Chords for Tori Amos on Katie Couric's show (2014)
Tempo:
167.45 bpm
Chords used:
G
Fm
C
F
E
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Fm] Thank you so much for coming.
We're [N] so excited to have you, Tori.
Thank you for having me.
And you know, I was thinking, I looked up
when you dropped, as they say in the business, your first album.
It was 22 years ago.
And you have worked so consistently.
No, I mean, you've worked, I think I was there.
I probably interviewed you for it.
But you have worked so consistently all these years.
And I'm wondering how you've been
able to stay so relevant in a business
where I think people have very significant ups and downs.
You listen.
[C]
You listen to people who come to the shows.
I have a really strong relationship
with people who send me letters and take time
to express what they've gone through in their life.
Everybody has a story.
And everyone's story is unique.
That's the thing.
When somebody is telling you their story,
they start by [F] saying, my story might not
be as such and such as this one.
And you say, no, you have no idea how
your story can affect a song.
So sometimes they're talking to me, and there's drums.
There's drums happening.
Really?
And there's strings happening.
[G] And a song is happening.
And you're thinking about how you're
going to translate that story into your music.
Well, yes.
And they're talking about another song.
But what they don't know is a new song is being
created as they're talking to me.
And they'll never know that they were writing that song with me.
And that's what really happens.
And you started playing the piano when you
were just 2 and 1 half years old.
Do you remember crawling up?
You were a prodigy.
And so you started at a very young age.
You went to the Peabody School of Music when you were five.
So what was it like having that gift at such a young age?
Well, you don't think about it in those terms.
You think that music is how you express everything.
So if you're talking about climbing a mountain,
you're playing it on the piano to your mom.
And you say, Mom, this is how I was climbing a mountain
in my dream.
And she'd say, well, can you show me?
And so I would show my mom what a mountain would be like.
And then she'd say, well, what's an ocean like?
And then you start playing an ocean.
But I could always play.
So if I heard something, if somebody would come in,
my brother would come in and play naughty music,
devil music, because my dad was a preacher.
And he'd say, play this devil music.
So I would learn.
I don't know the doors.
I'd be playing all that.
And my father would say, so what have you learned today?
And I just started playing something from Satan music.
And my dad would have no idea that my brother had just
taught me that a few hours ago.
So I could play anything back.
And that's just always what it was.
And you don't think about it.
That's just.
Because it's just part of who you are.
That's, yeah.
And one of the things I think I appreciate about your music
is you have tried things and evolved and done
more sort of orchestral things and then
gone back to sort of your roots.
Tell us about this new album and where you got the name for [E] it.
Well, the new album has come out of,
I guess, I was writing these secret songs
while I was doing these other projects.
So I was working with the British National Theater
doing the Light Princess musical.
And I was working with a big orchestra
doing variations on classical music for Deutsche Grammophon.
So I wasn't making a pop record.
I was doing other projects.
And all of a sudden, you would find yourself
through the day hearing these drums and these rhythms
again happening and melodic structure.
And I didn't have to [Ab] make a record.
So I would just, it's like a secret sonic [G] selfie.
So you just hold it.
[Abm] And I just kept them with me.
And all of a sudden, I just played them for my husband.
He said, you know, you need to make a record of this.
Well, it's very exciting.
It's called, as we said, [N] Unrepentant
We're [N] so excited to have you, Tori.
Thank you for having me.
And you know, I was thinking, I looked up
when you dropped, as they say in the business, your first album.
It was 22 years ago.
And you have worked so consistently.
No, I mean, you've worked, I think I was there.
I probably interviewed you for it.
But you have worked so consistently all these years.
And I'm wondering how you've been
able to stay so relevant in a business
where I think people have very significant ups and downs.
You listen.
[C]
You listen to people who come to the shows.
I have a really strong relationship
with people who send me letters and take time
to express what they've gone through in their life.
Everybody has a story.
And everyone's story is unique.
That's the thing.
When somebody is telling you their story,
they start by [F] saying, my story might not
be as such and such as this one.
And you say, no, you have no idea how
your story can affect a song.
So sometimes they're talking to me, and there's drums.
There's drums happening.
Really?
And there's strings happening.
[G] And a song is happening.
And you're thinking about how you're
going to translate that story into your music.
Well, yes.
And they're talking about another song.
But what they don't know is a new song is being
created as they're talking to me.
And they'll never know that they were writing that song with me.
And that's what really happens.
And you started playing the piano when you
were just 2 and 1 half years old.
Do you remember crawling up?
You were a prodigy.
And so you started at a very young age.
You went to the Peabody School of Music when you were five.
So what was it like having that gift at such a young age?
Well, you don't think about it in those terms.
You think that music is how you express everything.
So if you're talking about climbing a mountain,
you're playing it on the piano to your mom.
And you say, Mom, this is how I was climbing a mountain
in my dream.
And she'd say, well, can you show me?
And so I would show my mom what a mountain would be like.
And then she'd say, well, what's an ocean like?
And then you start playing an ocean.
But I could always play.
So if I heard something, if somebody would come in,
my brother would come in and play naughty music,
devil music, because my dad was a preacher.
And he'd say, play this devil music.
So I would learn.
I don't know the doors.
I'd be playing all that.
And my father would say, so what have you learned today?
And I just started playing something from Satan music.
And my dad would have no idea that my brother had just
taught me that a few hours ago.
So I could play anything back.
And that's just always what it was.
And you don't think about it.
That's just.
Because it's just part of who you are.
That's, yeah.
And one of the things I think I appreciate about your music
is you have tried things and evolved and done
more sort of orchestral things and then
gone back to sort of your roots.
Tell us about this new album and where you got the name for [E] it.
Well, the new album has come out of,
I guess, I was writing these secret songs
while I was doing these other projects.
So I was working with the British National Theater
doing the Light Princess musical.
And I was working with a big orchestra
doing variations on classical music for Deutsche Grammophon.
So I wasn't making a pop record.
I was doing other projects.
And all of a sudden, you would find yourself
through the day hearing these drums and these rhythms
again happening and melodic structure.
And I didn't have to [Ab] make a record.
So I would just, it's like a secret sonic [G] selfie.
So you just hold it.
[Abm] And I just kept them with me.
And all of a sudden, I just played them for my husband.
He said, you know, you need to make a record of this.
Well, it's very exciting.
It's called, as we said, [N] Unrepentant
Key:
G
Fm
C
F
E
G
Fm
C
_ [Fm] Thank you so much for coming.
We're [N] so excited to have you, Tori.
Thank you for having me.
And you know, I was thinking, I looked up
when you _ _ dropped, as they say in the business, your first album.
It was 22 years ago.
And you have worked so consistently.
_ No, I mean, you've worked, I think I was there.
I probably interviewed you for it.
But _ you have worked so consistently all these years.
And I'm wondering how you've been
able to stay so relevant in a business
where I think people have very significant ups and downs.
You listen.
[C]
You listen to people who come to the shows.
I have a really strong relationship
_ with people who send me letters and take time
_ to express what _ they've gone through in their life.
Everybody has a story. _
And _ everyone's story is unique.
_ That's the thing.
When somebody is telling you their story,
they _ _ start by [F] saying, my story might not
be as _ such and such as this one.
And you say, no, you have no idea how
your story can _ affect a song.
_ So sometimes they're talking to me, and there's drums.
There's drums happening.
Really?
And there's strings happening.
[G] And a song is happening.
And you're thinking about how you're
going to translate that story into your music.
Well, yes.
And they're talking about another song.
But what they don't know is a new song is being
created as they're talking to me.
And they'll never know that they were writing that song with me.
And that's what really happens.
And you started playing the piano when you
were just 2 and 1 half years old.
Do you remember crawling up? _
_ _ _ _ _ You were a prodigy.
And so you started at a very young age.
You went to the Peabody School of Music when you were five. _
_ _ _ So what was it like having that gift at such a young age?
Well, you don't think about it in those terms.
You think that music is how you express everything.
So if you're talking about climbing a mountain,
_ you're playing it on the piano to your mom.
And you say, Mom, this is how I was climbing a mountain
in my dream.
And she'd say, well, can you show me?
_ And so I would show my mom what a mountain would be like.
And then she'd say, well, what's an ocean like?
And then you start playing an ocean.
But I could always play.
_ So if I heard something, if somebody would come in,
my brother would come in and play naughty music,
devil music, because my dad was a preacher.
And he'd say, play this devil music. _ _ _
So I would learn.
I don't know the doors.
I'd be playing all that.
And my father would say, so what have you learned today?
And I just started playing something _ from Satan music.
And my dad would have no idea that my brother had just
taught me that a few hours ago.
So I could play anything _ _ back.
_ And that's just always what it was.
And you don't think about it.
That's just.
Because it's just part of who you are.
That's, yeah.
And one of the things I think I appreciate about your music
is you have tried things and evolved and done
more sort of orchestral things and then
gone back to sort of your roots.
Tell us about this new _ album and where you got the name for [E] it.
Well, the new album has come out of,
I guess, _ I was writing these secret songs
while I was doing these other projects.
So I was working with the British National Theater
doing the Light Princess musical.
And I was working with a big orchestra _
doing variations on classical music for Deutsche Grammophon.
So I wasn't making a pop record.
I was doing other projects.
And all of a sudden, you would find yourself
through the day hearing these drums and these rhythms
again happening and melodic structure.
And I didn't have to [Ab] make a record.
So I would just, it's like a secret sonic [G] selfie. _ _
So you just hold it.
[Abm] _ And I just kept them with me.
And all of a sudden, _ I just played them for my husband.
He said, you know, you need to make a record of this.
Well, it's very exciting.
It's called, as we said, _ [N] Unrepentant
We're [N] so excited to have you, Tori.
Thank you for having me.
And you know, I was thinking, I looked up
when you _ _ dropped, as they say in the business, your first album.
It was 22 years ago.
And you have worked so consistently.
_ No, I mean, you've worked, I think I was there.
I probably interviewed you for it.
But _ you have worked so consistently all these years.
And I'm wondering how you've been
able to stay so relevant in a business
where I think people have very significant ups and downs.
You listen.
[C]
You listen to people who come to the shows.
I have a really strong relationship
_ with people who send me letters and take time
_ to express what _ they've gone through in their life.
Everybody has a story. _
And _ everyone's story is unique.
_ That's the thing.
When somebody is telling you their story,
they _ _ start by [F] saying, my story might not
be as _ such and such as this one.
And you say, no, you have no idea how
your story can _ affect a song.
_ So sometimes they're talking to me, and there's drums.
There's drums happening.
Really?
And there's strings happening.
[G] And a song is happening.
And you're thinking about how you're
going to translate that story into your music.
Well, yes.
And they're talking about another song.
But what they don't know is a new song is being
created as they're talking to me.
And they'll never know that they were writing that song with me.
And that's what really happens.
And you started playing the piano when you
were just 2 and 1 half years old.
Do you remember crawling up? _
_ _ _ _ _ You were a prodigy.
And so you started at a very young age.
You went to the Peabody School of Music when you were five. _
_ _ _ So what was it like having that gift at such a young age?
Well, you don't think about it in those terms.
You think that music is how you express everything.
So if you're talking about climbing a mountain,
_ you're playing it on the piano to your mom.
And you say, Mom, this is how I was climbing a mountain
in my dream.
And she'd say, well, can you show me?
_ And so I would show my mom what a mountain would be like.
And then she'd say, well, what's an ocean like?
And then you start playing an ocean.
But I could always play.
_ So if I heard something, if somebody would come in,
my brother would come in and play naughty music,
devil music, because my dad was a preacher.
And he'd say, play this devil music. _ _ _
So I would learn.
I don't know the doors.
I'd be playing all that.
And my father would say, so what have you learned today?
And I just started playing something _ from Satan music.
And my dad would have no idea that my brother had just
taught me that a few hours ago.
So I could play anything _ _ back.
_ And that's just always what it was.
And you don't think about it.
That's just.
Because it's just part of who you are.
That's, yeah.
And one of the things I think I appreciate about your music
is you have tried things and evolved and done
more sort of orchestral things and then
gone back to sort of your roots.
Tell us about this new _ album and where you got the name for [E] it.
Well, the new album has come out of,
I guess, _ I was writing these secret songs
while I was doing these other projects.
So I was working with the British National Theater
doing the Light Princess musical.
And I was working with a big orchestra _
doing variations on classical music for Deutsche Grammophon.
So I wasn't making a pop record.
I was doing other projects.
And all of a sudden, you would find yourself
through the day hearing these drums and these rhythms
again happening and melodic structure.
And I didn't have to [Ab] make a record.
So I would just, it's like a secret sonic [G] selfie. _ _
So you just hold it.
[Abm] _ And I just kept them with me.
And all of a sudden, _ I just played them for my husband.
He said, you know, you need to make a record of this.
Well, it's very exciting.
It's called, as we said, _ [N] Unrepentant