Chords for The Police - Demolition Man

_ _ _ [E] _ _ _ _ [A] _
_ _ _ _ _ _ _ _
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_ _ _ _ That's who the tracks and the clear struts come in.
_ _ That's who the wing of the engine run in.
_ _ [E] You say that this wasn't in your plan. _
[A] _ I'm going mess around with the demolition man. _ _
_ I'm the chair and the palm of the stick hand. _ _
This situation was not of your beginning. _ _ _
You say that this wasn't in your plan.
_ _ I'm going mess around with the demolition man.
_ _ [Am] I'm the mayor and the absolute coop.
I'm the city council and the master of the coop.
I'm the streetlight.
I'm the star [Gm] of the night.
I'm the morning disaster.
I'm the demolition [A] man. _ _ _
_ _ _ _ _ _ [E] _ _
[A] _ _ _ _ _ _ _ _
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_ _ _ _ _ _ People see me like a master of the flame.
_ _ They love me but I don't play that game.
_ _ _ Those kids be my greatest fan.
_ I'm nobody's friend.
I'm the demolition man.
_ _ I'm a nightmare.
I'm the absolute coop.
I feel [Am] conversation as I walk into a room.
I'm streetlight.
I'm the star of the night.
I'm the morning disaster.
I'm the demolition man. _ _ _ _ _
Demolition man.
_ _ _ _ _ [A] _
_ _ _ _ _ Demolition man.
_ _ _ _ Demolition man. _
_ _ _ _ Demolition man.
[E] _ _
_ _ [A] _ Demolition man. _ _
_ _ Demolition man. _ _ _
_ Demolition man. _ _ _ _
_ _ _ _ _ _ That's
_ _ _ _ _ _ _ _
_ _ _ _ _ _ [Dm] _ _
just the straightness of the flanger.
Then you add the echo on.
Here the sound gets bigger.
Then you put the compression.
That's a compressor.
It's like a _ message [Bb] _ [Dm] _
_ [Bb] in a bottle played like [Cm] this.
[G] _ [Bb] _ _
[Fm] [G] So [Bb] you can [N] hear what it sounds like without any of the effects at all.
Without using this pedal at all.
What would that then sound like?
Well, [D] it's a difference like [Bb] this.
[C] _ [G] _ [Dm] _ [C] _
_ [G] _ [Bb] [N] How about classical guitar?
Is that ever influenced you at all?
Yeah, I spent about five years playing classical guitar.
I don't think I can remember much of it.
But I did put in a lot of time doing that.
And it's come out in some numbers that we've played together.
One song, Being On The Night, has played a classical arpeggio.
It's a little [Bbm] fingerstyle thing.
_ [Fm] _ [Eb] _ _
[Bbm] _ [Ab] And [Bbm] _ _ [Fm] _ [Bbm] _ [Fm] _
[Eb] _ [Bbm] _ _ [Ab] _ _ [Db] _ [Fm] _ [Bbm] _
_ [Fm] _ [Eb] _ [Bbm] _ [Ab] _ _ _ [Bbm] _
[Ab] _ _ that relates to some classical pieces like Villa-Lobos.
So now from this giant pedal here, I'd like to go to this small blue box here.
And you tell me what this one does.
Well, this is the rolling guitar synthesizer.
Here's the guitar.
You have to have that guitar to go with it, then?
Yes, because all the controls are built into [Fm] the guitar that operate this part of the setup.
This is the second one they've made.
The first one was very nice, but not very easy to use on stage.
It was too complicated.
This one is great because it's on the floor, and you can switch everything off and on with your foot.
And it sounds [E] like this.
_ _ _ _ _ _ _ _
_ [N] I like to use this pedal with it because it opens the filter on the foot.
Is that the effect that you used on Don't Stand So Close?
That's exactly it.
Did you use any of this with this as well?
Yes, I also used the pedalboard in conjunction with this.
I usually use the flanger and the Echoplex with the synthesizer.
And the guitar solo in the middle is played on this guitar.
To achieve the effect that is on the record, I use the duet switch here,
which means that you can add an extra interval to any note you're playing.
I like to tune the guitar synthesizer in fifths and then play strange chords as well.
So what effect does that give?
You get a very strange sound.
I've just switched it into [B] fifths.
It [A] sounds like this.
[Am] _ [Dbm] _ _ _ _ [E] _ _ [Abm] _
_ [Gb] _ What would that sound like without the fifths?
Fifths is straight.
[D] It's a straight sound like this.
_ See, now this down here, this one switch will switch in any interval you want.
So this is tuned in fifths now, so you get this.
[Bb] _ _ [Fm] Unison.
_ _ [Bb] _ _ _ _ _
Do you ever press the wrong button?
Usually.
Handy with such a big pedal having small feet, really.
Yes, I'm actually out doing Rudolf Nuriev with this thing.
So tell me about, I want to know, as do we all, about more of your influences, your guitar influences.
I mean, were you influenced like this?
A lot of guitarists [Eb] were, by the blues.
Yes, I was.
What sort of blues guitar, if I say blues guitar, what would you break out into?
One, two, three, four. _
_ _ _ _ _ _ [Abm] _ _
_ _ _ [Eb] _ _ _ _ [Bb] _
_ [Eb] _ _ _ _ _ _ _
_ _ _ _ _ _ _ [Abm] _
_ _ _ [Eb] _ _ _ _ [Bb] _
_ _ _ [Ebm] _ [Abm] _ [Eb] _ _ _
_ [C] _ _ [Eb] _ [Fm] _ [Eb] _ [Abm] How _ _ _ [Eb] _ _ _ _ [Bb] _
_ [Bb] _ [Ab] _ [Eb] _ [Abm] _ _ [Bb] _ [Eb] _
_ _ _ _ _ _ _ [Ab] _
_ [Abm] _ _ [Eb] _ _ _ [Bb] _ _
_ [Ebm] _ _ _ [Eb] _ [Bb] [Ab] about funk stuff, are you into funk?
Oh yeah, I think all three of us enjoy playing, we don't actually [Bm] do much on record in funk.
[Db] But it is something that we like to play.
_ I _ _
_ [Cm] [N] think actually that's probably best left to James Brown, isn't it really?
Yes, I think it is, yes.
But how about in the meantime, I mean, are there other influences other than just guitarists?
Can I do a bit more funk?
What?
Well, if you've got to.
Oh right, that's all right.
But I mean, are there keyboard players, saxophone players, do you find those a big influence on your guitar playing?
Yes, well I listen to all sorts of musicians in the past.
John Coltrane I like very much, still love to listen to, Ornette Coleman.
How about jazz, is that an influence in your playing?
Oh, always has been, yeah.
Well I started off really young playing that kind of thing, that's the first thing I graduated towards.
And then I moved out of that and I played rock music