Chords for The Hollies - Just One Look (Look Through Any Window)
Tempo:
67.7 bpm
Chords used:
D
G
B
A
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Just one look, [E] that's all it took, yeah, just one look, that's all it [D] took, yeah, just one look.
And I [B] felt so high, I'm [G] in love [A] with you.
I [D] found out how [B] good it feels, feels, [G] feels to have [A] your love.
[D] I'll say it well, or [B] will they not?
[G] Forever [A] in my heart, we used [D] to fall.
Just one look, [B] and I knew you'd do [G] that.
You [A] were my [D] one, oh, [G] [D]
[E] oh, but I [A] can't make you, make you mine.
[D] So to say, I [B] really can't live [G] without you.
[A]
[D] Just one look, and [B] I know I'll forget [G] [A] you [D] someday.
Oh, oh, [G] yeah, yeah, yeah, oh, [E] oh, I'm gonna keep on skipping, till I can make you, make you mine.
[D] Just one [G] look, that's all it took, [D] yeah, just one look, that's [B] all it took, yeah, just one look, that's all it took, [F#] yeah.
[D]
[F] [Am] [G] We rely mainly on vocal sound, you know, on a blend of three harmonies.
That's myself, Alan and Tony, with instrumental backing.
That's mainly, you know, that sums it up, sort of thing.
[C#] One of the things about the Hollies vocal sound is that we were always kind of experimenting.
We had the solid basis of me and Alan singing two-part, and we could sing two-part, and we could sing it in any minor, we could sing any of that stuff.
When Tony joined the band, we started to really work on three-part harmony, and we were very successful at that.
But we kept trying to push the envelope, we kept trying to make it different, and we kept trying to
I mean, on some of those early Hollies records you'll hear, we'll come to the end and hit this really strange chord, you know, and we would experiment with harmonies like that.
You know, I mean, two-part harmony gets boring sometimes, you know, I mean, I love the Everly Brothers, and I love me and Alan singing two-part, but three-part is a whole other deal.
Tony, when he joined the group, he was more or less just a guitarist.
I don't know why, all of a sudden, we said, come and sing with us.
It may have even been that Graham and I were singing, and Tony just saddled up and went, ah-dee-dah-dee-dah, and we went, hang on a minute, that sounds different, why don't we put that in?
I don't know whether I must have been mumbling away a bit too close to a microphone one day, but that's where the third harmony, the lower harmony, came in.
And it is undoubtedly, you know, the three-way is the sound of the Hollies, and it is very, very important, the bottom harmony gives it that sort of extra warmth.
You know, these chance things that happen, it wasn't, OK, we need a third harmony, Tony, [F] come and try on this.
It happened.
It seems to have been the way that the Hollies did things.
You know, you start doing a song one way, and then something would happen, it'd turn into a completely different, go up a completely different avenue, you know, and one of them was Tony.
And it did produce another side of our harmony, which Graham and I had never had before.
That made that more of a unique sound, not just a Graham, Nash and Allan [D#] Clarke sound, it [G] became the Hollies sound.
Here I Go Again was something of a move away from the rhythm and blues classics and things.
We had been recording, I mean, the three-way harmonies right there from the first
And I [B] felt so high, I'm [G] in love [A] with you.
I [D] found out how [B] good it feels, feels, [G] feels to have [A] your love.
[D] I'll say it well, or [B] will they not?
[G] Forever [A] in my heart, we used [D] to fall.
Just one look, [B] and I knew you'd do [G] that.
You [A] were my [D] one, oh, [G] [D]
[E] oh, but I [A] can't make you, make you mine.
[D] So to say, I [B] really can't live [G] without you.
[A]
[D] Just one look, and [B] I know I'll forget [G] [A] you [D] someday.
Oh, oh, [G] yeah, yeah, yeah, oh, [E] oh, I'm gonna keep on skipping, till I can make you, make you mine.
[D] Just one [G] look, that's all it took, [D] yeah, just one look, that's [B] all it took, yeah, just one look, that's all it took, [F#] yeah.
[D]
[F] [Am] [G] We rely mainly on vocal sound, you know, on a blend of three harmonies.
That's myself, Alan and Tony, with instrumental backing.
That's mainly, you know, that sums it up, sort of thing.
[C#] One of the things about the Hollies vocal sound is that we were always kind of experimenting.
We had the solid basis of me and Alan singing two-part, and we could sing two-part, and we could sing it in any minor, we could sing any of that stuff.
When Tony joined the band, we started to really work on three-part harmony, and we were very successful at that.
But we kept trying to push the envelope, we kept trying to make it different, and we kept trying to
I mean, on some of those early Hollies records you'll hear, we'll come to the end and hit this really strange chord, you know, and we would experiment with harmonies like that.
You know, I mean, two-part harmony gets boring sometimes, you know, I mean, I love the Everly Brothers, and I love me and Alan singing two-part, but three-part is a whole other deal.
Tony, when he joined the group, he was more or less just a guitarist.
I don't know why, all of a sudden, we said, come and sing with us.
It may have even been that Graham and I were singing, and Tony just saddled up and went, ah-dee-dah-dee-dah, and we went, hang on a minute, that sounds different, why don't we put that in?
I don't know whether I must have been mumbling away a bit too close to a microphone one day, but that's where the third harmony, the lower harmony, came in.
And it is undoubtedly, you know, the three-way is the sound of the Hollies, and it is very, very important, the bottom harmony gives it that sort of extra warmth.
You know, these chance things that happen, it wasn't, OK, we need a third harmony, Tony, [F] come and try on this.
It happened.
It seems to have been the way that the Hollies did things.
You know, you start doing a song one way, and then something would happen, it'd turn into a completely different, go up a completely different avenue, you know, and one of them was Tony.
And it did produce another side of our harmony, which Graham and I had never had before.
That made that more of a unique sound, not just a Graham, Nash and Allan [D#] Clarke sound, it [G] became the Hollies sound.
Here I Go Again was something of a move away from the rhythm and blues classics and things.
We had been recording, I mean, the three-way harmonies right there from the first
Key:
D
G
B
A
E
D
G
B
Just one look, [E] that's all it took, yeah, just one look, that's all it [D] took, yeah, just one look.
And I [B] felt so high, I'm _ [G] in love _ _ [A] with you.
I [D] found out how [B] good it feels, feels, [G] feels to have _ [A] your love. _
[D] I'll say it well, or [B] will they not? _
_ [G] Forever _ [A] in my heart, we used [D] to fall.
Just one look, [B] and I knew you'd do [G] that.
You [A] were my [D] one, oh, _ [G] _ _ _ _ [D] _ _ _
[E] oh, but I _ [A] can't make you, make you mine.
[D] So to say, I [B] really can't live [G] without you.
_ [A] _ _ _
[D] Just one look, and [B] I know I'll forget [G] _ [A] you [D] someday.
Oh, oh, _ [G] _ _ _ _ yeah, yeah, yeah, oh, [E] oh, I'm gonna keep on skipping, till I can make you, make you mine.
[D] Just one [G] look, that's all it took, [D] yeah, just one look, that's [B] all it took, yeah, just one look, that's all it took, [F#] yeah.
_ [D] _
_ _ [F] _ _ _ [Am] [G] We rely mainly on vocal sound, you know, on a blend of three harmonies.
That's myself, Alan and Tony, with instrumental backing.
That's mainly, you know, that sums it up, sort of thing.
[C#] One of the things about the Hollies vocal sound is that we were always kind of experimenting.
We had the solid basis of me and Alan singing two-part, and we could sing two-part, and we could sing it in any minor, we could sing any of that stuff.
When Tony joined the band, we started to really work on three-part harmony, and we were very successful at that.
But we kept trying to push the envelope, we kept trying to make it different, and we kept trying to_
I mean, on some of those early Hollies records you'll hear, we'll come to the end and hit this really strange chord, you know, and we would experiment with harmonies like that.
You know, I mean, two-part harmony gets boring sometimes, you know, I mean, I love the Everly Brothers, and I love me and Alan singing two-part, but three-part is a whole other deal.
Tony, when he joined the group, he was more or less just a guitarist.
I don't know why, all of a sudden, we said, come and sing with us.
It may have even been that Graham and I were singing, and Tony just saddled up and went, ah-dee-dah-dee-dah, and we went, hang on a minute, that sounds different, why don't we put that in?
I don't know whether I must have been mumbling away a bit too close to a microphone one day, but that's where the third harmony, the lower harmony, came in.
And it is undoubtedly, you know, the three-way is the sound of the Hollies, and it is very, very important, the bottom harmony gives it that sort of extra warmth.
You know, these chance things that happen, it wasn't, OK, we need a third harmony, Tony, [F] come and try on this.
It happened.
It seems to have been the way that the Hollies did things.
You know, you start doing a song one way, and then something would happen, it'd turn into a completely different, go up a completely different avenue, you know, and one of them was Tony.
And it did produce another side of our harmony, which Graham and I had never had before.
That made that more of a unique sound, not just a Graham, Nash and Allan [D#] Clarke sound, it [G] became the Hollies sound.
Here I Go Again was something of a move away from the rhythm and blues classics and things.
We had been recording, I mean, the three-way harmonies right there from the first
And I [B] felt so high, I'm _ [G] in love _ _ [A] with you.
I [D] found out how [B] good it feels, feels, [G] feels to have _ [A] your love. _
[D] I'll say it well, or [B] will they not? _
_ [G] Forever _ [A] in my heart, we used [D] to fall.
Just one look, [B] and I knew you'd do [G] that.
You [A] were my [D] one, oh, _ [G] _ _ _ _ [D] _ _ _
[E] oh, but I _ [A] can't make you, make you mine.
[D] So to say, I [B] really can't live [G] without you.
_ [A] _ _ _
[D] Just one look, and [B] I know I'll forget [G] _ [A] you [D] someday.
Oh, oh, _ [G] _ _ _ _ yeah, yeah, yeah, oh, [E] oh, I'm gonna keep on skipping, till I can make you, make you mine.
[D] Just one [G] look, that's all it took, [D] yeah, just one look, that's [B] all it took, yeah, just one look, that's all it took, [F#] yeah.
_ [D] _
_ _ [F] _ _ _ [Am] [G] We rely mainly on vocal sound, you know, on a blend of three harmonies.
That's myself, Alan and Tony, with instrumental backing.
That's mainly, you know, that sums it up, sort of thing.
[C#] One of the things about the Hollies vocal sound is that we were always kind of experimenting.
We had the solid basis of me and Alan singing two-part, and we could sing two-part, and we could sing it in any minor, we could sing any of that stuff.
When Tony joined the band, we started to really work on three-part harmony, and we were very successful at that.
But we kept trying to push the envelope, we kept trying to make it different, and we kept trying to_
I mean, on some of those early Hollies records you'll hear, we'll come to the end and hit this really strange chord, you know, and we would experiment with harmonies like that.
You know, I mean, two-part harmony gets boring sometimes, you know, I mean, I love the Everly Brothers, and I love me and Alan singing two-part, but three-part is a whole other deal.
Tony, when he joined the group, he was more or less just a guitarist.
I don't know why, all of a sudden, we said, come and sing with us.
It may have even been that Graham and I were singing, and Tony just saddled up and went, ah-dee-dah-dee-dah, and we went, hang on a minute, that sounds different, why don't we put that in?
I don't know whether I must have been mumbling away a bit too close to a microphone one day, but that's where the third harmony, the lower harmony, came in.
And it is undoubtedly, you know, the three-way is the sound of the Hollies, and it is very, very important, the bottom harmony gives it that sort of extra warmth.
You know, these chance things that happen, it wasn't, OK, we need a third harmony, Tony, [F] come and try on this.
It happened.
It seems to have been the way that the Hollies did things.
You know, you start doing a song one way, and then something would happen, it'd turn into a completely different, go up a completely different avenue, you know, and one of them was Tony.
And it did produce another side of our harmony, which Graham and I had never had before.
That made that more of a unique sound, not just a Graham, Nash and Allan [D#] Clarke sound, it [G] became the Hollies sound.
Here I Go Again was something of a move away from the rhythm and blues classics and things.
We had been recording, I mean, the three-way harmonies right there from the first