Chords for Stephen Malkmus on Pavement's 'Crooked Rain Crooked Rain'
Tempo:
114.45 bpm
Chords used:
Em
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
I'm Steve Malchmus and I'm in pavement and this is the 25th anniversary celebration,
social media explosion for this album.
It came out in 1994 and this is 2019.
That makes 19 plus 6,
25 years.
That's why, right?
Are we doing it?
Are we going to reissue and stuff and like have
No, we're just going to talk about it.
It's always in print because it's so good.
You
don't have to reissue it.
It's like Dark Side of the Moon for Gen X.
We rehearsed in Brooklyn,
in old Williamsburg, or medium Williamsburg, pre-internet Williamsburg.
And I'd heard from
a friend of mine, Tom Sergal, that this band on Matador called Bailter Space, their album sounded
quite huge.
They said that they knew this guy there that had a room in like a nice Studer
tape machine.
He worked at a secondhand gear store that was also based in the same building
and that it was really cheap and why don't we go check it out.
So we went there and it was,
he kind of also slept in there.
He had like a futon but he was never there.
He was just like
a takeout ordering freak named Mark and Mark Venezia.
And he said like it's slamming.
I mean,
I remember that he said the place was slamming and that sounded good to me.
That's where we
recorded it.
So we plugged directly into the tape machine and it's just got a just a nice big raw
sound.
The album before that was called Slanted and Enchanted and we had done that in Stockton
where I went to high school.
And we had gone back there to potentially maybe record there,
but Gary had moved his studio that was in his garage.
He moved into like a real studio in a
different spot and we started to work there and it just wasn't coming together.
We broke up with
Gary and then I got a new drummer, this guy named Steve West who was in the band for the rest of the
time and had a rehearsal space in his house and I just started jamming to Steve and I.
And I was like, okay, Steve's a drummer now.
That's where we rehearsed.
But we did do some
basic demos.
I think they've been, you've heard them if you're a pavement head [Em] on some of the
reissues, which I haven't heard but I think they're on there.
[N]
Yeah, so we did that.
And the
key to that album, this album was mixing it.
We were just planning to mix it ourselves.
I remember
Matt Sweeney, maybe you know him.
He was in Chavez and he was our friend and he said that
Chavez had been working at this place on 14th Street.
He said it's just $50 an hour and it's
really cool.
You should just go there.
It was a place where like Teenage Fan Club recorded their
band Wagonesque and Elliot Sharp.
So, and what turned out was that there was a house engineer
there named Bryce Goggin and he just miraculously appeared there and said, I'll help you.
And then
he took it over and he mixed.
He made it sound much better.
It was going to sound maybe a little
like Slant and Enchanted mixing wise if we were doing it ourselves.
And he made it sound more like
what he used actual reverbs and he re-recorded some drums that we didn't do it correctly.
We added things and that's it.
Things were moving fast.
I was more just excited that we got some
attention.
I think, oh, someone's listening.
This is really fun.
There wasn't any internet yet.
And
so you would maybe read one article in Spin Magazine or something and it didn't really seem
real.
I mean, there were some big concerts like Roseland.
I felt a little bit like, I'm not ready
for this.
That's whatever I felt.
I would go ahead and do it.
I was just like, this is bizarre.
We're playing a lot of people here and being on MTV a little bit.
MTV had a big sway back then.
It was like the breeders are in the buzz bin and stuff.
So it was like, you can get in the buzz bin.
Remember the buzz bin?
Hoping to get in there.
Festival gigs at Reading and stuff.
That felt
like, oh, we're just a rock band now.
Oasis is playing before us.
What's going on here?
That didn't last long.
I'm kind of like, not making fun, but taking yucky music that
kind of made me feel sick a little bit, but trying to make it good.
Like classic rock of
Silent Kid or the Eagles with Range Life.
So it was like bands I hated sometimes.
I mean, I still do
that now.
I don't know why I'm compelled to do that.
But bands I like.
I mean, I like Can a lot.
The Stop Breathing has a Can element to it.
It was more like Poco and the Eagles and Jackson Brown,
who I do like Jackson Brown.
But I was thinking more along those lines of Malibu, David Geffen,
Range Rovers or something.
Privileged country rock.
But I mean, there's heart in it still.
I'm not saying it's all bad.
It's like, put your heart into it still.
social media explosion for this album.
It came out in 1994 and this is 2019.
That makes 19 plus 6,
25 years.
That's why, right?
Are we doing it?
Are we going to reissue and stuff and like have
No, we're just going to talk about it.
It's always in print because it's so good.
You
don't have to reissue it.
It's like Dark Side of the Moon for Gen X.
We rehearsed in Brooklyn,
in old Williamsburg, or medium Williamsburg, pre-internet Williamsburg.
And I'd heard from
a friend of mine, Tom Sergal, that this band on Matador called Bailter Space, their album sounded
quite huge.
They said that they knew this guy there that had a room in like a nice Studer
tape machine.
He worked at a secondhand gear store that was also based in the same building
and that it was really cheap and why don't we go check it out.
So we went there and it was,
he kind of also slept in there.
He had like a futon but he was never there.
He was just like
a takeout ordering freak named Mark and Mark Venezia.
And he said like it's slamming.
I mean,
I remember that he said the place was slamming and that sounded good to me.
That's where we
recorded it.
So we plugged directly into the tape machine and it's just got a just a nice big raw
sound.
The album before that was called Slanted and Enchanted and we had done that in Stockton
where I went to high school.
And we had gone back there to potentially maybe record there,
but Gary had moved his studio that was in his garage.
He moved into like a real studio in a
different spot and we started to work there and it just wasn't coming together.
We broke up with
Gary and then I got a new drummer, this guy named Steve West who was in the band for the rest of the
time and had a rehearsal space in his house and I just started jamming to Steve and I.
And I was like, okay, Steve's a drummer now.
That's where we rehearsed.
But we did do some
basic demos.
I think they've been, you've heard them if you're a pavement head [Em] on some of the
reissues, which I haven't heard but I think they're on there.
[N]
Yeah, so we did that.
And the
key to that album, this album was mixing it.
We were just planning to mix it ourselves.
I remember
Matt Sweeney, maybe you know him.
He was in Chavez and he was our friend and he said that
Chavez had been working at this place on 14th Street.
He said it's just $50 an hour and it's
really cool.
You should just go there.
It was a place where like Teenage Fan Club recorded their
band Wagonesque and Elliot Sharp.
So, and what turned out was that there was a house engineer
there named Bryce Goggin and he just miraculously appeared there and said, I'll help you.
And then
he took it over and he mixed.
He made it sound much better.
It was going to sound maybe a little
like Slant and Enchanted mixing wise if we were doing it ourselves.
And he made it sound more like
what he used actual reverbs and he re-recorded some drums that we didn't do it correctly.
We added things and that's it.
Things were moving fast.
I was more just excited that we got some
attention.
I think, oh, someone's listening.
This is really fun.
There wasn't any internet yet.
And
so you would maybe read one article in Spin Magazine or something and it didn't really seem
real.
I mean, there were some big concerts like Roseland.
I felt a little bit like, I'm not ready
for this.
That's whatever I felt.
I would go ahead and do it.
I was just like, this is bizarre.
We're playing a lot of people here and being on MTV a little bit.
MTV had a big sway back then.
It was like the breeders are in the buzz bin and stuff.
So it was like, you can get in the buzz bin.
Remember the buzz bin?
Hoping to get in there.
Festival gigs at Reading and stuff.
That felt
like, oh, we're just a rock band now.
Oasis is playing before us.
What's going on here?
That didn't last long.
I'm kind of like, not making fun, but taking yucky music that
kind of made me feel sick a little bit, but trying to make it good.
Like classic rock of
Silent Kid or the Eagles with Range Life.
So it was like bands I hated sometimes.
I mean, I still do
that now.
I don't know why I'm compelled to do that.
But bands I like.
I mean, I like Can a lot.
The Stop Breathing has a Can element to it.
It was more like Poco and the Eagles and Jackson Brown,
who I do like Jackson Brown.
But I was thinking more along those lines of Malibu, David Geffen,
Range Rovers or something.
Privileged country rock.
But I mean, there's heart in it still.
I'm not saying it's all bad.
It's like, put your heart into it still.
Key:
Em
Em
Em
Em
Em
Em
Em
Em
I'm Steve Malchmus and I'm in pavement and this is the 25th anniversary _ _ _ celebration,
_ _ social media explosion for this album.
It came out in 1994 and this is _ 2019.
That makes 19 plus 6,
25 years.
_ That's why, right?
Are we doing it?
Are we going to reissue and stuff and like have_ _
No, we're just going to talk about it.
_ It's always in print because it's so good.
You
don't have to reissue it.
_ It's like Dark Side of the Moon for Gen X.
We rehearsed in Brooklyn,
in old Williamsburg, or medium Williamsburg, pre-internet Williamsburg.
And I'd heard from
a friend of mine, Tom Sergal, that this band on Matador called Bailter Space, their album sounded
quite huge.
They said that they knew this guy there that had a room in like a nice Studer
tape machine.
He worked at a secondhand gear store that was also based in the same building
and that it was really cheap and why don't we go check it out.
So we went there and it was,
he kind of also slept in there.
He had like a futon but he was never there.
He was just like
a takeout ordering freak named Mark and Mark Venezia.
And he said like it's slamming.
I mean,
I remember that he said the place was slamming and that sounded good to me.
That's where we
recorded it.
So we plugged directly into the tape machine and it's just got a just a nice big raw
sound.
The album before that was called Slanted and Enchanted and we had done that in Stockton
where I went to high school.
And we had gone back there to potentially maybe record there,
but Gary had moved his studio that was in his garage.
He moved into like a real studio in a
different spot and we started to work there and it just wasn't coming together.
We broke up with
Gary _ _ and then I got a new drummer, this guy named Steve West who _ was in the band for the rest of the
time and had a rehearsal space in his house and I just started jamming to Steve and I.
And I was like, okay, Steve's a drummer now.
That's where we rehearsed.
But we did do some
basic demos.
I think they've been, you've heard them if you're a pavement head [Em] on some of the
reissues, _ which I haven't heard but I think they're on there.
[N] _ _
_ _ Yeah, so we did that.
And the
key to that album, this album was mixing it.
We were just planning to mix it ourselves.
I remember
Matt Sweeney, maybe you know him.
He was in Chavez and he was our friend and he said that
Chavez had been working at this place on 14th Street.
He said it's just $50 an hour and it's
really cool.
You should just go there.
It was a place where like Teenage Fan Club recorded their
_ band Wagonesque and Elliot Sharp.
So, and what turned out was that there was a house engineer
there named Bryce Goggin and he just miraculously appeared there and said, I'll help you.
And then
he took it over and he mixed.
He made it sound _ much better.
It was going to sound maybe a little
like Slant and Enchanted mixing wise if we were doing it ourselves.
And he made it sound more like
what he used actual reverbs and he re-recorded some drums that we didn't do it correctly.
We added things and that's it.
Things were moving fast.
I was more just excited that we got some
attention.
I think, oh, someone's listening. _
This is really fun.
There wasn't any _ internet yet.
And
so you would maybe read one article in Spin Magazine or something and it didn't really seem
real.
I mean, there were some big concerts like Roseland.
I felt a little bit like, I'm not ready
for this.
That's whatever I felt.
I would go ahead and do it.
I was just like, this is bizarre.
We're playing a lot of people here and being on MTV a little bit.
MTV had a big sway back then.
It was like the breeders are in the buzz bin and stuff.
So it was like, you can get in the buzz bin.
Remember the buzz bin?
Hoping to get in there.
Festival gigs at Reading and stuff.
That felt
like, oh, we're just a rock band now.
Oasis _ is playing before us.
What's going on here?
That didn't last long.
_ _ I'm kind of like, not making fun, but taking _ yucky music that
kind of made me feel sick a little bit, but trying to make it good.
Like classic rock of
Silent Kid or the Eagles with Range Life.
So it was like bands I hated sometimes.
I mean, I still do
that now.
I don't know why I'm compelled to do that.
But bands I like.
I mean, I like Can a lot.
The Stop Breathing has a Can _ element to it.
It was more like Poco and the Eagles and _ Jackson Brown,
who I do like Jackson Brown.
But I was thinking more along those lines of Malibu, _ David Geffen, _ _
Range Rovers or something.
_ _ Privileged country rock.
But I mean, there's heart in it still.
I'm not saying it's all bad.
It's like, _ put your _ _ _ heart into it still. _ _
_ _ social media explosion for this album.
It came out in 1994 and this is _ 2019.
That makes 19 plus 6,
25 years.
_ That's why, right?
Are we doing it?
Are we going to reissue and stuff and like have_ _
No, we're just going to talk about it.
_ It's always in print because it's so good.
You
don't have to reissue it.
_ It's like Dark Side of the Moon for Gen X.
We rehearsed in Brooklyn,
in old Williamsburg, or medium Williamsburg, pre-internet Williamsburg.
And I'd heard from
a friend of mine, Tom Sergal, that this band on Matador called Bailter Space, their album sounded
quite huge.
They said that they knew this guy there that had a room in like a nice Studer
tape machine.
He worked at a secondhand gear store that was also based in the same building
and that it was really cheap and why don't we go check it out.
So we went there and it was,
he kind of also slept in there.
He had like a futon but he was never there.
He was just like
a takeout ordering freak named Mark and Mark Venezia.
And he said like it's slamming.
I mean,
I remember that he said the place was slamming and that sounded good to me.
That's where we
recorded it.
So we plugged directly into the tape machine and it's just got a just a nice big raw
sound.
The album before that was called Slanted and Enchanted and we had done that in Stockton
where I went to high school.
And we had gone back there to potentially maybe record there,
but Gary had moved his studio that was in his garage.
He moved into like a real studio in a
different spot and we started to work there and it just wasn't coming together.
We broke up with
Gary _ _ and then I got a new drummer, this guy named Steve West who _ was in the band for the rest of the
time and had a rehearsal space in his house and I just started jamming to Steve and I.
And I was like, okay, Steve's a drummer now.
That's where we rehearsed.
But we did do some
basic demos.
I think they've been, you've heard them if you're a pavement head [Em] on some of the
reissues, _ which I haven't heard but I think they're on there.
[N] _ _
_ _ Yeah, so we did that.
And the
key to that album, this album was mixing it.
We were just planning to mix it ourselves.
I remember
Matt Sweeney, maybe you know him.
He was in Chavez and he was our friend and he said that
Chavez had been working at this place on 14th Street.
He said it's just $50 an hour and it's
really cool.
You should just go there.
It was a place where like Teenage Fan Club recorded their
_ band Wagonesque and Elliot Sharp.
So, and what turned out was that there was a house engineer
there named Bryce Goggin and he just miraculously appeared there and said, I'll help you.
And then
he took it over and he mixed.
He made it sound _ much better.
It was going to sound maybe a little
like Slant and Enchanted mixing wise if we were doing it ourselves.
And he made it sound more like
what he used actual reverbs and he re-recorded some drums that we didn't do it correctly.
We added things and that's it.
Things were moving fast.
I was more just excited that we got some
attention.
I think, oh, someone's listening. _
This is really fun.
There wasn't any _ internet yet.
And
so you would maybe read one article in Spin Magazine or something and it didn't really seem
real.
I mean, there were some big concerts like Roseland.
I felt a little bit like, I'm not ready
for this.
That's whatever I felt.
I would go ahead and do it.
I was just like, this is bizarre.
We're playing a lot of people here and being on MTV a little bit.
MTV had a big sway back then.
It was like the breeders are in the buzz bin and stuff.
So it was like, you can get in the buzz bin.
Remember the buzz bin?
Hoping to get in there.
Festival gigs at Reading and stuff.
That felt
like, oh, we're just a rock band now.
Oasis _ is playing before us.
What's going on here?
That didn't last long.
_ _ I'm kind of like, not making fun, but taking _ yucky music that
kind of made me feel sick a little bit, but trying to make it good.
Like classic rock of
Silent Kid or the Eagles with Range Life.
So it was like bands I hated sometimes.
I mean, I still do
that now.
I don't know why I'm compelled to do that.
But bands I like.
I mean, I like Can a lot.
The Stop Breathing has a Can _ element to it.
It was more like Poco and the Eagles and _ Jackson Brown,
who I do like Jackson Brown.
But I was thinking more along those lines of Malibu, _ David Geffen, _ _
Range Rovers or something.
_ _ Privileged country rock.
But I mean, there's heart in it still.
I'm not saying it's all bad.
It's like, _ put your _ _ _ heart into it still. _ _