Chords for The Rolling Stones - Who Is The Bunnyman?
Tempo:
110.4 bpm
Chords used:
D
G
C
E
B
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Two words, Voodoo Lounge, what [A] can you do?
[D]
[C] [D] These are the new ones, and these were the [Ab] drawings of the new [D] stuff.
[G] We would work like [D] crazy all day, and then we'd [Dm] work all night,
and then we'd go out and [D] go to a club, and then we'd go to bed, and then we'd do it [C] again.
So we kind of knew [G] what clubs [D] were, but we didn't really know what a Voodoo Lounge was.
We sort of decided that the best thing to do was to build a Voodoo Lounge
out of cardboard boxes [C] and then paint it so that we could kind [D] of imagine this place.
And in this cardboard [G] box, [D] we had this pair of doors.
On the [C] cardboard doors, we [D] put two kind of gatekeepers, [G] and one of them was the bunny man.
[D] [G] [D]
These are bits and pieces of drawing [C] from that little cardboard Voodoo Lounge.
[D] There's the gatekeeper on the doors, and then the
so that's [Gbm] a wall of the [F] Voodoo [A] Lounge.
Photocopiers were great for graphic designers in the 80s and 90s
because you could use them to reduce a picture to nothing, to black and white, to lift.
And that's what we did to this picture of the bunny man on the gatekeeper of the Voodoo Lounge,
and he turned out to be a nice, simple [D] black and white horse.
I got hold of the mouse, and I turned it upside down and put it on a black and white scanner
and got this thing which was a sort of kind of formal shape [C] but gritty,
and [D] stuck it behind this figure, and it kind of came together.
It was kind of pre-Internet anyhow, so you had to travel and you had to have books of stuff,
and they were [C] full of sketches [G] and drawings.
[D] Some of these drawings were done with [C] matchsticks and [D] on bits of ink,
some of them drawn on black paper [G] with [D] block-out pens,
just to kind of make [G] it feel [D] crude, so that you got something which [C] was not [G] careful and [D] informed
and [A] technical like steel wheels have been, [D] but which was the opposite.
This [G] [D] is a book that I took to Paris.
There's even a kind of [G] bunny man early sketch look there, you see, and this snaky stuff.
[C] [G]
When you get asked to kind of get involved again, you really [Cm] want it, because it matters.
Culturally, it [G] matters.
It's not any old [D] band, it's the band.
In a sense, going back 25 years and looking at it again, allowed us to go back and go,
actually, [G] I don't need that bit, [Am] I only need that [D] bit, because that's the [Dm] bit that's in everybody's head now.
[D] They remember the bunny man, and let's get rid of all the other ambivalent stuff and just go for that.
These were the new [G] bunny men, you know, these were the ones done for this one.
I think that's the one that we felt was most representative of a new version of the older, flatter shape.
But the other thing we found is that by [C] creating a little family, we'd get [G] something that kind of swayed,
that had a visual rhythm, and actually the dots helped that.
It kind of became a, I think, [Gm] a nice mesmeric [G]
swaying action all the way across everything.
I'm going to say, [C] I can't see a thing.
[D] We got rid of the [C] original black and white flare [Bb] thing on the background,
[C] and all these [G] dots were built [D] from original dots that were drawn in, [C] and had been [Bb] scanned, and were old [E] TIFF files.
[B]
[E] I found myself this last year taking my daughters to their first stone shop.
What [B] was a real shock was the [Gb] scale of it, and the energy, and the response of the audience.
And they really, it blew them away, and that was great.
[E] [D]
[A] [E] [Gb]
There's the show design.
Because of course then it had this [D] change, where all of the inflatables come [E] pouring out,
and they're all kind of versions of this.
It's all painted [D] and gaudy, and turns this very technical thing [Ab] into a lurid [A] voodoo altar.
These are [E] pieces of video graphics from the show.
[D] There's Mick's entry kit with [Gbm] his top hat and tails, [Eb] and the voodoo kit, and [E] the Bunny Man t-shirt.
[B] Listen to me, you!
Stop it!
These [E]
people are coming from all over the [B] world.
They're paying their money, they're coming for a show.
For them it's a massively [E] important part of their lives.
It's, I'm going to see the [B] stones.
Something's [Em] being produced which is resonant, [D] and [B] great fun, and huge entertainment.
And it's [E] sort of my job to try and find ways of letting them take that [B] home.
[E] [B]
[D]
[C] [D] These are the new ones, and these were the [Ab] drawings of the new [D] stuff.
[G] We would work like [D] crazy all day, and then we'd [Dm] work all night,
and then we'd go out and [D] go to a club, and then we'd go to bed, and then we'd do it [C] again.
So we kind of knew [G] what clubs [D] were, but we didn't really know what a Voodoo Lounge was.
We sort of decided that the best thing to do was to build a Voodoo Lounge
out of cardboard boxes [C] and then paint it so that we could kind [D] of imagine this place.
And in this cardboard [G] box, [D] we had this pair of doors.
On the [C] cardboard doors, we [D] put two kind of gatekeepers, [G] and one of them was the bunny man.
[D] [G] [D]
These are bits and pieces of drawing [C] from that little cardboard Voodoo Lounge.
[D] There's the gatekeeper on the doors, and then the
so that's [Gbm] a wall of the [F] Voodoo [A] Lounge.
Photocopiers were great for graphic designers in the 80s and 90s
because you could use them to reduce a picture to nothing, to black and white, to lift.
And that's what we did to this picture of the bunny man on the gatekeeper of the Voodoo Lounge,
and he turned out to be a nice, simple [D] black and white horse.
I got hold of the mouse, and I turned it upside down and put it on a black and white scanner
and got this thing which was a sort of kind of formal shape [C] but gritty,
and [D] stuck it behind this figure, and it kind of came together.
It was kind of pre-Internet anyhow, so you had to travel and you had to have books of stuff,
and they were [C] full of sketches [G] and drawings.
[D] Some of these drawings were done with [C] matchsticks and [D] on bits of ink,
some of them drawn on black paper [G] with [D] block-out pens,
just to kind of make [G] it feel [D] crude, so that you got something which [C] was not [G] careful and [D] informed
and [A] technical like steel wheels have been, [D] but which was the opposite.
This [G] [D] is a book that I took to Paris.
There's even a kind of [G] bunny man early sketch look there, you see, and this snaky stuff.
[C] [G]
When you get asked to kind of get involved again, you really [Cm] want it, because it matters.
Culturally, it [G] matters.
It's not any old [D] band, it's the band.
In a sense, going back 25 years and looking at it again, allowed us to go back and go,
actually, [G] I don't need that bit, [Am] I only need that [D] bit, because that's the [Dm] bit that's in everybody's head now.
[D] They remember the bunny man, and let's get rid of all the other ambivalent stuff and just go for that.
These were the new [G] bunny men, you know, these were the ones done for this one.
I think that's the one that we felt was most representative of a new version of the older, flatter shape.
But the other thing we found is that by [C] creating a little family, we'd get [G] something that kind of swayed,
that had a visual rhythm, and actually the dots helped that.
It kind of became a, I think, [Gm] a nice mesmeric [G]
swaying action all the way across everything.
I'm going to say, [C] I can't see a thing.
[D] We got rid of the [C] original black and white flare [Bb] thing on the background,
[C] and all these [G] dots were built [D] from original dots that were drawn in, [C] and had been [Bb] scanned, and were old [E] TIFF files.
[B]
[E] I found myself this last year taking my daughters to their first stone shop.
What [B] was a real shock was the [Gb] scale of it, and the energy, and the response of the audience.
And they really, it blew them away, and that was great.
[E] [D]
[A] [E] [Gb]
There's the show design.
Because of course then it had this [D] change, where all of the inflatables come [E] pouring out,
and they're all kind of versions of this.
It's all painted [D] and gaudy, and turns this very technical thing [Ab] into a lurid [A] voodoo altar.
These are [E] pieces of video graphics from the show.
[D] There's Mick's entry kit with [Gbm] his top hat and tails, [Eb] and the voodoo kit, and [E] the Bunny Man t-shirt.
[B] Listen to me, you!
Stop it!
These [E]
people are coming from all over the [B] world.
They're paying their money, they're coming for a show.
For them it's a massively [E] important part of their lives.
It's, I'm going to see the [B] stones.
Something's [Em] being produced which is resonant, [D] and [B] great fun, and huge entertainment.
And it's [E] sort of my job to try and find ways of letting them take that [B] home.
[E] [B]
Key:
D
G
C
E
B
D
G
C
_ _ _ _ _ _ _
Two words, Voodoo Lounge, what [A] can you do?
[D] _ _
_ _ [C] _ _ [D] These are the new ones, and these were the [Ab] drawings of the new [D] stuff.
_ [G] We would work like [D] crazy all day, and then we'd [Dm] work all night,
and then we'd go out and [D] go to a club, and then we'd go to bed, and then we'd do it [C] again.
So we kind of knew [G] what clubs [D] were, but we didn't really know what a Voodoo Lounge was.
_ _ We sort of decided that the best thing to do was to build a Voodoo Lounge
out of cardboard boxes [C] and then paint it so that we could kind [D] of imagine this place.
And in this cardboard [G] box, [D] we had this pair of doors.
On the [C] cardboard doors, we [D] put two kind of gatekeepers, [G] and one of them was the bunny man.
[D] _ _ _ [G] _ _ _ [D]
These are bits and pieces of drawing [C] from that little cardboard Voodoo Lounge.
[D] There's the gatekeeper on the doors, and then the_
so that's [Gbm] a wall of the [F] Voodoo [A] Lounge.
_ _ _ _ Photocopiers were great for graphic designers in the 80s and 90s
because you could use them to reduce a picture to nothing, to black and white, to lift.
And that's what we did to this picture of the bunny man on the gatekeeper of the Voodoo Lounge,
and he turned out to be a nice, simple [D] black and white horse. _
_ _ _ I got hold of the mouse, and I turned it upside down and put it on a black and white scanner
and got this thing which was a sort of kind of formal shape [C] but gritty,
and [D] stuck it behind this figure, and it kind of came together.
It was kind of pre-Internet anyhow, so you had to travel and you had to have books of stuff,
and they were [C] full of sketches [G] and drawings.
[D] Some of these drawings were done with [C] matchsticks and [D] on bits of ink,
some of them drawn on black paper [G] with [D] block-out pens,
just to kind of make [G] it feel [D] crude, so that you got something which [C] was not [G] careful and [D] informed
and [A] technical like steel wheels have been, [D] but which was the opposite.
This [G] _ _ [D] is a book that I took to Paris.
There's even a kind of [G] bunny man early sketch look there, you see, and this snaky stuff. _ _ _ _ _ _
_ [C] _ _ _ _ _ _ [G] _
_ When you get asked to kind of get involved again, you really [Cm] want it, because it matters.
Culturally, it [G] matters.
It's not any old [D] band, it's the band. _
_ _ _ _ _ _ _
In a sense, going back 25 years and looking at it again, _ allowed us to go back and go,
actually, [G] I don't need that bit, [Am] I only need that [D] bit, because that's the [Dm] bit that's in everybody's head now.
[D] They remember the bunny man, and let's get rid of all the other ambivalent stuff and just go for that.
These were the new [G] bunny men, you know, these were the ones done for this one.
I think that's the one that we _ felt was most representative of a new version of the older, flatter shape.
But the other thing we found is that by [C] creating a little family, we'd get [G] something that kind of swayed,
that had a visual rhythm, and actually the dots helped that.
It kind of became a, I think, [Gm] a nice mesmeric [G]
swaying action all the way across everything.
I'm going to say, [C] I can't see a thing.
_ _ [D] We got rid of the [C] original black and white flare [Bb] thing on the background,
[C] and all these [G] dots were built [D] from original dots that were drawn in, [C] and had been [Bb] scanned, and were old [E] TIFF files.
_ _ _ [B] _ _ _ _ _
_ _ _ _ _ _ _ _
[E] I found myself this last year taking my daughters to their first stone shop.
What [B] was a real shock was the [Gb] scale of it, and the energy, and the response of the audience.
And they really, it blew them away, and that was great.
_ [E] _ _ _ _ [D] _ _ _
_ [A] _ _ _ _ [E] _ _ [Gb]
There's the show design.
Because of course then it had this [D] change, where all of the inflatables come [E] pouring out,
and they're all kind of versions of this.
It's all painted [D] and gaudy, and turns this very technical thing [Ab] into a lurid [A] voodoo altar.
These are [E] pieces of video graphics from the show.
[D] There's Mick's entry kit with [Gbm] his top hat and tails, [Eb] and the voodoo kit, and [E] the Bunny Man t-shirt.
[B] _ Listen to me, you!
_ Stop it!
These [E] _ _ _
people are coming from all over the [B] world.
They're paying their money, they're coming for a show.
For them it's a massively [E] important part of their lives.
It's, I'm going to see the [B] stones.
Something's [Em] being produced which is resonant, [D] and [B] great fun, and huge entertainment.
And it's [E] sort of my job to try and find ways of letting them take that [B] home.
_ _ _ _ [E] _ _ _ [B] _
Two words, Voodoo Lounge, what [A] can you do?
[D] _ _
_ _ [C] _ _ [D] These are the new ones, and these were the [Ab] drawings of the new [D] stuff.
_ [G] We would work like [D] crazy all day, and then we'd [Dm] work all night,
and then we'd go out and [D] go to a club, and then we'd go to bed, and then we'd do it [C] again.
So we kind of knew [G] what clubs [D] were, but we didn't really know what a Voodoo Lounge was.
_ _ We sort of decided that the best thing to do was to build a Voodoo Lounge
out of cardboard boxes [C] and then paint it so that we could kind [D] of imagine this place.
And in this cardboard [G] box, [D] we had this pair of doors.
On the [C] cardboard doors, we [D] put two kind of gatekeepers, [G] and one of them was the bunny man.
[D] _ _ _ [G] _ _ _ [D]
These are bits and pieces of drawing [C] from that little cardboard Voodoo Lounge.
[D] There's the gatekeeper on the doors, and then the_
so that's [Gbm] a wall of the [F] Voodoo [A] Lounge.
_ _ _ _ Photocopiers were great for graphic designers in the 80s and 90s
because you could use them to reduce a picture to nothing, to black and white, to lift.
And that's what we did to this picture of the bunny man on the gatekeeper of the Voodoo Lounge,
and he turned out to be a nice, simple [D] black and white horse. _
_ _ _ I got hold of the mouse, and I turned it upside down and put it on a black and white scanner
and got this thing which was a sort of kind of formal shape [C] but gritty,
and [D] stuck it behind this figure, and it kind of came together.
It was kind of pre-Internet anyhow, so you had to travel and you had to have books of stuff,
and they were [C] full of sketches [G] and drawings.
[D] Some of these drawings were done with [C] matchsticks and [D] on bits of ink,
some of them drawn on black paper [G] with [D] block-out pens,
just to kind of make [G] it feel [D] crude, so that you got something which [C] was not [G] careful and [D] informed
and [A] technical like steel wheels have been, [D] but which was the opposite.
This [G] _ _ [D] is a book that I took to Paris.
There's even a kind of [G] bunny man early sketch look there, you see, and this snaky stuff. _ _ _ _ _ _
_ [C] _ _ _ _ _ _ [G] _
_ When you get asked to kind of get involved again, you really [Cm] want it, because it matters.
Culturally, it [G] matters.
It's not any old [D] band, it's the band. _
_ _ _ _ _ _ _
In a sense, going back 25 years and looking at it again, _ allowed us to go back and go,
actually, [G] I don't need that bit, [Am] I only need that [D] bit, because that's the [Dm] bit that's in everybody's head now.
[D] They remember the bunny man, and let's get rid of all the other ambivalent stuff and just go for that.
These were the new [G] bunny men, you know, these were the ones done for this one.
I think that's the one that we _ felt was most representative of a new version of the older, flatter shape.
But the other thing we found is that by [C] creating a little family, we'd get [G] something that kind of swayed,
that had a visual rhythm, and actually the dots helped that.
It kind of became a, I think, [Gm] a nice mesmeric [G]
swaying action all the way across everything.
I'm going to say, [C] I can't see a thing.
_ _ [D] We got rid of the [C] original black and white flare [Bb] thing on the background,
[C] and all these [G] dots were built [D] from original dots that were drawn in, [C] and had been [Bb] scanned, and were old [E] TIFF files.
_ _ _ [B] _ _ _ _ _
_ _ _ _ _ _ _ _
[E] I found myself this last year taking my daughters to their first stone shop.
What [B] was a real shock was the [Gb] scale of it, and the energy, and the response of the audience.
And they really, it blew them away, and that was great.
_ [E] _ _ _ _ [D] _ _ _
_ [A] _ _ _ _ [E] _ _ [Gb]
There's the show design.
Because of course then it had this [D] change, where all of the inflatables come [E] pouring out,
and they're all kind of versions of this.
It's all painted [D] and gaudy, and turns this very technical thing [Ab] into a lurid [A] voodoo altar.
These are [E] pieces of video graphics from the show.
[D] There's Mick's entry kit with [Gbm] his top hat and tails, [Eb] and the voodoo kit, and [E] the Bunny Man t-shirt.
[B] _ Listen to me, you!
_ Stop it!
These [E] _ _ _
people are coming from all over the [B] world.
They're paying their money, they're coming for a show.
For them it's a massively [E] important part of their lives.
It's, I'm going to see the [B] stones.
Something's [Em] being produced which is resonant, [D] and [B] great fun, and huge entertainment.
And it's [E] sort of my job to try and find ways of letting them take that [B] home.
_ _ _ _ [E] _ _ _ [B] _