Chords for Rui Da Silva on 'Touch Me'
Tempo:
115.45 bpm
Chords used:
G
Em
C
C#
F#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
At the time there was a club [G] in Leicester Square called Home.
And I remember going there and I used to listen to DJs playing there.
And I was listening to Oak and Fuller and I'd like to make a song for him [C] that was called Vocal,
because he's definitely going [G] to want it to play.
And I was scratching my head like, where am I going to find this singer?
And then it just happened that I was walking down one evening and I just [Em] bumped into him.
In Piccadilly Circus.
Right in front of where I [N] think where Old Boots used to be.
I think Boots didn't eventually move.
She was singing, it sounded quite amazing.
And we grabbed a number, Rens had to come down for an interview,
we had a little [G] interview in the studio, he wanted to record a little bit.
[F#] [G] So he came down and we just [C] created a track there.
I knew I wanted a song as opposed to a track,
because I was making mainly tracks and sometimes with some [N] soundbite, like a look-out.
And I was getting ready to release the first release on the label.
So I had three releases already done and I needed a fourth release.
Then when I created the track, put it on cassette,
because in those days it was the easiest way to move things back and forward
instead of bringing my portable DAP machine, which was always breaking down.
This is Sony.
Ah, sorry, not the TASCAM.
Yeah, they were always aiding tape and stuff.
So I kind of like, was not really using that one.
I had a rack one by then.
So I just used tape in those days to get on and listen.
Listening, like stop listening, stop listening,
and I was like, wow, this sounds quite incredible.
And that kind of became something that happened to a lot of people that heard the track,
[C] including Elk & Fold, the first time that he got handed the song in,
especially he played it five times that night.
[N]
It's kind of like, it became almost like the curse of that song.
Any person that hears that song the first time wants to hear it
again and again and again [G] and again and again.
You say it's a curse, but surely you can't say you're not proud.
Yeah, no, I am proud.
But eventually, I mean, the song became,
it kind of achieved quite some incredible landmarks.
Like at the time, by the end of that summer, I think,
summer of 2000, we were perming the record really hard,
sending it to DJs.
People coming back from Ibiza calling Radio On and asking for that song,
and nobody even knew what the song was.
So they [C#] tried to track down what the song was.
That created kind of a bidding war between record labels.
And we were getting ready to release the record.
[N]
Come out to the plug-in [G] and we give them the record on the [Em] Radio On playlist.
Usually [G] you've got one shot.
[C] The record doesn't go on the playlist.
[Em] That's it.
Next week, there's new records.
Our record was presented to the playlist for about five weeks, non-stop.
[G] They kept going, kept knocking back, kept going, knocking back.
And you only managed to get into the playlist once I've licensed it to a major.
Then they allowed it to go on the playlist and it became
the most played record on Radio On for 12 weeks.
And [N] all of a sudden, there was a lot of people that thought they knew what I was doing.
So there was the coming that kind of became synonymous.
That opened the door for a lot of people creating very similar tracks
that achieved quite [Em] some success as well.
And it kind of created a little bubble of dance music in the UK.
I think it became like a template for how to construct a dance record really
in terms of the arrangement and [G]
the
When I was in Ibiza, I came across someone that I've never heard the song go.
She was living in a cave.
No, she's just too young to know.
And as soon as she heard it, she had exactly the same reaction that everybody had
a few years ago, about 10 years before.
Just like, oh, I love this song, can you play it again?
And it's always been like that.
He was listening to Oakenfeld playing back in late 98, early 99 at home.
Kind of got inspired a little bit for the sound that he was playing back then.
And the desire to do something that he would [B] appreciate and play.
And came together like that.
I mean, if you're going to [G] have a hit record, it might as well be a massive,
10 million, multi-selling, enormous one.
Yeah, the record ended up going licensed to, I don't know how many compilations,
but it's just in compilations, probably sold, probably plus 10 million.
Yeah, use it.
I remember it shifting things a little bit.
At the time, I'd done some time, literally close to some time,
[Em] working for record companies as [G] a, these days they change the name to
sort of like a promotions guy, but basically it was hyping teams.
And so I was very aware of what was going on in the charts
and the structure of how a record was put together
and what happened during a release.
And it was, I mean, really safe to say it was a phenomena, that record.
And it's difficult to, sometimes they can be, those records can be a curse as well
because they're difficult to live down.
Because people tend to want you to do the same thing.
I mean, I remember when I was asked to work with Republica,
I had a kind of similar problem.
Now I remember when I was asked to work with Republica,
I had a kind of similar problem because they wanted to,
they were asked to basically to recreate Ready To Go,
which at the time was a massive [C#] hit all [G] around the world
and licensed to, they'd done hundreds and hundreds of things.
NHL and NFL and all that sort of stuff in America as well.
And a big hit like that, like Touch Me, is, you know,
it's just difficult to follow up because you're not going to get all the stars to line up every single time.
And [C#] it's important to remember when a record is that big,
it's because everything has just worked, everything.
[G] And it's not so much about how hard you work,
although the harder you work, the luckier you get.
But you need that extra spark [D#] of everything lining up
for it to be a monumentally and globally successful life.
That's something I want.
[N]
And I remember going there and I used to listen to DJs playing there.
And I was listening to Oak and Fuller and I'd like to make a song for him [C] that was called Vocal,
because he's definitely going [G] to want it to play.
And I was scratching my head like, where am I going to find this singer?
And then it just happened that I was walking down one evening and I just [Em] bumped into him.
In Piccadilly Circus.
Right in front of where I [N] think where Old Boots used to be.
I think Boots didn't eventually move.
She was singing, it sounded quite amazing.
And we grabbed a number, Rens had to come down for an interview,
we had a little [G] interview in the studio, he wanted to record a little bit.
[F#] [G] So he came down and we just [C] created a track there.
I knew I wanted a song as opposed to a track,
because I was making mainly tracks and sometimes with some [N] soundbite, like a look-out.
And I was getting ready to release the first release on the label.
So I had three releases already done and I needed a fourth release.
Then when I created the track, put it on cassette,
because in those days it was the easiest way to move things back and forward
instead of bringing my portable DAP machine, which was always breaking down.
This is Sony.
Ah, sorry, not the TASCAM.
Yeah, they were always aiding tape and stuff.
So I kind of like, was not really using that one.
I had a rack one by then.
So I just used tape in those days to get on and listen.
Listening, like stop listening, stop listening,
and I was like, wow, this sounds quite incredible.
And that kind of became something that happened to a lot of people that heard the track,
[C] including Elk & Fold, the first time that he got handed the song in,
especially he played it five times that night.
[N]
It's kind of like, it became almost like the curse of that song.
Any person that hears that song the first time wants to hear it
again and again and again [G] and again and again.
You say it's a curse, but surely you can't say you're not proud.
Yeah, no, I am proud.
But eventually, I mean, the song became,
it kind of achieved quite some incredible landmarks.
Like at the time, by the end of that summer, I think,
summer of 2000, we were perming the record really hard,
sending it to DJs.
People coming back from Ibiza calling Radio On and asking for that song,
and nobody even knew what the song was.
So they [C#] tried to track down what the song was.
That created kind of a bidding war between record labels.
And we were getting ready to release the record.
[N]
Come out to the plug-in [G] and we give them the record on the [Em] Radio On playlist.
Usually [G] you've got one shot.
[C] The record doesn't go on the playlist.
[Em] That's it.
Next week, there's new records.
Our record was presented to the playlist for about five weeks, non-stop.
[G] They kept going, kept knocking back, kept going, knocking back.
And you only managed to get into the playlist once I've licensed it to a major.
Then they allowed it to go on the playlist and it became
the most played record on Radio On for 12 weeks.
And [N] all of a sudden, there was a lot of people that thought they knew what I was doing.
So there was the coming that kind of became synonymous.
That opened the door for a lot of people creating very similar tracks
that achieved quite [Em] some success as well.
And it kind of created a little bubble of dance music in the UK.
I think it became like a template for how to construct a dance record really
in terms of the arrangement and [G]
the
When I was in Ibiza, I came across someone that I've never heard the song go.
She was living in a cave.
No, she's just too young to know.
And as soon as she heard it, she had exactly the same reaction that everybody had
a few years ago, about 10 years before.
Just like, oh, I love this song, can you play it again?
And it's always been like that.
He was listening to Oakenfeld playing back in late 98, early 99 at home.
Kind of got inspired a little bit for the sound that he was playing back then.
And the desire to do something that he would [B] appreciate and play.
And came together like that.
I mean, if you're going to [G] have a hit record, it might as well be a massive,
10 million, multi-selling, enormous one.
Yeah, the record ended up going licensed to, I don't know how many compilations,
but it's just in compilations, probably sold, probably plus 10 million.
Yeah, use it.
I remember it shifting things a little bit.
At the time, I'd done some time, literally close to some time,
[Em] working for record companies as [G] a, these days they change the name to
sort of like a promotions guy, but basically it was hyping teams.
And so I was very aware of what was going on in the charts
and the structure of how a record was put together
and what happened during a release.
And it was, I mean, really safe to say it was a phenomena, that record.
And it's difficult to, sometimes they can be, those records can be a curse as well
because they're difficult to live down.
Because people tend to want you to do the same thing.
I mean, I remember when I was asked to work with Republica,
I had a kind of similar problem.
Now I remember when I was asked to work with Republica,
I had a kind of similar problem because they wanted to,
they were asked to basically to recreate Ready To Go,
which at the time was a massive [C#] hit all [G] around the world
and licensed to, they'd done hundreds and hundreds of things.
NHL and NFL and all that sort of stuff in America as well.
And a big hit like that, like Touch Me, is, you know,
it's just difficult to follow up because you're not going to get all the stars to line up every single time.
And [C#] it's important to remember when a record is that big,
it's because everything has just worked, everything.
[G] And it's not so much about how hard you work,
although the harder you work, the luckier you get.
But you need that extra spark [D#] of everything lining up
for it to be a monumentally and globally successful life.
That's something I want.
[N]
Key:
G
Em
C
C#
F#
G
Em
C
_ _ _ _ _ _ _ _
_ At the time there was a club [G] _ in _ Leicester Square called Home.
_ And I remember going there and I used to _ _ listen to DJs playing there.
_ And I was listening to Oak and Fuller and I'd like to make a song for him [C] that was called Vocal,
because he's definitely going [G] to want it to play.
And I was scratching my head like, where am I going to find this singer? _ _ _ _
And then it just happened that I was walking down one evening and I just [Em] bumped into him.
In Piccadilly Circus.
_ Right in front of where _ I _ _ [N] think where Old Boots used to be.
I think Boots didn't eventually move.
She was singing, _ it sounded quite amazing.
And we grabbed a number, Rens had to come down for an interview,
we had a little [G] interview in the studio, he wanted to record a little bit.
_ _ [F#] _ [G] So he came down and we just [C] created a track there.
I knew I wanted a song as opposed to a track,
because I was making mainly tracks and sometimes with some _ [N] soundbite, like a look-out.
_ And _ I was getting ready to release the first release on the label.
So I had three releases already done and I needed a fourth release. _ _ _ _ _
Then when I created the track, put it on cassette,
because in those days it was the easiest way to move things back and forward
instead of bringing my portable DAP machine, which was always breaking down.
_ _ This is Sony.
Ah, sorry, not the TASCAM.
Yeah, they were always aiding tape and stuff.
So I kind of like, was not really using that one.
I had a rack one by then.
_ _ So I just used tape in those days to _ get on and listen.
_ Listening, like stop listening, stop listening,
and I was like, wow, this sounds quite incredible.
_ And that kind of became _ something that happened to a lot of people that heard the track,
[C] including Elk & Fold, the first time that he got handed the song in,
especially he played it five times that night.
_ _ _ _ _ [N]
It's kind of like, it became almost like the curse of that song.
Any person that hears that song the first time wants to hear it
again and again and again [G] and again and again.
You say it's a curse, but surely you can't say you're not proud.
Yeah, no, I am proud.
But _ eventually, I mean, _ the song became, _
it kind of achieved quite some incredible _ _ _ landmarks.
Like _ at the time, _ _ by the end of that summer, I think,
summer of 2000, _ we were perming the record really hard,
sending it to DJs. _ _ _
People coming back from Ibiza calling Radio On and asking for that song,
and nobody even knew what the song was.
_ So they [C#] tried to track down what the song was.
That created kind of a bidding war between record labels.
_ And we were getting ready to release the record.
_ [N] _
_ Come out to the plug-in [G] and we give them the record on the [Em] Radio On playlist.
Usually [G] you've got one shot.
[C] The record doesn't go on the playlist.
[Em] That's it.
Next week, there's new records.
Our record _ was presented to the playlist for about five weeks, non-stop.
_ _ [G] They kept going, kept knocking back, kept going, knocking back.
And you only managed to get into the playlist once I've _ licensed it to a major.
Then they allowed it to go on the playlist and it became
the most played record on Radio On for 12 weeks.
And [N] all of a sudden, there was a lot of people that thought they knew what I was doing.
So there was the coming that kind of became synonymous.
_ _ _ That opened the door for a lot of people creating very similar tracks
that achieved quite [Em] some success as well.
And it kind of created a little _ bubble of dance music in the UK.
I think it became like a template for how to construct a _ dance record really
in terms of the arrangement and _ [G] _ _ _
the_
_ When I was in Ibiza, I came across someone that I've never heard the song go.
She was living in a cave.
No, she's just too young to know.
And as soon as she heard it, she had exactly the same reaction that everybody had
a few years ago, about 10 years before.
Just like, oh, I love this song, can you play it again?
And it's always been like that.
He was listening to Oakenfeld playing back in late 98, early 99 at home. _
Kind of got inspired a little bit for the sound that he was playing back then.
And the desire to do something that he would _ [B] appreciate and play.
And came _ _ _ _ together like that.
I mean, if you're going to [G] have a hit record, it might as well be a massive,
10 million, multi-selling, enormous one.
Yeah, the record ended up going licensed to, _ I don't know how many compilations,
but it's just in compilations, probably sold, _ probably plus 10 million.
Yeah, use it.
I remember it shifting things a little bit.
At the time, _ _ I'd done some time, _ literally close to some time, _ _
[Em] _ working for record companies as [G] a, these days they change the name to
sort of like a promotions guy, but basically it was hyping teams.
_ And _ _ so I was very aware of what was going on in the charts
and the structure of how a record was put together
and what happened during a release.
And it was, I mean, really safe to say it was a phenomena, that record. _ _ _ _
And it's difficult to, sometimes they can be, those records can be a curse as well
because they're difficult to live down.
Because people tend to want you to do the same thing.
I mean, I remember when I was asked to work with Republica,
I had a kind of similar problem.
Now I remember when I was asked to work with Republica,
I had a kind of similar problem because they wanted to,
_ _ _ they were asked to basically to recreate Ready To Go,
which at the time was a massive [C#] hit all [G] around the world
and licensed to, _ _ they'd done hundreds and hundreds of things. _
NHL and NFL and all that sort of stuff in America as well.
And a big hit like that, like Touch Me, is, you know,
it's just difficult to follow up because you're not going to get all the stars to line up every single time.
And [C#] it's important to remember when a record is that big,
it's because everything has just worked, everything.
[G] And _ _ _ it's not so much about how hard you work,
_ _ although the harder you work, the luckier you get.
But you need that extra spark [D#] of everything lining up
for it to be a monumentally and globally successful life.
That's something I want. _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _
_ At the time there was a club [G] _ in _ Leicester Square called Home.
_ And I remember going there and I used to _ _ listen to DJs playing there.
_ And I was listening to Oak and Fuller and I'd like to make a song for him [C] that was called Vocal,
because he's definitely going [G] to want it to play.
And I was scratching my head like, where am I going to find this singer? _ _ _ _
And then it just happened that I was walking down one evening and I just [Em] bumped into him.
In Piccadilly Circus.
_ Right in front of where _ I _ _ [N] think where Old Boots used to be.
I think Boots didn't eventually move.
She was singing, _ it sounded quite amazing.
And we grabbed a number, Rens had to come down for an interview,
we had a little [G] interview in the studio, he wanted to record a little bit.
_ _ [F#] _ [G] So he came down and we just [C] created a track there.
I knew I wanted a song as opposed to a track,
because I was making mainly tracks and sometimes with some _ [N] soundbite, like a look-out.
_ And _ I was getting ready to release the first release on the label.
So I had three releases already done and I needed a fourth release. _ _ _ _ _
Then when I created the track, put it on cassette,
because in those days it was the easiest way to move things back and forward
instead of bringing my portable DAP machine, which was always breaking down.
_ _ This is Sony.
Ah, sorry, not the TASCAM.
Yeah, they were always aiding tape and stuff.
So I kind of like, was not really using that one.
I had a rack one by then.
_ _ So I just used tape in those days to _ get on and listen.
_ Listening, like stop listening, stop listening,
and I was like, wow, this sounds quite incredible.
_ And that kind of became _ something that happened to a lot of people that heard the track,
[C] including Elk & Fold, the first time that he got handed the song in,
especially he played it five times that night.
_ _ _ _ _ [N]
It's kind of like, it became almost like the curse of that song.
Any person that hears that song the first time wants to hear it
again and again and again [G] and again and again.
You say it's a curse, but surely you can't say you're not proud.
Yeah, no, I am proud.
But _ eventually, I mean, _ the song became, _
it kind of achieved quite some incredible _ _ _ landmarks.
Like _ at the time, _ _ by the end of that summer, I think,
summer of 2000, _ we were perming the record really hard,
sending it to DJs. _ _ _
People coming back from Ibiza calling Radio On and asking for that song,
and nobody even knew what the song was.
_ So they [C#] tried to track down what the song was.
That created kind of a bidding war between record labels.
_ And we were getting ready to release the record.
_ [N] _
_ Come out to the plug-in [G] and we give them the record on the [Em] Radio On playlist.
Usually [G] you've got one shot.
[C] The record doesn't go on the playlist.
[Em] That's it.
Next week, there's new records.
Our record _ was presented to the playlist for about five weeks, non-stop.
_ _ [G] They kept going, kept knocking back, kept going, knocking back.
And you only managed to get into the playlist once I've _ licensed it to a major.
Then they allowed it to go on the playlist and it became
the most played record on Radio On for 12 weeks.
And [N] all of a sudden, there was a lot of people that thought they knew what I was doing.
So there was the coming that kind of became synonymous.
_ _ _ That opened the door for a lot of people creating very similar tracks
that achieved quite [Em] some success as well.
And it kind of created a little _ bubble of dance music in the UK.
I think it became like a template for how to construct a _ dance record really
in terms of the arrangement and _ [G] _ _ _
the_
_ When I was in Ibiza, I came across someone that I've never heard the song go.
She was living in a cave.
No, she's just too young to know.
And as soon as she heard it, she had exactly the same reaction that everybody had
a few years ago, about 10 years before.
Just like, oh, I love this song, can you play it again?
And it's always been like that.
He was listening to Oakenfeld playing back in late 98, early 99 at home. _
Kind of got inspired a little bit for the sound that he was playing back then.
And the desire to do something that he would _ [B] appreciate and play.
And came _ _ _ _ together like that.
I mean, if you're going to [G] have a hit record, it might as well be a massive,
10 million, multi-selling, enormous one.
Yeah, the record ended up going licensed to, _ I don't know how many compilations,
but it's just in compilations, probably sold, _ probably plus 10 million.
Yeah, use it.
I remember it shifting things a little bit.
At the time, _ _ I'd done some time, _ literally close to some time, _ _
[Em] _ working for record companies as [G] a, these days they change the name to
sort of like a promotions guy, but basically it was hyping teams.
_ And _ _ so I was very aware of what was going on in the charts
and the structure of how a record was put together
and what happened during a release.
And it was, I mean, really safe to say it was a phenomena, that record. _ _ _ _
And it's difficult to, sometimes they can be, those records can be a curse as well
because they're difficult to live down.
Because people tend to want you to do the same thing.
I mean, I remember when I was asked to work with Republica,
I had a kind of similar problem.
Now I remember when I was asked to work with Republica,
I had a kind of similar problem because they wanted to,
_ _ _ they were asked to basically to recreate Ready To Go,
which at the time was a massive [C#] hit all [G] around the world
and licensed to, _ _ they'd done hundreds and hundreds of things. _
NHL and NFL and all that sort of stuff in America as well.
And a big hit like that, like Touch Me, is, you know,
it's just difficult to follow up because you're not going to get all the stars to line up every single time.
And [C#] it's important to remember when a record is that big,
it's because everything has just worked, everything.
[G] And _ _ _ it's not so much about how hard you work,
_ _ although the harder you work, the luckier you get.
But you need that extra spark [D#] of everything lining up
for it to be a monumentally and globally successful life.
That's something I want. _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ [N] _