Chords for The Beatles - Famous 'Mockers' Interview 1964
Tempo:
74.7 bpm
Chords used:
F#
G
C
G#
C#
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
As you can see, we're at Twickenham Film Studios just outside London.
[F#] And you can see also that everybody who goes into this place has to be security checked
because this is the place of their first film.
Right outside this wall, of course, the teenagers would give almost anything to get inside here.
We're lucky we're inside one of the very few units that have [F] been allowed on this top security [C] set.
Paul, can I have your [G] age, height, and [G#] when's the record gonna be, please?
[F#] Uh, 21, 5'11".
[C] Uh, and the next [E] record's gonna be out soon, but I don't know when.
[C] Which do you prefer, mods [G#] or rockers?
Um, don't know.
I like [D#] any of them.
[F#] Uh, mockers I like.
I think they're the best.
No real preferences.
[G#] Why is it, Paul, that you're always described as the most [G] intelligent one of the Beatles? Are you?
[D] Uh, no, I'm not.
No.
[G] No, well, John's written a book, you know, so he must be more intelligent than me.
I've gotta be intelligent to write books.
[F] Um, Paul, is it true you're gonna get engaged to Jean [G#] Asher?
No, [C#] it's not true.
Um, the [Dm] papers started off by saying [F#] I was already engaged.
And now the papers tell me I'm married.
And they think, they tell me I'm divorced now.
So, [G] you know, I don't
[C#] Maybe I'm married.
Oh, sorry.
[C] Maybe I am married.
I don't know.
[D#] The papers tell me I am.
I don't think I am, yeah.
Not getting engaged.
No.
What are you and Ringo doing while John Paul writes songs?
[D] Uh, we play marbles.
Or marples.
[G] How are you getting on making your first film?
[A] Oh, we're having a great [G] time.
And, uh, yeah.
This is the studio, as you can see.
And, uh, we're about halfway through the film.
Got about another three weeks to go.
And everything's going great, I think.
[G#] Ringo, I'd like to know what would you have done
if you hadn't had [F#] your break in music?
Um, I'd have still been an engineer.
Or something, [C#] you know, still working.
Don't you [E] think you acted childishly on that television programme
after your return from New York?
Um
Oh, not really, you know.
We were just [F#] having a good laugh and everyone seemed to enjoy it.
We had a good time, you know.
What's the point in being serious all the time?
[G] John, why don't you wear your glasses on stage?
Because I'd lose my nerve if I could see [F#] everybody in the audience, you know.
[C#] I like to have it all vague.
[Fm] John, why did you have to get married?
[E] Because, well, same reason anybody gets married, you know.
Don't have a slushy life, but you do, don't you?
When you want to get married, when you've got to go, you've got to go.
I always say.
What's it got to do with you?
Thank you very [C] much, lad.
That was grand.
Why are you so [D] long in the East?
Well, if I stand up, where are you?
[A] Thanks very much, John.
Thanks, Ringo.
Thanks, Paul.
And thanks, George, very much indeed.
And best of luck for the film, yeah?
Best of wish-luck.
Best of wish-luck to the people of Central.
Bye-bye, you.
Bye-bye.
[F#] And you can see also that everybody who goes into this place has to be security checked
because this is the place of their first film.
Right outside this wall, of course, the teenagers would give almost anything to get inside here.
We're lucky we're inside one of the very few units that have [F] been allowed on this top security [C] set.
Paul, can I have your [G] age, height, and [G#] when's the record gonna be, please?
[F#] Uh, 21, 5'11".
[C] Uh, and the next [E] record's gonna be out soon, but I don't know when.
[C] Which do you prefer, mods [G#] or rockers?
Um, don't know.
I like [D#] any of them.
[F#] Uh, mockers I like.
I think they're the best.
No real preferences.
[G#] Why is it, Paul, that you're always described as the most [G] intelligent one of the Beatles? Are you?
[D] Uh, no, I'm not.
No.
[G] No, well, John's written a book, you know, so he must be more intelligent than me.
I've gotta be intelligent to write books.
[F] Um, Paul, is it true you're gonna get engaged to Jean [G#] Asher?
No, [C#] it's not true.
Um, the [Dm] papers started off by saying [F#] I was already engaged.
And now the papers tell me I'm married.
And they think, they tell me I'm divorced now.
So, [G] you know, I don't
[C#] Maybe I'm married.
Oh, sorry.
[C] Maybe I am married.
I don't know.
[D#] The papers tell me I am.
I don't think I am, yeah.
Not getting engaged.
No.
What are you and Ringo doing while John Paul writes songs?
[D] Uh, we play marbles.
Or marples.
[G] How are you getting on making your first film?
[A] Oh, we're having a great [G] time.
And, uh, yeah.
This is the studio, as you can see.
And, uh, we're about halfway through the film.
Got about another three weeks to go.
And everything's going great, I think.
[G#] Ringo, I'd like to know what would you have done
if you hadn't had [F#] your break in music?
Um, I'd have still been an engineer.
Or something, [C#] you know, still working.
Don't you [E] think you acted childishly on that television programme
after your return from New York?
Um
Oh, not really, you know.
We were just [F#] having a good laugh and everyone seemed to enjoy it.
We had a good time, you know.
What's the point in being serious all the time?
[G] John, why don't you wear your glasses on stage?
Because I'd lose my nerve if I could see [F#] everybody in the audience, you know.
[C#] I like to have it all vague.
[Fm] John, why did you have to get married?
[E] Because, well, same reason anybody gets married, you know.
Don't have a slushy life, but you do, don't you?
When you want to get married, when you've got to go, you've got to go.
I always say.
What's it got to do with you?
Thank you very [C] much, lad.
That was grand.
Why are you so [D] long in the East?
Well, if I stand up, where are you?
[A] Thanks very much, John.
Thanks, Ringo.
Thanks, Paul.
And thanks, George, very much indeed.
And best of luck for the film, yeah?
Best of wish-luck.
Best of wish-luck to the people of Central.
Bye-bye, you.
Bye-bye.
Key:
F#
G
C
G#
C#
F#
G
C
_ _ _ _ _ _ As you can see, we're at Twickenham Film Studios just outside London.
[F#] And you can see also that everybody who goes into this place has to be security checked
because this is the place of their first film.
Right outside this wall, of course, the teenagers would give almost anything to get inside here.
We're lucky we're inside one of the very few units that have [F] been allowed on this top security [C] set.
Paul, can I have your [G] age, height, and [G#] when's the record gonna be, please?
[F#] Uh, 21, 5'11". _
[C] Uh, and the next [E] record's gonna be out soon, but I don't know when.
[C] Which do you prefer, mods [G#] or rockers?
_ Um, don't know.
I like [D#] any of them. _
[F#] Uh, mockers I like.
I think they're the best.
No real preferences. _
[G#] Why is it, Paul, that you're always described as the most [G] intelligent one of the Beatles? Are you?
[D] Uh, no, I'm not.
No.
[G] No, well, John's written a book, you know, so he must be more intelligent than me.
I've gotta be intelligent to write books.
_ [F] Um, Paul, is it true you're gonna get engaged to Jean [G#] Asher?
No, [C#] it's not true.
Um, the [Dm] papers started off by saying [F#] I was already engaged.
And now the papers tell me I'm married.
And they think, they tell me I'm divorced now.
So, [G] you know, I don't_
[C#] Maybe I'm married.
Oh, sorry.
[C] Maybe I am married.
I don't know.
[D#] The papers tell me I am.
I don't think I am, yeah.
Not getting engaged.
No.
What are you and Ringo doing while John Paul writes songs?
[D] Uh, we play marbles.
Or marples.
_ [G] How are you getting on making your first film?
[A] Oh, we're having a great [G] time.
And, uh, yeah.
This is the studio, as you can see.
And, uh, we're about halfway through the film.
Got about another three weeks to go.
And everything's going great, I think.
[G#] Ringo, I'd like to know what would you have done
if you hadn't had [F#] your break in music?
Um, I'd have still been an engineer.
Or something, [C#] you know, still working.
Don't you [E] think you acted childishly on that television programme
after your return from New York?
_ Um_
Oh, not really, you know.
We were just [F#] having a good laugh and everyone seemed to enjoy it.
We had a good time, you know.
What's the point in being serious all the time?
[G] John, why don't you wear your glasses on stage?
Because I'd lose my nerve if I could see [F#] everybody in the audience, you know.
[C#] I like to have it all vague.
_ [Fm] John, why did you have to get married?
[E] Because, well, same reason anybody gets married, you know.
Don't have a slushy life, but you do, don't you?
When you want to get married, when you've got to go, you've got to go.
I always say.
What's it got to do with you?
Thank you very [C] much, lad.
That was grand.
Why are you so [D] long in the East?
Well, if I stand up, where are you?
[A] Thanks very much, John.
Thanks, Ringo.
Thanks, Paul.
And thanks, George, very much indeed.
And best of luck for the film, yeah?
Best of wish-luck.
Best of wish-luck to the people of Central.
Bye-bye, you.
Bye-bye. _ _
[F#] And you can see also that everybody who goes into this place has to be security checked
because this is the place of their first film.
Right outside this wall, of course, the teenagers would give almost anything to get inside here.
We're lucky we're inside one of the very few units that have [F] been allowed on this top security [C] set.
Paul, can I have your [G] age, height, and [G#] when's the record gonna be, please?
[F#] Uh, 21, 5'11". _
[C] Uh, and the next [E] record's gonna be out soon, but I don't know when.
[C] Which do you prefer, mods [G#] or rockers?
_ Um, don't know.
I like [D#] any of them. _
[F#] Uh, mockers I like.
I think they're the best.
No real preferences. _
[G#] Why is it, Paul, that you're always described as the most [G] intelligent one of the Beatles? Are you?
[D] Uh, no, I'm not.
No.
[G] No, well, John's written a book, you know, so he must be more intelligent than me.
I've gotta be intelligent to write books.
_ [F] Um, Paul, is it true you're gonna get engaged to Jean [G#] Asher?
No, [C#] it's not true.
Um, the [Dm] papers started off by saying [F#] I was already engaged.
And now the papers tell me I'm married.
And they think, they tell me I'm divorced now.
So, [G] you know, I don't_
[C#] Maybe I'm married.
Oh, sorry.
[C] Maybe I am married.
I don't know.
[D#] The papers tell me I am.
I don't think I am, yeah.
Not getting engaged.
No.
What are you and Ringo doing while John Paul writes songs?
[D] Uh, we play marbles.
Or marples.
_ [G] How are you getting on making your first film?
[A] Oh, we're having a great [G] time.
And, uh, yeah.
This is the studio, as you can see.
And, uh, we're about halfway through the film.
Got about another three weeks to go.
And everything's going great, I think.
[G#] Ringo, I'd like to know what would you have done
if you hadn't had [F#] your break in music?
Um, I'd have still been an engineer.
Or something, [C#] you know, still working.
Don't you [E] think you acted childishly on that television programme
after your return from New York?
_ Um_
Oh, not really, you know.
We were just [F#] having a good laugh and everyone seemed to enjoy it.
We had a good time, you know.
What's the point in being serious all the time?
[G] John, why don't you wear your glasses on stage?
Because I'd lose my nerve if I could see [F#] everybody in the audience, you know.
[C#] I like to have it all vague.
_ [Fm] John, why did you have to get married?
[E] Because, well, same reason anybody gets married, you know.
Don't have a slushy life, but you do, don't you?
When you want to get married, when you've got to go, you've got to go.
I always say.
What's it got to do with you?
Thank you very [C] much, lad.
That was grand.
Why are you so [D] long in the East?
Well, if I stand up, where are you?
[A] Thanks very much, John.
Thanks, Ringo.
Thanks, Paul.
And thanks, George, very much indeed.
And best of luck for the film, yeah?
Best of wish-luck.
Best of wish-luck to the people of Central.
Bye-bye, you.
Bye-bye. _ _