Chords for Radiohead on Pixies

_ _ _ _ _ _ _ _
_ _ That was for the Pixies.
[N] _
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When I was at college, it was the Pixies and Ari Edmund changed my
life. _ _ _ _ _ _
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_ _ _ This one's dedicated to our _ _ _ _ _ heroes, the _ Pixies. _ _ _ _ _ _
Stop whispering, it doesn't sound
like the Pixies but you know. _
[D] _ _ _ _ [G] _ _ _ _
_ [D] When asked to [G] follow their act at the Coachella Valley [D] Music and Arts Festival, _
[G] Radiohead's
Tom [D] York stated, no, [G] that's just not right.
The [D] Pixies opening for us is [G] like the Beagles
opening for us.
I [D] won't allow it.
There's no way we can follow the [D]
Pixies.
_ _ [G] _ _ _ Well, [D] we were just a school band.
Pixies were, _ we'd talk about _ travelling up to London to
see the Pixies.
That was the first decent gig I ever went to, I [G] think, really. _
It was
the first [D] one where, you know, I came out at the end of it thinking, well, that's just, _ _
_ what's the point, really?
_ The look on everybody's faces [G] when they turn around at the end of
the song, there's blood [D] all over their faces and _ _ [G] whatever.
And it's just really friendly
and really chilled out and [G] really happy and everybody feels like they've totally [D] got something
out of their system.
Some of the Sephiroth stuff that I remember just being _ too [G] shanty
or too near [A] white noise.
_ There's so [G] much going on in there that [D] _ _ now [G] it can _ really hold my
attention.
I [D] just thought it was _ the sexiest record I'd [D] ever heard.
And the way the drums
sounded on that record.
On the face of it, Sephiroth is sort of, _ it's like a horror record.
It's really, really, really [G] violent.
There's something _ _ _ _ [G] desperate about the way Joey [D] plays,
where it's just [D] _ _ striving [G] to get something out of this instrument.
[D] Very, very brutal and
yet really original.
_ He's making sounds by how he's attacking the guitar rather than _ _
using electronics or [G] gadgetry to change the sound of it.
One of the reasons we don't use
guitars much anymore now is because there are only a handful of 60s albums and you can't
keep copying what _ we've done for so long.
When Dyrriel came out, everybody _ _ jumped on
the dance floor as soon as he played the bass and it was just [G] weird.
Monkey [D] Gone to Heaven
is just, the way _ [G] it [A] shimmers and _ [Bm] sounds like a very shiny [G] recording.
I had this particular
image of them in [D] my head _ _ _ [G]
as [B] _ really [D] nasty, _ vicious little people about this big.
_ _ You
tend to watch [G] Kim Deal because she's like, what's she going to do now?
Is she really
going to manage to keep that bag balancing on the end of her bass to the end of the track?
[D] I saw them [D] when they did the Bossa Nova [Gm] stuff and _ _ _
[A] _ I [G] really, really loved the surf stuff
for some reason.
It's not [D] like you can cover Pixie songs, really. _ _
_ _ You can't, it's impossible. _ _
Because they're so individual, they come from such a one-off place.
It wasn't like, hey,
aren't they great musicians?
_ _ It was about what they were able to create.
All their songs,
[A] all the Pixie songs [G] are just so _ wonky and so, [D] _
not just lyrically, [G] but even the rhythms
and the length of [D] everything.
_ _ It's all quite taut, it's all quite _ condensed music as well.
It's educational.
_ _ It's brilliant.
Chumplamont just has a sound of a band that hasn't given
up and it's just, you know, it's building into new things.
It doesn't feel like they're
flailing around ever, [Ab] _ ever, [D] ever, ever, which is quite scary.
Normally you _ expect bands
to struggle a bit when they go off in certain ways and it didn't feel like that.
Whether
Pixie Fang could happen now, _ _ _ _ _ _ _ hmm, _ _ _ _ well you'd have to be that good to start. _ _
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_ _ _ _ _ _ [N] _ _