Chords for Scott Walker - 30th Century Man (trailer)

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_ _ _ It didn't start really happening for me until I started joining bands, you know, and that's when_
and I was in a lot of bands, blues bands and all kinds of bands, so this is a player.
It only got serious when I started singing with the Walker Brothers. _ _
_ _ _ In fact, I wasn't a lead vocal with them.
John was a lead vocalist.
But there was this ballad they wanted to do called Love Her, and so they switched it around
because they had to go with a guy with the lowest voice, and so it was kind of accidental. _
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_ _ Well, it's very stark, you know.
As I go on, things get starker.
And _ _ _ _ _ what Pete and I do is really keep refining that sound.
You know, we've reached a point now where we're pretty well set in the noise that is our own
and people identify with, and we just keep, like Becca did, just keep honing things and honing things down.
There's not_
For instance, in arrangements, there is no real arrangement in point.
There are big blocks of sound, and that started to happen in Tilt with the big organ that we used.
There are big blocks of noise and no attempt at any _ glamorizing arrangements or anything like that.
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_ _ You can have it on mic stand, yeah, inside.
Yeah.
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_ _ _ _ _ _ Right.
Oh. Right. _ _ _ _ _
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_ _ _ _ I'm going to go back to the brick.
Okay, the brick.
_ _ _ _ Hiya, Scott.
[D] _
If you set light to it, it'll keep us warm.
_ Yeah.
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[Bm] _ _ _ _ _ _ _ _
[B] _ _ _ _ [N] _ _ I like that.
If we can do something about the dust. _ _
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_ _ Yep.
That's great.
[Bm] We _ _ [B] love that.
We love that we're having that.
Okay.
[G]
Hang on a second.
We'll sort out and this is good. _ _ _
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_ _ _ _ _ Oh. _
[F] _ _ _ _ _ _ _ _
_ _ _ [N] You're going to have to give it more like, uh-uh, uh-uh, uh-uh, uh-uh.
You know what I mean?
Because if you wait too long between punches, you know, [B] it's_
I see it's not, no, it's too fast, but you know, it's [C] got to be more varied.
_ Okay. _
_ [N] _ _ _ _ Okay.
[G] _
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[G] _ [E] _ _ _ _ _ _ [B] _
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_ _ _ _ _ [G] Everything in _ my world, because I have a very nightmarish imagination,
I _ have very bad dreams all my life and things, so everything in my world is big.
_ _ _ Immunity
[C#] _ _ _ _ _ _ _ [G]
One feet off the body
[C#] _ _
_ _ _ Don't [G] close in too soon at the [C#] camp _ _ _ _
[F#] _ And that's why the words are important, because _ you have to, _ _ you have to feel the phenomenon,
_ you know, of the words coming out of silence almost.
_ _ Nose holds a cake and blood cocaine _ _ _
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[E] _ _ _ _ _ _ _ [F#] _
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[F#m] _ _ [F#] No one _ [C#] holds a match to your skin
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_ _ [D#] _ _ _ [F#] You shouldn't take the songs too literally.
The songs, _ _ _ _ often I'll take a political idea or an idea that we all know
and that's a springboard to another place, to another sort of world.
Well, because I don't like out-and-out protest songs anyway.
I mean, there were a lot of albums and things that came out after 9-11, you know.
I mean, I don't like some guy strumming and preaching in my face.
[D#] There's other ways to talk about these things.
That's the same with the Mussolini thing, because _ fascism is in the air,
_ _ _ but like I said, in the end, it's _ a personal message of some kind [F#] from somewhere,
an existential personal message.
I recently was in Paris doing some interviews, and the interviewers there,
at least three of them said to me, you know, it isn't, they aren't songs anymore.
We don't know what they are, but they aren't songs.
And I said, well, I always think of them as songs.
They just said, you're out there on your own now, and I felt, oh, _ no, not again.
_ He really should be, as far as I'm concerned, should be recognized
as one of our not only great composers, [F#m] but great poets as [E] well.
_ His lyrics are absolutely peerless, I think, _ and it's very surprising to me
that he's [Em] still regarded as a kind of slightly [F#m] marginal figure.
_ [Gm]
Oh, right, he isn't very prolific, but the quality of [F#] the work he's done
is so extraordinary, I think.
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