themselves really well to almost a narrative story piece with music.
I think and I hope that it will continue to have a life of its own
because I could imagine it as a strange film or a theatre piece.
I just I just hope it will sort of grow away from me over the years to come.
Or a dress.
Or a dress.
It's come out as a dress.
Yeah, it has come out as a dress.
I have to say this is by the designer Todd Lynn, who's a great friend of mine, great friend of mine.
And we sort of came up with the idea together.
He he used one of my drawings and this is the bag too.
And then he made the design and the Royal School of Needlework embroidered the design that Todd made.
And it's done in based upon the Dorset Feather Stitch.
The book, it's got lots of folklore in it.
Lots of stuff.
I love all that stuff.
Superstition.
And there's things like if you see a toad, you have to spit on it and throw a stone at it.
Yeah, not that modern a concept of nature.
But I love all that stuff.
And the dialect.
You've done an incredibly clever thing, I think.
And I don't know if this was your idea, but the book has got the dialect poem on the right hand page.
And then what we might call the standard English version on the other.
And what made me so happy is the more I read the book, the more I looked at that, the less I looked at the left hand.
Exactly, because you start learning the language.
It is like learning a foreign language.
And when I was writing the book, I was basing all of my words from William Barnes's dictionary of the Dorset dialect that he very carefully crafted and saved.
And so I just refer to that all the time and basically learn the language from this book because he [F] not only had the individual words,
but he'd saved phrases that people would use like semen I, which is a [Eb] title in the book means, oh, it seems to me.
Yeah, you go, see, Manoi.
So, you know, it's all these lovely little phrases that come with it.
Now, you've bought a copy of the book with you and you can say no to this.
But when you got it out, I thought, does that mean that Polly might read a bit?
Well, I asked her glasses already.
If you do want me, I would love to read a bit.
Is there a poem you'd like?
Well, I really there's one on page 73, which it begins with a fabulous piece in italics.
I don't know if it's yours.
Oh, yeah.
But it's about longing to be where you can be.
But the whole poem, I think, is stunning.
So the part in italics at the top, that's no one knows who the author is.
It's so old.
It's a [G] phrase.
It's just one of those tiny little rhymes that nobody knew who wrote it.
So I'll start there.
OK.
Oh, that I were where I would be.
Then would I be where I am not.
But where I am, there I must be.
And where I would be, I can not.
Childhood.
Hook farm bent my infancy.
So I fled through the back door for the company of gore woods.
It's Sooners, Eldrude and soft mish.
There I wept intimacies into crypts of bracken and fern.
Twode's meat, Jew's ears and gukoo's spettles sustained me through Underwhelm.
A West Country misty outstep with three horse stones, the golden fleece and the red post.
Nesh, necromancer.
I lay with corpses in my limepit, begging them answer.
Then scratch their charms in the oak skin under the glow of Orlam.
Ira, you seer, you sleepwalker.
I see you stumbling and outsized boots through the wrong era,
cradling the pale blue sick bowl of childhood.
Yet you shall meet him, the eternally bleeding soldier.
You, a shepherdess who cannot whistle, who only ever saw one for sorrow.
A knot girl, knot boy, bride [N] of his word.
I'm going to have to gel the hairs on the back of my neck to get them back down again.
That was really outstanding.
Polly, thanks so much for coming on.
Thanks for reading for us.
Thanks for letting me call you Polly.
And all I can say is please thank the fabulous PJ Harper.
Thank you.
Key:
G
C
D
F
Eb
G
C
D
_ _ _ _ _ _ _ [C]
Welcome back to the Big High [G] weekend.
Now it's time to see a chat I did earlier with someone who is a massive hero of mine.
Not only has she received multiple NME Britain Grammy nominations throughout her illustrious career,
but she's won a prestigious Ivor Novello Award and is the only artist in history to win the Mercury Prize on two separate occasions.
She has now turned her attention to poetry with her new book Orlam.
Here I am talking to the magnificent PJ Harville.
_ _ _ [N] _ _ _
Hooray, thank you so much for coming on, it's great to meet you.
Should I call you PJ?
[D] You can call me PJ, you can call me Polly, whichever is more comfortable.
Look, just being able to call you Polly without you slapping my face, I'm already glad, that's enough for me.
So look, you've written a book of poetry called Orlam.
I've got to tell you, I love it.
I love it.
It's a world, it's like sort of reading Gormenghast or something like that,
when you go into a world and I can still sort of feel it in my bones a bit after.
When you bring out a book of poetry like this, is it different from bringing out an album
or is it just a ladle going into the same cauldron of creativity?
Well, that's an interesting question.
I do think the creative source comes from the [G] same place.
Because I think as an artist, you sort of absorb everything around you, all your life.
_ Films, books, exhibitions, landscape, everything, it all goes in.
And it's from that same source that things will come out.
And for me, it comes out as words or it comes out through music or drawing.
And so I think that's the same source, but the actual craft is quite different.
So very different, in fact, in writing a poem to writing a song are miles apart and very different studies.
I think I find poetry writing a lot harder than [N] song and lyric writing.
OK, because, I mean, how do you feel about, would you ever set any of these to music?
I think they would lend themselves really well to almost a narrative story piece with music.
I think and I hope that it will continue to have a life of its own
because I could imagine it as a strange film or a theatre piece.
I just I just hope it will sort of grow away from me over the years to come.
Or a dress.
Or a dress.
It's come out as a dress.
Yeah, it has come out as a dress.
I have to say this is by the designer Todd Lynn, who's a great friend of mine, great friend of mine.
And we sort of came up with the idea together.
He he used one of my drawings and this is the bag too.
And then he made the design and the Royal School of Needlework embroidered the design that Todd made.
And it's done in based upon the Dorset Feather Stitch.
The book, it's got lots of folklore in it.
Lots of stuff.
I love all that stuff.
Superstition.
And there's things like if you see a toad, you have to spit on it and throw a stone at it.
Yeah, not that modern a concept of nature.
But I love all that stuff.
And the dialect.
You've done an incredibly clever thing, I think.
And I don't know if this was your idea, but the book has got the dialect poem on the right hand page.
And then what we might call the standard English version on the other.
And what made me so happy is the more I read the book, the more I looked at that, the less I looked at the left hand.
Exactly, because you start learning the language.
It is like learning a foreign language.
And when I was writing the book, I was basing all of my words from William Barnes's dictionary of the Dorset dialect that he very carefully crafted and saved.
And so I just refer to that all the time and basically learn the language from this book because he [F] not only had the individual words,
but he'd saved phrases that people would use like semen I, which is a [Eb] title in the book means, oh, it seems to me.
Yeah, you go, see, Manoi.
So, you know, it's all these lovely little phrases that come with it.
Now, you've bought a copy of the book with you and you can say no to this.
But when you got it out, I thought, does that mean that Polly might read a bit?
Well, I asked her glasses already.
If you do want me, I would love to read a bit.
Is there a poem you'd like?
Well, I really there's one on page 73, which it begins with a fabulous piece in italics.
I don't know if it's yours.
Oh, yeah.
But it's about longing to be where you can be.
But the whole poem, I think, is stunning.
_ So the part in italics at the top, that's no one knows who the author is.
It's so old.
It's a [G] phrase.
It's just one of those tiny little rhymes that nobody knew who wrote it.
So I'll start there.
OK.
Oh, that I were where I would be.
Then would I be where I am not.
But where I am, there I must be.
And where I would be, I can not.
_ _ _ Childhood. _
_ Hook farm bent my infancy.
So I fled through the back door for the company of gore woods.
It's Sooners, Eldrude and soft mish.
There I wept intimacies into crypts of bracken and fern.
_ _ Twode's meat, Jew's ears and gukoo's spettles sustained me through Underwhelm.
A West Country misty outstep with three horse stones, the golden fleece and the red post. _
Nesh, necromancer.
I lay with corpses in my limepit, begging them answer.
Then scratch their charms in the oak skin under the glow of Orlam.
Ira, you seer, you sleepwalker.
I see you stumbling and outsized boots through the wrong era,
cradling the pale blue sick bowl of childhood. _
Yet you shall meet him, the eternally bleeding soldier.
You, a shepherdess who cannot whistle, who only ever saw one for sorrow.
A knot girl, knot boy, bride [N] of his word. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ I'm going to have to gel the hairs on the back of my neck to get them back down again.
That was really outstanding.
_ Polly, thanks so much for coming on.
Thanks for reading for us.
Thanks for letting me call you Polly. _
And all I can say is please thank the fabulous PJ Harper.
Thank you. _
_ _ _ _ _ _ _ _
Welcome back to the Big High [G] weekend.
Now it's time to see a chat I did earlier with someone who is a massive hero of mine.
Not only has she received multiple NME Britain Grammy nominations throughout her illustrious career,
but she's won a prestigious Ivor Novello Award and is the only artist in history to win the Mercury Prize on two separate occasions.
She has now turned her attention to poetry with her new book Orlam.
Here I am talking to the magnificent PJ Harville.
_ _ _ [N] _ _ _
Hooray, thank you so much for coming on, it's great to meet you.
Should I call you PJ?
[D] You can call me PJ, you can call me Polly, whichever is more comfortable.
Look, just being able to call you Polly without you slapping my face, I'm already glad, that's enough for me.
So look, you've written a book of poetry called Orlam.
I've got to tell you, I love it.
I love it.
It's a world, it's like sort of reading Gormenghast or something like that,
when you go into a world and I can still sort of feel it in my bones a bit after.
When you bring out a book of poetry like this, is it different from bringing out an album
or is it just a ladle going into the same cauldron of creativity?
Well, that's an interesting question.
I do think the creative source comes from the [G] same place.
Because I think as an artist, you sort of absorb everything around you, all your life.
_ Films, books, exhibitions, landscape, everything, it all goes in.
And it's from that same source that things will come out.
And for me, it comes out as words or it comes out through music or drawing.
And so I think that's the same source, but the actual craft is quite different.
So very different, in fact, in writing a poem to writing a song are miles apart and very different studies.
I think I find poetry writing a lot harder than [N] song and lyric writing.
OK, because, I mean, how do you feel about, would you ever set any of these to music?
I think they would lend themselves really well to almost a narrative story piece with music.
I think and I hope that it will continue to have a life of its own
because I could imagine it as a strange film or a theatre piece.
I just I just hope it will sort of grow away from me over the years to come.
Or a dress.
Or a dress.
It's come out as a dress.
Yeah, it has come out as a dress.
I have to say this is by the designer Todd Lynn, who's a great friend of mine, great friend of mine.
And we sort of came up with the idea together.
He he used one of my drawings and this is the bag too.
And then he made the design and the Royal School of Needlework embroidered the design that Todd made.
And it's done in based upon the Dorset Feather Stitch.
The book, it's got lots of folklore in it.
Lots of stuff.
I love all that stuff.
Superstition.
And there's things like if you see a toad, you have to spit on it and throw a stone at it.
Yeah, not that modern a concept of nature.
But I love all that stuff.
And the dialect.
You've done an incredibly clever thing, I think.
And I don't know if this was your idea, but the book has got the dialect poem on the right hand page.
And then what we might call the standard English version on the other.
And what made me so happy is the more I read the book, the more I looked at that, the less I looked at the left hand.
Exactly, because you start learning the language.
It is like learning a foreign language.
And when I was writing the book, I was basing all of my words from William Barnes's dictionary of the Dorset dialect that he very carefully crafted and saved.
And so I just refer to that all the time and basically learn the language from this book because he [F] not only had the individual words,
but he'd saved phrases that people would use like semen I, which is a [Eb] title in the book means, oh, it seems to me.
Yeah, you go, see, Manoi.
So, you know, it's all these lovely little phrases that come with it.
Now, you've bought a copy of the book with you and you can say no to this.
But when you got it out, I thought, does that mean that Polly might read a bit?
Well, I asked her glasses already.
If you do want me, I would love to read a bit.
Is there a poem you'd like?
Well, I really there's one on page 73, which it begins with a fabulous piece in italics.
I don't know if it's yours.
Oh, yeah.
But it's about longing to be where you can be.
But the whole poem, I think, is stunning.
_ So the part in italics at the top, that's no one knows who the author is.
It's so old.
It's a [G] phrase.
It's just one of those tiny little rhymes that nobody knew who wrote it.
So I'll start there.
OK.
Oh, that I were where I would be.
Then would I be where I am not.
But where I am, there I must be.
And where I would be, I can not.
_ _ _ Childhood. _
_ Hook farm bent my infancy.
So I fled through the back door for the company of gore woods.
It's Sooners, Eldrude and soft mish.
There I wept intimacies into crypts of bracken and fern.
_ _ Twode's meat, Jew's ears and gukoo's spettles sustained me through Underwhelm.
A West Country misty outstep with three horse stones, the golden fleece and the red post. _
Nesh, necromancer.
I lay with corpses in my limepit, begging them answer.
Then scratch their charms in the oak skin under the glow of Orlam.
Ira, you seer, you sleepwalker.
I see you stumbling and outsized boots through the wrong era,
cradling the pale blue sick bowl of childhood. _
Yet you shall meet him, the eternally bleeding soldier.
You, a shepherdess who cannot whistle, who only ever saw one for sorrow.
A knot girl, knot boy, bride [N] of his word. _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ I'm going to have to gel the hairs on the back of my neck to get them back down again.
That was really outstanding.
_ Polly, thanks so much for coming on.
Thanks for reading for us.
Thanks for letting me call you Polly. _
And all I can say is please thank the fabulous PJ Harper.
Thank you. _
_ _ _ _ _ _ _ _