Chords for Stereolab - Soundtracks interview on WAH2 Pt. 2

[G] _ _ _ _ _ _ _ [A] _
_ _ _ [Em] _ _ _ Anyhow, he's a _ [D] _ _ very rich man.
_ _ Very grumpy apparently.
Yes, he lives in a kind of [G] _ _ castle thing.
He's completely surrounded with barriers and dogs and guards.
[N] He's a very well guarded man.
But also, _ _ brilliant.
Well, I think everyone knows [Bm] _ _ great _ _ [Gbm] songs, great music.
_ But the thing I like about him most is his [G] arrangements.
I think it's very inspiring.
_ [Am] Because he has amazing chords [Eb] and songs are very good.
But [E] it's through the arrangement of what instruments do what and [G] how the voices are.
_ It [A] really brings out _ _ [D] totally everything from the chords.
_ [Bb] And it's kind of inspiring to make you think how to [F] extract
as [Eb] _ _
much _ _ _ interesting things out of your music.
[Ab] So, certainly after listening to Morricone, _ it did change _ a bit how I [Gm] approach. _
_ _ _ _ [G] _ _ Like a [Cm] lot of composers, he stopped doing very interesting [Gm] things _ [Bb] as far as I'm concerned in the mid 70s.
I mean, [Ab] _ he still did some interesting [Fm] [Bb] soundtracks afterwards.
[Eb] But _ _ [Gm] there were two_
I don't know.
The [Ab] arrangements had gone really and the [Bb] kind of more _ _ _ [Eb] straight _ _ _ soundtrack kind of style came [Ab] out.
_ [Gb] _ _ _ _ _ _
[C] I remember as a schoolboy, _ _ _ watching for the first time the good, the bad, the ugly.
And a few dollars _ more.
Had a little film season.
And I loved [G] the films, but it was really the music that kind of [C] hooked me.
And I just remember seeing the start _ [C] _
of good, the bad, the ugly.
And the music just was like nothing I'd ever heard.
So, even [G] at that age of like 12, it was like _ [Dm] _ kind of hyperdelic.
_ Everything was [Eb] very strange.
As if everything was _ _ [C] _ [Bb] maximized, really brought out and blossomed.
And it [C] was very strange.
And _ _ this kind of [G] sound is something that [A] kind of stayed with me.
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_ _ _ [Cm] In the _ chamomile,
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Silence
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reconcile
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_ Improvisation
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_ The [B] Razorhead _ is very good and has one of the most [G] amazing songs.
The Radiator song.
I mean, that's _ totally [Abm] amazing.
And the very early David Lynch films have very interesting soundtracks.
But [B] Elephant Man is not bad. _ _ _ _
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_ _ _ _ _ [B] _ Tam Zimmer [G] seems to sum up everything I don't [A] like in modern soundtracks.
And in the same way of modern _ kind of approaches to making film.
It's very market driven.
So there must be no confusion or contradiction or [Bm] no kind of [E] rough edges.
_ Everything must really be very precise to what the producers think an audience will understand at that point.
Because no ambiguity.
_ And I think that's what [A] makes films lose their [Bm] interest.
I suppose it's what makes them more popular for some people.
_ [D] You notice [F] also like the soundtracks are so much lower [B] now [C] in films than they used to be.
And I think this is because people _ really_
Well, the producers seem to think that people want [E] special effects.
_ So the bangs are really loud and the crashes.
[A] But the music's like really far.
[E] And you can't even really tell if it's [B] good or not good.
_ [Cm] I'm sure in the new Planet of the Apes the music is going to be terrible.
Because the original [F] Planet of the Apes is quite good.
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