Chords for Terry Hall & Tim Burgess in conversation
Tempo:
99.35 bpm
Chords used:
Bm
E
G
F#
G#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[A] [Bm] [D]
[F#] [E] [A]
[C#m]
[F#m] [Bm]
[E] Hi Tim.
Hi Tim.
[C] How you doing?
[A] I haven't seen you for ages.
No.
So Dot to Dot Festival, who are you going to see?
I [G] quite like the name of a band called Diet Sig.
[G#] So I think I'd like to come and see them.
How about you?
Pigs and Clothes and Arden, but I haven't heard of any of them.
I [G#m] have trouble listening to new music because I [C#] can't access new music.
I [Bm] can, but I don't.
[B] It's laziness.
Right.
[E] Normally people tell me about stuff [B] and [F] say,
I reckon you might like this and if they know me well enough I will
and [Bm] if they don't know me at all [C#] then I'll probably just never speak to them again.
[G#]
Access to it is my biggest problem [B] because at 16, 17 I was going out
and everybody was going out and it couldn't come to you.
But now it comes to you.
Because I'm still a [F#] massive music fan,
I want to see scenes, I want to [B] see kids.
[F#] Maybe they do have a voice and maybe they [F] are [B] angry.
I just don't see it because I don't see it.
I think it's a lot more [E] positive now than it was 10 years ago I think.
The way you broke out in [F] the late 70s, was it out of [G#] absolute desperation?
But that's all it was.
And that's purely down really to the Sex Pistols and the Clash
doing that one tour around the country and [G] opening up so many eyes.
So it was that 76 and you were 79?
Yeah.
We spent two or three years after seeing them working ourselves out.
They were the catalyst really for it all.
But do you think you're looked at as a band who were [D#] part of that whole Manchester thing?
[G#] Yeah, I think so.
I thought you were a bit [A] out of that.
Definitely were but there was something going on.
[Gm] [F#] For me it started at the Hacienda [F] and following New Order around.
[G#] To me New Order were always the first, what people call the Scally Bands.
[G] I just thought they were against the grain [E] and obviously they had Tony Wilson
who was doing a lot of the [F#] talking for them.
I was growing up as [G]
one of Wilson's children I think [G#] because I was watching him on the telly
and he was introducing all the new bands [D#m] to me.
I remember seeing Happy Mondays.
They were rehearsing next to us in [D] Chorlton.
They were great.
They were brilliant.
I remember they nicked all the [G] stuff out of our dressing room
so [D] they passed all the tests really.
It was quite good.
[G] Style is an odd thing.
As the Specials we played for two years [Am] being sort of individual
[Bm]
and nobody was interested in what we were doing.
We couldn't get finance, we couldn't get anything.
And then we played in Crawley and it was full of reborn skinheads
who'd come to see Shams Iqbal.
[G#] Looking back at what we'd done [Bm] and how we'd grown up with sisters and mods and skinheads
and just going back to that [G] and then [A#] we created something new.
I think [Bm] people have seen it in the past as a uniform.
I think when it becomes [Em] too much of a uniform then it starts fading.
And then it [Bm] gets dismantled and comes back and is reborn as something else.
I remember in the 80s the Perry Boys.
[F#] Manchester?
They wore them different.
[G] Yeah they did.
And [G#] different haircuts.
[B] A [E] wedge as opposed to a skinhead.
I think uniform is [Bm] all important.
With me it's that identity thing and as a kid that's what you're searching for I think.
It's good to find people that are quite [E] like-minded and then [B] sharing ideas
and that makes one idea [G#m] even stronger doesn't it?
And you do that with clothes and [G] music and [Em] whatever [E] else.
Think times are better [Em] these days though.
[G] I think the [E] fact that anybody can make a record isn't necessarily a good thing.
[D#] No not [Bm] necessarily.
And bands sound better [F#] if you've got a bit of [E] money spent on them don't they?
Yeah.
Hair.
Products.
I [N] think people always like to go out and see live music
because of the way we're listening to stuff on computers now.
It's such a low volume.
I think the volume just kills people.
It really excites people when they go out and see a live band.
You go and see My Bloody Valentine [E] and just the level that [A] he's playing at.
[F#m] Who cares what it's digital.
It's just loud.
[C#m] It's loud and hair gel [Bm] rather than digital analog.
And definitely [F#] MBV.
Yeah.
[E] Okay [A]
I'm off to watch some bands.
[C#m] Okay mate.
[G] I'll see [Bm] you in a little bit.
Good to talk to you.
[N] Yes.
[A]
[G#m] [N]
[F#] [E] [A]
[C#m]
[F#m] [Bm]
[E] Hi Tim.
Hi Tim.
[C] How you doing?
[A] I haven't seen you for ages.
No.
So Dot to Dot Festival, who are you going to see?
I [G] quite like the name of a band called Diet Sig.
[G#] So I think I'd like to come and see them.
How about you?
Pigs and Clothes and Arden, but I haven't heard of any of them.
I [G#m] have trouble listening to new music because I [C#] can't access new music.
I [Bm] can, but I don't.
[B] It's laziness.
Right.
[E] Normally people tell me about stuff [B] and [F] say,
I reckon you might like this and if they know me well enough I will
and [Bm] if they don't know me at all [C#] then I'll probably just never speak to them again.
[G#]
Access to it is my biggest problem [B] because at 16, 17 I was going out
and everybody was going out and it couldn't come to you.
But now it comes to you.
Because I'm still a [F#] massive music fan,
I want to see scenes, I want to [B] see kids.
[F#] Maybe they do have a voice and maybe they [F] are [B] angry.
I just don't see it because I don't see it.
I think it's a lot more [E] positive now than it was 10 years ago I think.
The way you broke out in [F] the late 70s, was it out of [G#] absolute desperation?
But that's all it was.
And that's purely down really to the Sex Pistols and the Clash
doing that one tour around the country and [G] opening up so many eyes.
So it was that 76 and you were 79?
Yeah.
We spent two or three years after seeing them working ourselves out.
They were the catalyst really for it all.
But do you think you're looked at as a band who were [D#] part of that whole Manchester thing?
[G#] Yeah, I think so.
I thought you were a bit [A] out of that.
Definitely were but there was something going on.
[Gm] [F#] For me it started at the Hacienda [F] and following New Order around.
[G#] To me New Order were always the first, what people call the Scally Bands.
[G] I just thought they were against the grain [E] and obviously they had Tony Wilson
who was doing a lot of the [F#] talking for them.
I was growing up as [G]
one of Wilson's children I think [G#] because I was watching him on the telly
and he was introducing all the new bands [D#m] to me.
I remember seeing Happy Mondays.
They were rehearsing next to us in [D] Chorlton.
They were great.
They were brilliant.
I remember they nicked all the [G] stuff out of our dressing room
so [D] they passed all the tests really.
It was quite good.
[G] Style is an odd thing.
As the Specials we played for two years [Am] being sort of individual
[Bm]
and nobody was interested in what we were doing.
We couldn't get finance, we couldn't get anything.
And then we played in Crawley and it was full of reborn skinheads
who'd come to see Shams Iqbal.
[G#] Looking back at what we'd done [Bm] and how we'd grown up with sisters and mods and skinheads
and just going back to that [G] and then [A#] we created something new.
I think [Bm] people have seen it in the past as a uniform.
I think when it becomes [Em] too much of a uniform then it starts fading.
And then it [Bm] gets dismantled and comes back and is reborn as something else.
I remember in the 80s the Perry Boys.
[F#] Manchester?
They wore them different.
[G] Yeah they did.
And [G#] different haircuts.
[B] A [E] wedge as opposed to a skinhead.
I think uniform is [Bm] all important.
With me it's that identity thing and as a kid that's what you're searching for I think.
It's good to find people that are quite [E] like-minded and then [B] sharing ideas
and that makes one idea [G#m] even stronger doesn't it?
And you do that with clothes and [G] music and [Em] whatever [E] else.
Think times are better [Em] these days though.
[G] I think the [E] fact that anybody can make a record isn't necessarily a good thing.
[D#] No not [Bm] necessarily.
And bands sound better [F#] if you've got a bit of [E] money spent on them don't they?
Yeah.
Hair.
Products.
I [N] think people always like to go out and see live music
because of the way we're listening to stuff on computers now.
It's such a low volume.
I think the volume just kills people.
It really excites people when they go out and see a live band.
You go and see My Bloody Valentine [E] and just the level that [A] he's playing at.
[F#m] Who cares what it's digital.
It's just loud.
[C#m] It's loud and hair gel [Bm] rather than digital analog.
And definitely [F#] MBV.
Yeah.
[E] Okay [A]
I'm off to watch some bands.
[C#m] Okay mate.
[G] I'll see [Bm] you in a little bit.
Good to talk to you.
[N] Yes.
[A]
[G#m] [N]
Key:
Bm
E
G
F#
G#
Bm
E
G
[A] _ _ _ [Bm] _ _ _ _ [D] _
_ [F#] _ _ [E] _ _ _ [A] _ _
_ _ _ _ _ _ _ [C#m] _
_ _ _ _ [F#m] _ _ [Bm] _ _
_ _ _ _ _ [E] _ Hi Tim.
Hi Tim.
[C] How you doing?
_ _ [A] I haven't seen you for ages.
No.
So Dot to Dot Festival, who are you going to see?
I [G] quite like the name of a band called Diet Sig.
[G#] _ So I think I'd like to come and see them.
How about you?
_ Pigs and Clothes and Arden, but I haven't heard of any of them.
I [G#m] have trouble listening to new music because I [C#] can't access new music.
I [Bm] can, but I don't.
[B] It's laziness.
Right.
[E] Normally people tell me about stuff [B] and [F] say,
I reckon you might like this and if they know me well enough I will
and [Bm] if they don't know me at all [C#] then I'll probably just never speak to them again.
_ [G#]
Access to it is my biggest problem [B] because at 16, 17 I was going out
and everybody was going out and it couldn't come to you.
But now it comes to you.
Because I'm still a [F#] massive music fan,
I want to see scenes, I want to [B] see kids.
[F#] Maybe they do have a voice and maybe they [F] are [B] angry.
_ I just don't see it because I don't see it.
I think it's a lot more [E] positive now than it was 10 years ago I think.
The way you broke out in [F] the late 70s, was it out of [G#] absolute desperation?
But that's all it was.
And that's purely down really to the Sex Pistols and the Clash
doing that one tour around the country and [G] opening up so many eyes.
So it was that 76 and you were 79?
Yeah.
We spent two or three years after seeing them working ourselves out.
_ They were the catalyst really for it all.
But do you think you're looked at as a band who were [D#] part of that whole Manchester thing?
[G#] Yeah, I think so.
I thought you were a bit [A] out of that.
Definitely were but there was something going on.
_ [Gm] [F#] For me it started at the Hacienda _ [F] and following New Order around.
[G#] To me New Order were always the first, what people call the Scally Bands.
[G] I just thought they were against the grain [E] and obviously they had Tony Wilson
who was doing a lot of the [F#] talking for them.
I was growing up as [G]
one of Wilson's children I think [G#] because I was watching him on the telly
and he was introducing all the new bands [D#m] to me.
I remember seeing Happy Mondays.
They were rehearsing next to us in [D] Chorlton.
They were great.
They were brilliant.
I remember they nicked all the [G] stuff out of our dressing room
so [D] they passed all the tests really.
It was quite good.
_ [G] _ _ Style is an odd thing.
As the Specials we played for two years [Am] being sort of individual
[Bm]
and nobody was interested in what we were doing.
We couldn't get finance, we couldn't get anything.
And then we played in Crawley and it was full of reborn skinheads
who'd come to see Shams Iqbal.
[G#] Looking back at what we'd done [Bm] and how we'd grown up with sisters and mods and skinheads
and just going back to that [G] and then [A#] we created something new.
I think [Bm] people have seen it in the past as a uniform.
I think when it becomes [Em] too much of a uniform then it starts fading.
And then it [Bm] gets dismantled and comes back and is reborn as something else.
I remember in the 80s the Perry Boys.
[F#] _ Manchester?
They wore them different.
[G] Yeah they did.
And [G#] different haircuts.
[B] A [E] wedge as opposed to a skinhead.
_ I think uniform is [Bm] all important.
_ With me it's that identity thing and as a kid that's what you're searching for I think.
It's good to find people that are quite [E] like-minded and then [B] sharing ideas
and that makes one idea [G#m] even stronger doesn't it?
And you do that with clothes and [G] music and [Em] whatever [E] else.
Think times are better [Em] these days though. _
_ [G] _ _ I think the [E] fact that anybody can make a record isn't necessarily a good thing.
[D#] No not [Bm] necessarily.
And bands sound better _ [F#] if you've got a bit of [E] money spent on them don't they?
Yeah.
Hair.
Products.
_ _ I [N] think people always like to go out and see live music
because of the way we're listening to stuff on computers now.
It's such a low volume.
_ I think the volume just kills people.
It really excites people when they go out and see a live band.
You go and see My Bloody Valentine [E] and just the level that [A] he's playing at.
[F#m] Who cares what it's digital.
It's just loud.
[C#m] It's loud and hair gel [Bm] rather than digital analog.
And definitely [F#] MBV.
Yeah. _ _ _
[E] _ _ _ _ Okay [A] _
I'm off to watch some bands.
[C#m] Okay mate. _
[G] I'll see [Bm] you in a little bit.
Good to talk to you.
[N] Yes. _ _ _ _ _ _
_ [A] _ _ _ _ _ _ _
_ _ _ _ _ _ [G#m] _ [N] _
_ [F#] _ _ [E] _ _ _ [A] _ _
_ _ _ _ _ _ _ [C#m] _
_ _ _ _ [F#m] _ _ [Bm] _ _
_ _ _ _ _ [E] _ Hi Tim.
Hi Tim.
[C] How you doing?
_ _ [A] I haven't seen you for ages.
No.
So Dot to Dot Festival, who are you going to see?
I [G] quite like the name of a band called Diet Sig.
[G#] _ So I think I'd like to come and see them.
How about you?
_ Pigs and Clothes and Arden, but I haven't heard of any of them.
I [G#m] have trouble listening to new music because I [C#] can't access new music.
I [Bm] can, but I don't.
[B] It's laziness.
Right.
[E] Normally people tell me about stuff [B] and [F] say,
I reckon you might like this and if they know me well enough I will
and [Bm] if they don't know me at all [C#] then I'll probably just never speak to them again.
_ [G#]
Access to it is my biggest problem [B] because at 16, 17 I was going out
and everybody was going out and it couldn't come to you.
But now it comes to you.
Because I'm still a [F#] massive music fan,
I want to see scenes, I want to [B] see kids.
[F#] Maybe they do have a voice and maybe they [F] are [B] angry.
_ I just don't see it because I don't see it.
I think it's a lot more [E] positive now than it was 10 years ago I think.
The way you broke out in [F] the late 70s, was it out of [G#] absolute desperation?
But that's all it was.
And that's purely down really to the Sex Pistols and the Clash
doing that one tour around the country and [G] opening up so many eyes.
So it was that 76 and you were 79?
Yeah.
We spent two or three years after seeing them working ourselves out.
_ They were the catalyst really for it all.
But do you think you're looked at as a band who were [D#] part of that whole Manchester thing?
[G#] Yeah, I think so.
I thought you were a bit [A] out of that.
Definitely were but there was something going on.
_ [Gm] [F#] For me it started at the Hacienda _ [F] and following New Order around.
[G#] To me New Order were always the first, what people call the Scally Bands.
[G] I just thought they were against the grain [E] and obviously they had Tony Wilson
who was doing a lot of the [F#] talking for them.
I was growing up as [G]
one of Wilson's children I think [G#] because I was watching him on the telly
and he was introducing all the new bands [D#m] to me.
I remember seeing Happy Mondays.
They were rehearsing next to us in [D] Chorlton.
They were great.
They were brilliant.
I remember they nicked all the [G] stuff out of our dressing room
so [D] they passed all the tests really.
It was quite good.
_ [G] _ _ Style is an odd thing.
As the Specials we played for two years [Am] being sort of individual
[Bm]
and nobody was interested in what we were doing.
We couldn't get finance, we couldn't get anything.
And then we played in Crawley and it was full of reborn skinheads
who'd come to see Shams Iqbal.
[G#] Looking back at what we'd done [Bm] and how we'd grown up with sisters and mods and skinheads
and just going back to that [G] and then [A#] we created something new.
I think [Bm] people have seen it in the past as a uniform.
I think when it becomes [Em] too much of a uniform then it starts fading.
And then it [Bm] gets dismantled and comes back and is reborn as something else.
I remember in the 80s the Perry Boys.
[F#] _ Manchester?
They wore them different.
[G] Yeah they did.
And [G#] different haircuts.
[B] A [E] wedge as opposed to a skinhead.
_ I think uniform is [Bm] all important.
_ With me it's that identity thing and as a kid that's what you're searching for I think.
It's good to find people that are quite [E] like-minded and then [B] sharing ideas
and that makes one idea [G#m] even stronger doesn't it?
And you do that with clothes and [G] music and [Em] whatever [E] else.
Think times are better [Em] these days though. _
_ [G] _ _ I think the [E] fact that anybody can make a record isn't necessarily a good thing.
[D#] No not [Bm] necessarily.
And bands sound better _ [F#] if you've got a bit of [E] money spent on them don't they?
Yeah.
Hair.
Products.
_ _ I [N] think people always like to go out and see live music
because of the way we're listening to stuff on computers now.
It's such a low volume.
_ I think the volume just kills people.
It really excites people when they go out and see a live band.
You go and see My Bloody Valentine [E] and just the level that [A] he's playing at.
[F#m] Who cares what it's digital.
It's just loud.
[C#m] It's loud and hair gel [Bm] rather than digital analog.
And definitely [F#] MBV.
Yeah. _ _ _
[E] _ _ _ _ Okay [A] _
I'm off to watch some bands.
[C#m] Okay mate. _
[G] I'll see [Bm] you in a little bit.
Good to talk to you.
[N] Yes. _ _ _ _ _ _
_ [A] _ _ _ _ _ _ _
_ _ _ _ _ _ [G#m] _ [N] _