Chords for The Clash - Audio Ammunition Documentary - Part 4 - Sandinista
Tempo:
130.05 bpm
Chords used:
Em
Am
E
D
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Em] [B] [G]
This is Radio [Bm] Gus, he's the audio [G] on the radio.
This is Radio Gus, can we get [E] back to our bus?
We weren't concerned about just playing on our doorstep,
it was to play on any doorstep throughout the world, really.
And we'd seen the rest of the world by then.
By the time we came to record Sound of Music,
we'd toured most huge parts of the world,
and it's reflected in the lyrics, like Washington Bullets.
I think we were changed by what we did.
We went to these places and we experienced these things,
and that changed our view, obviously.
In England, you can become noticed much quicker than you can in America,
because it's such a small place, comparatively speaking.
So [A] word passes.
But we went and played in America a lot.
[Am]
[G] We got a lot of criticism at [F#] home for, like,
oh, well, they see that they've gone to America now,
what do we tell you?
It wasn't [N] the case, because I thought that they would feel proud
that we had achieved so much from where we were from.
We were kind of [C] represented, you [G] know.
But the great thing about [C] Sandinista was
we'd done a really long tour in Britain and in the US,
and then [N] we came straight off that tour,
and rather than falling down exhausted
and jetting off to opposite ends of the world or something,
we were so up for it that we went straight into a studio,
and Columbia didn't even want to buy us any time.
There we were in New York, off the [Cm] tour,
and all we wanted to do was record.
And we had to force them to spill out for three weeks at Electric Lady.
I think that's, out of all our albums,
that is kind of the album now that interests me most.
There's all sorts of music on that album
that [Fm] I think that now is so far advanced of its [Gm] time.
You know, Mo's [Fm] Anison songs and all [A#m] sorts of [Cm] stuff.
There's more marimba on it than any other punk record.
[Fm] For a [C#] creative person, really, that is the process,
is that you get influenced by many things,
and [G#m] hopefully it feeds through you,
and [E] what comes out is the influences, but Like you.
[C] [Em]
We're just sort of always trying something new
to sort of see how to make the thing work or not, you know.
Some of those takes are the songs actually being written
as they're going down.
We had Mikey Dre with us on hand,
and we called him [D] Mickey Gallagher and [Em] Norman Watroy
from the Blockheads [D] for a bit of musician [Em] shit,
and we had Ivan Julian [D] drop in and New [Em] York guys,
[Bm] and we had a real scene.
I [E] mean, musicians [D] were dropping in from all over New York,
[E] and we were in there day and night.
I never went to a bar or a nightclub or anything.
We were in there day and night.
We were like, at least asleep under the [N] piano.
We couldn't get us out of the studio if you tried.
They had to pry us out of there.
Joe's Spliff [Em] Bunker.
We got these American [D] war helmets.
I mean, to go into the Spliff Bunker for a spliff,
you had to put a helmet on, [Em] right,
and it was like a little [E] pillbox, really,
kind of like from World War II in the studio.
Not like little machine gun posts,
there's a little slit where you could see through.
A Spliff Bunker was something that [N] I realised was a great thing,
cos you can't have a [B] load of idiots partying in the control room
[Em] because the engineer can't hear and no decisions can be made.
And so I was keen to hang with people
cos otherwise you're in an [E] isolated bubble,
but it has to be done carefully
because you cannot [N] have people pouring wine into the mixing desk
or behaviour like that.
It's just not going to happen.
And so I invented the Spliff Bunker,
which was like a place where you could smoke, weed and hang out
and talk out in the main body of the studio,
as far removed geographically as possible from the control room,
so that in the control room sanity could reign
and people could EQ things and get things recorded correctly.
And the Spliff Bunker was a place where you could come up with your next
While they're fiddling with the last thing,
the Spliff Bunker was where we'd come up with the next thing we were going to
And as soon as they'd got a rough mix down, we'd be like,
fresh tape on the reel, let's get the mics out
cos we're going to go like this and this and this
and we'd just keep doing that day and night.
And that's why it had to be a triple album.
One day we were sitting in the Spliff Bunker
and Ian Dury and the Blockheads had just been on top of the pops,
all dressed as policemen,
and they decided to pay us a visit afterwards
and so they all burst into the studio.
And you couldn't see at first, it just looked like we were being raided.
It was the police and they all ran down the stairs dressed in
Yeah, it was like, hold on a minute, that bloke looks like Wilco.
[Am] Nick Jones is the one who's
Again, he's the king of engine, he's bringing in the
He was always looking to do the new thing
and that was really banging off in New [N] York.
Rat was there, it was like 1980.
Rat was going off, big time,
coming out at Curtis Blow's Sugar Hill and all this.
And WBLS was blasting all over the city
and we just hooked on to some of that vibe
and made our own version of it.
And we made an instrumental mix of Mag7.
It was just by luck, in fact,
that it started playing in New York, all over New York, that summer.
[Am] It was a big success.
Sina Nista [A#] was [A] three [N]
pieces of long-playing vinyl for the price of one.
We took a knock on it.
In order to bring it out at the price we wanted,
we forewent our royalties on that single
so the company would release it.
I mean, on that whole album.
And many times I've had debates with people
about what should be on it, what shouldn't be on it,
but now, looking back on it, I can't separate
It's like the leaves of an onion.
There's some stupid tracks, there's some brilliant tracks,
but the more I think about it, the more happy I am that it is as it [F#m] is.
I think [N] it's where we were all at one way or the other at that time.
You could cut it down if you wanted,
but you'd be missing the point somewhat, I think.
[Am] I can only say I'm proud of it.
Warts and all, as they say.
[E]
It's a magnificent thing.
And I wouldn't change [Am] it, even if I could.
[F] [Am]
[F] [Am]
[Dm] [Am]
This is Radio [Bm] Gus, he's the audio [G] on the radio.
This is Radio Gus, can we get [E] back to our bus?
We weren't concerned about just playing on our doorstep,
it was to play on any doorstep throughout the world, really.
And we'd seen the rest of the world by then.
By the time we came to record Sound of Music,
we'd toured most huge parts of the world,
and it's reflected in the lyrics, like Washington Bullets.
I think we were changed by what we did.
We went to these places and we experienced these things,
and that changed our view, obviously.
In England, you can become noticed much quicker than you can in America,
because it's such a small place, comparatively speaking.
So [A] word passes.
But we went and played in America a lot.
[Am]
[G] We got a lot of criticism at [F#] home for, like,
oh, well, they see that they've gone to America now,
what do we tell you?
It wasn't [N] the case, because I thought that they would feel proud
that we had achieved so much from where we were from.
We were kind of [C] represented, you [G] know.
But the great thing about [C] Sandinista was
we'd done a really long tour in Britain and in the US,
and then [N] we came straight off that tour,
and rather than falling down exhausted
and jetting off to opposite ends of the world or something,
we were so up for it that we went straight into a studio,
and Columbia didn't even want to buy us any time.
There we were in New York, off the [Cm] tour,
and all we wanted to do was record.
And we had to force them to spill out for three weeks at Electric Lady.
I think that's, out of all our albums,
that is kind of the album now that interests me most.
There's all sorts of music on that album
that [Fm] I think that now is so far advanced of its [Gm] time.
You know, Mo's [Fm] Anison songs and all [A#m] sorts of [Cm] stuff.
There's more marimba on it than any other punk record.
[Fm] For a [C#] creative person, really, that is the process,
is that you get influenced by many things,
and [G#m] hopefully it feeds through you,
and [E] what comes out is the influences, but Like you.
[C] [Em]
We're just sort of always trying something new
to sort of see how to make the thing work or not, you know.
Some of those takes are the songs actually being written
as they're going down.
We had Mikey Dre with us on hand,
and we called him [D] Mickey Gallagher and [Em] Norman Watroy
from the Blockheads [D] for a bit of musician [Em] shit,
and we had Ivan Julian [D] drop in and New [Em] York guys,
[Bm] and we had a real scene.
I [E] mean, musicians [D] were dropping in from all over New York,
[E] and we were in there day and night.
I never went to a bar or a nightclub or anything.
We were in there day and night.
We were like, at least asleep under the [N] piano.
We couldn't get us out of the studio if you tried.
They had to pry us out of there.
Joe's Spliff [Em] Bunker.
We got these American [D] war helmets.
I mean, to go into the Spliff Bunker for a spliff,
you had to put a helmet on, [Em] right,
and it was like a little [E] pillbox, really,
kind of like from World War II in the studio.
Not like little machine gun posts,
there's a little slit where you could see through.
A Spliff Bunker was something that [N] I realised was a great thing,
cos you can't have a [B] load of idiots partying in the control room
[Em] because the engineer can't hear and no decisions can be made.
And so I was keen to hang with people
cos otherwise you're in an [E] isolated bubble,
but it has to be done carefully
because you cannot [N] have people pouring wine into the mixing desk
or behaviour like that.
It's just not going to happen.
And so I invented the Spliff Bunker,
which was like a place where you could smoke, weed and hang out
and talk out in the main body of the studio,
as far removed geographically as possible from the control room,
so that in the control room sanity could reign
and people could EQ things and get things recorded correctly.
And the Spliff Bunker was a place where you could come up with your next
While they're fiddling with the last thing,
the Spliff Bunker was where we'd come up with the next thing we were going to
And as soon as they'd got a rough mix down, we'd be like,
fresh tape on the reel, let's get the mics out
cos we're going to go like this and this and this
and we'd just keep doing that day and night.
And that's why it had to be a triple album.
One day we were sitting in the Spliff Bunker
and Ian Dury and the Blockheads had just been on top of the pops,
all dressed as policemen,
and they decided to pay us a visit afterwards
and so they all burst into the studio.
And you couldn't see at first, it just looked like we were being raided.
It was the police and they all ran down the stairs dressed in
Yeah, it was like, hold on a minute, that bloke looks like Wilco.
[Am] Nick Jones is the one who's
Again, he's the king of engine, he's bringing in the
He was always looking to do the new thing
and that was really banging off in New [N] York.
Rat was there, it was like 1980.
Rat was going off, big time,
coming out at Curtis Blow's Sugar Hill and all this.
And WBLS was blasting all over the city
and we just hooked on to some of that vibe
and made our own version of it.
And we made an instrumental mix of Mag7.
It was just by luck, in fact,
that it started playing in New York, all over New York, that summer.
[Am] It was a big success.
Sina Nista [A#] was [A] three [N]
pieces of long-playing vinyl for the price of one.
We took a knock on it.
In order to bring it out at the price we wanted,
we forewent our royalties on that single
so the company would release it.
I mean, on that whole album.
And many times I've had debates with people
about what should be on it, what shouldn't be on it,
but now, looking back on it, I can't separate
It's like the leaves of an onion.
There's some stupid tracks, there's some brilliant tracks,
but the more I think about it, the more happy I am that it is as it [F#m] is.
I think [N] it's where we were all at one way or the other at that time.
You could cut it down if you wanted,
but you'd be missing the point somewhat, I think.
[Am] I can only say I'm proud of it.
Warts and all, as they say.
[E]
It's a magnificent thing.
And I wouldn't change [Am] it, even if I could.
[F] [Am]
[F] [Am]
[Dm] [Am]
Key:
Em
Am
E
D
G
Em
Am
E
[Em] _ _ [B] _ _ _ _ [G] _ _
_ _ This is Radio [Bm] Gus, he's the audio [G] on the radio.
This is Radio Gus, can we get [E] back to our bus?
We weren't concerned about just playing on our doorstep,
it was to play on any doorstep throughout the world, really.
And we'd seen the rest of the world by then.
By the time we came to record Sound of Music,
we'd toured most huge parts of the world,
and it's reflected in the lyrics, like Washington Bullets.
_ I think we were changed by what we did.
We went to these places and we experienced these things,
and that changed our view, obviously.
In England, you can become noticed much quicker than you can in America,
because it's such a small place, comparatively speaking.
So [A] word passes.
But we went and played in America a lot.
_ _ _ [Am] _ _
[G] We got a lot of criticism at [F#] home for, like,
oh, well, they see that they've gone to America now,
what do we tell you?
It wasn't [N] the case, because I thought that they would feel proud
that we had achieved so much from where we were from.
We were kind of [C] represented, you [G] know.
But the great thing about [C] Sandinista was
we'd done a really long tour in Britain and in the US,
and then [N] we came straight off that tour,
and rather than falling down exhausted
and _ jetting off to _ opposite ends of the world or something,
_ we were so up for it that we went straight into a studio,
_ _ and Columbia didn't even want to buy us any time.
There we were in New York, off the [Cm] tour,
and all we wanted to do was record.
And we had to force them to spill out for three weeks at Electric Lady.
I think that's, out of all our albums,
that is kind of the album now that interests me most.
There's all sorts of music on that album
that [Fm] I think that now is so far advanced of its [Gm] time.
You know, Mo's [Fm] Anison songs and all [A#m] sorts of [Cm] stuff.
There's more marimba on it than any other punk record.
[Fm] For a [C#] creative person, really, that is the process,
is that you get influenced by many things,
and [G#m] hopefully it feeds through you,
and [E] what comes out is the influences, but_ Like you. _
_ [C] _ _ _ _ _ _ [Em]
We're just sort of always _ trying something new
to sort of see how to make the thing work or not, you know.
Some of those takes are the songs actually being written
as they're going down.
We had Mikey Dre with us on hand,
and we called him [D] Mickey Gallagher and [Em] Norman Watroy
from the Blockheads [D] for a bit of musician [Em] shit,
and we had _ Ivan Julian [D] drop in and New [Em] York guys,
[Bm] and we had a real scene.
I [E] mean, _ musicians [D] were dropping in from all over New York,
[E] and we were in there day and night.
I never went to a bar or a nightclub or anything.
We were in there day and night.
We were like, at least asleep under the [N] piano.
We couldn't get us out of the studio if you tried.
They had to pry us out of there.
Joe's Spliff [Em] Bunker.
We got these American [D] war helmets.
I mean, to go into the Spliff Bunker for a spliff,
you had to put a helmet on, [Em] right,
and it was like a little [E] pillbox, really,
kind of like from World War II in the studio.
Not like little machine gun posts,
there's a little slit where you could see through.
A Spliff Bunker was something that [N] I realised was a great thing,
cos you can't have a [B] load of idiots _ _ partying in the control room
[Em] because the engineer can't hear and no decisions can be made.
And so I was keen to hang with people
cos otherwise you're in an [E] isolated bubble,
but it has to be done carefully
because you cannot [N] have people pouring wine into the mixing desk
or behaviour like that.
It's just not going to happen.
And so I invented the Spliff Bunker,
which was like a _ place where you could smoke, weed and hang out
and talk out in the main body of the studio, _ _ _
as far removed geographically as possible from the control room,
so that in the control room sanity could reign
and people could EQ things and get things recorded correctly.
And the Spliff Bunker was a place where you could come up with your next_
While they're fiddling with the last thing,
the Spliff Bunker was where we'd come up with the next thing we were going to_
And as soon as they'd got a rough mix down, we'd be like,
fresh tape on the reel, let's get the mics out
cos we're going to go like this and this and this
and we'd just keep doing that day and night.
And that's why it had to be a triple album.
One day we were sitting in the Spliff Bunker
and Ian Dury and the Blockheads had just been on top of the pops,
all dressed as policemen,
and they decided to pay us a visit afterwards
and so they all burst into the studio.
And you couldn't see at first, it just looked like we were being raided.
It was the police and they all ran down the stairs dressed in_
Yeah, it was like, hold on a minute, that bloke looks like Wilco.
_ _ [Am] Nick Jones is the one who's_
Again, he's the king of engine, he's bringing in the_
He was always looking to do the new thing
and that was really banging off in New [N] York.
Rat was there, it was like 1980.
Rat was going off, big time,
coming out at Curtis Blow's Sugar Hill and all this.
And WBLS was blasting all over the city
and we just hooked on to some of that vibe
and made our own version of it.
And we made an instrumental mix of Mag7.
It was just by luck, in fact,
that it started playing in New York, all over New York, that summer.
[Am] It was a big success.
Sina Nista [A#] was [A] _ three _ _ [N] _
pieces of long-playing vinyl for the price of one.
We took a knock on it.
In order to bring it out at the price we wanted,
we forewent our royalties on that single
so the company would release it.
I mean, on that whole album.
And _ _ _ many times I've had debates with people
about _ what should be on it, what shouldn't be on it,
but _ _ now, looking back on it, I can't separate_
It's like _ _ the leaves of an onion.
There's some stupid tracks, there's some brilliant tracks,
but the more I think about it, the more happy I am that it is as it [F#m] is.
I think _ [N] it's where we were all at one way or the other at that time.
You could cut it down if you wanted,
but you'd be missing the point somewhat, I think.
[Am] I can only say I'm proud of it.
Warts and all, as they say.
_ [E]
It's a magnificent thing.
And I wouldn't change [Am] it, even if I could.
_ _ _ _ [F] _ _ _ _ [Am] _ _ _ _ _
[F] _ _ _ _ _ [Am] _ _ _
_ _ [Dm] _ _ _ [Am] _ _ _
_ _ This is Radio [Bm] Gus, he's the audio [G] on the radio.
This is Radio Gus, can we get [E] back to our bus?
We weren't concerned about just playing on our doorstep,
it was to play on any doorstep throughout the world, really.
And we'd seen the rest of the world by then.
By the time we came to record Sound of Music,
we'd toured most huge parts of the world,
and it's reflected in the lyrics, like Washington Bullets.
_ I think we were changed by what we did.
We went to these places and we experienced these things,
and that changed our view, obviously.
In England, you can become noticed much quicker than you can in America,
because it's such a small place, comparatively speaking.
So [A] word passes.
But we went and played in America a lot.
_ _ _ [Am] _ _
[G] We got a lot of criticism at [F#] home for, like,
oh, well, they see that they've gone to America now,
what do we tell you?
It wasn't [N] the case, because I thought that they would feel proud
that we had achieved so much from where we were from.
We were kind of [C] represented, you [G] know.
But the great thing about [C] Sandinista was
we'd done a really long tour in Britain and in the US,
and then [N] we came straight off that tour,
and rather than falling down exhausted
and _ jetting off to _ opposite ends of the world or something,
_ we were so up for it that we went straight into a studio,
_ _ and Columbia didn't even want to buy us any time.
There we were in New York, off the [Cm] tour,
and all we wanted to do was record.
And we had to force them to spill out for three weeks at Electric Lady.
I think that's, out of all our albums,
that is kind of the album now that interests me most.
There's all sorts of music on that album
that [Fm] I think that now is so far advanced of its [Gm] time.
You know, Mo's [Fm] Anison songs and all [A#m] sorts of [Cm] stuff.
There's more marimba on it than any other punk record.
[Fm] For a [C#] creative person, really, that is the process,
is that you get influenced by many things,
and [G#m] hopefully it feeds through you,
and [E] what comes out is the influences, but_ Like you. _
_ [C] _ _ _ _ _ _ [Em]
We're just sort of always _ trying something new
to sort of see how to make the thing work or not, you know.
Some of those takes are the songs actually being written
as they're going down.
We had Mikey Dre with us on hand,
and we called him [D] Mickey Gallagher and [Em] Norman Watroy
from the Blockheads [D] for a bit of musician [Em] shit,
and we had _ Ivan Julian [D] drop in and New [Em] York guys,
[Bm] and we had a real scene.
I [E] mean, _ musicians [D] were dropping in from all over New York,
[E] and we were in there day and night.
I never went to a bar or a nightclub or anything.
We were in there day and night.
We were like, at least asleep under the [N] piano.
We couldn't get us out of the studio if you tried.
They had to pry us out of there.
Joe's Spliff [Em] Bunker.
We got these American [D] war helmets.
I mean, to go into the Spliff Bunker for a spliff,
you had to put a helmet on, [Em] right,
and it was like a little [E] pillbox, really,
kind of like from World War II in the studio.
Not like little machine gun posts,
there's a little slit where you could see through.
A Spliff Bunker was something that [N] I realised was a great thing,
cos you can't have a [B] load of idiots _ _ partying in the control room
[Em] because the engineer can't hear and no decisions can be made.
And so I was keen to hang with people
cos otherwise you're in an [E] isolated bubble,
but it has to be done carefully
because you cannot [N] have people pouring wine into the mixing desk
or behaviour like that.
It's just not going to happen.
And so I invented the Spliff Bunker,
which was like a _ place where you could smoke, weed and hang out
and talk out in the main body of the studio, _ _ _
as far removed geographically as possible from the control room,
so that in the control room sanity could reign
and people could EQ things and get things recorded correctly.
And the Spliff Bunker was a place where you could come up with your next_
While they're fiddling with the last thing,
the Spliff Bunker was where we'd come up with the next thing we were going to_
And as soon as they'd got a rough mix down, we'd be like,
fresh tape on the reel, let's get the mics out
cos we're going to go like this and this and this
and we'd just keep doing that day and night.
And that's why it had to be a triple album.
One day we were sitting in the Spliff Bunker
and Ian Dury and the Blockheads had just been on top of the pops,
all dressed as policemen,
and they decided to pay us a visit afterwards
and so they all burst into the studio.
And you couldn't see at first, it just looked like we were being raided.
It was the police and they all ran down the stairs dressed in_
Yeah, it was like, hold on a minute, that bloke looks like Wilco.
_ _ [Am] Nick Jones is the one who's_
Again, he's the king of engine, he's bringing in the_
He was always looking to do the new thing
and that was really banging off in New [N] York.
Rat was there, it was like 1980.
Rat was going off, big time,
coming out at Curtis Blow's Sugar Hill and all this.
And WBLS was blasting all over the city
and we just hooked on to some of that vibe
and made our own version of it.
And we made an instrumental mix of Mag7.
It was just by luck, in fact,
that it started playing in New York, all over New York, that summer.
[Am] It was a big success.
Sina Nista [A#] was [A] _ three _ _ [N] _
pieces of long-playing vinyl for the price of one.
We took a knock on it.
In order to bring it out at the price we wanted,
we forewent our royalties on that single
so the company would release it.
I mean, on that whole album.
And _ _ _ many times I've had debates with people
about _ what should be on it, what shouldn't be on it,
but _ _ now, looking back on it, I can't separate_
It's like _ _ the leaves of an onion.
There's some stupid tracks, there's some brilliant tracks,
but the more I think about it, the more happy I am that it is as it [F#m] is.
I think _ [N] it's where we were all at one way or the other at that time.
You could cut it down if you wanted,
but you'd be missing the point somewhat, I think.
[Am] I can only say I'm proud of it.
Warts and all, as they say.
_ [E]
It's a magnificent thing.
And I wouldn't change [Am] it, even if I could.
_ _ _ _ [F] _ _ _ _ [Am] _ _ _ _ _
[F] _ _ _ _ _ [Am] _ _ _
_ _ [Dm] _ _ _ [Am] _ _ _