Chords for Tori Amos The Hollywood Reporter Songwriter Oscar Round Table 17 November 2016
Tempo:
78.15 bpm
Chords used:
E
G
F
B
Cm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[F] [E] When you were doing Audrey and Daisy,
when you were doing the music for Audrey and Daisy,
you gave this quote that was so interesting.
It said, you disappeared, your day-to-day responsibilities
had to go away while you wrote the songs.
That's so cool.
Well, this is a documentary and it's a tough watch.
It's really tough.
Audrey isn't with us anymore.
She killed herself and Daisy is with us.
She tried to commit suicide a few times
and they were both sexually assaulted high schoolers,
assaulting high schoolers.
The responsibility was how do you hold the energy
of Audrey's light flickering out, extinguished too soon,
and yet acknowledge that Daisy,
although the light was flickering,
she was able to find it and has become
Phoenix out of the ashes.
And so [Gbm] that was what the song needed to hold.
[E] ♪ Heroines, [G] they are not poor, they are made [D] of [E] teenage forms.
♪ Her ashes rise, [G] expose [C] their hands.
♪ They have a [E] Satan's spell.
[G] Were there moments when people were trying to guide you
to not be genuine to yourself, to become a bigger pop star,
to be something different than who you felt authentically you were?
Little Earthquakes was rejected when I turned it in.
That [Ebm] album changed my life, [B] man.
They wanted to take all the [Dbm] pianos off
and replace it with guitars.
What?
Oh [E] yes.
And this was recommended by someone,
it's not important to mention names,
but I respected his work.
He was a great arranger [Cm] and he couldn't hear it
[E] because he was part of the record industry, chasing it,
[Abm] trying to look for something that had already happened.
Tracy Chambin had already happened.
I was across town [B] making Why Can't Tori Read
and Too Tight a Bustier.
And I had my hair up to here with hairspray.
[G] And because I had lost my way, I had lost the muses.
I stopped listening because I started listening
to the Boys Club that was [N] running the industry at the time.
I looked at Doug Morris, who I love,
and I said, you are not touching these pianos.
Sell me.
You sell me to Gary Gersh.
And he looked at me and goes, I said, why not?
You guys have been selling us for thousands of years.
Sell me to Gary, because you'll get your money back,
because he knows what to do.
Wow.
Tori, I'm not selling you.
If Gary wants you, I want you.
That's a really good Doug Morris comment.
[F]
So how did you get your way?
He said, I'm keeping you.
Who do you want to produce it?
And I said, okay, so you're bringing in another man again.
Is that what you're doing?
And he looked at me, he goes, what, you're gonna produce?
I said, and why not?
Another man again?
Another mannequin.
That's what I heard too.
[N] You know what, I was gonna hold on to that
because I was like, let me just access that
when I need it, when I'm writing another song,
but you just ruined it, so.
No, no.
I'm not selling you for it.
Another mannequin.
I won't come after you.
I literally had to, see, that's why they sent us
all the way across the table from each other,
because they knew what would happen
if I would be sitting over there.
A mannequin.
They sent a mannequin, a mannequin.
And to be fair, do you know,
when I went off with Eric Ross to make more songs,
fair enough, I discovered more songs
that became precious things, that became on the record,
and Doug got it.
Then he got it.
And to be fair to Doug, he said to me,
Tori, once I got it, I got it.
You gotta give it up to me.
I said, that's fair enough.
Fair enough.
[Cm] [Eb] [Bbm] [Am]
when you were doing the music for Audrey and Daisy,
you gave this quote that was so interesting.
It said, you disappeared, your day-to-day responsibilities
had to go away while you wrote the songs.
That's so cool.
Well, this is a documentary and it's a tough watch.
It's really tough.
Audrey isn't with us anymore.
She killed herself and Daisy is with us.
She tried to commit suicide a few times
and they were both sexually assaulted high schoolers,
assaulting high schoolers.
The responsibility was how do you hold the energy
of Audrey's light flickering out, extinguished too soon,
and yet acknowledge that Daisy,
although the light was flickering,
she was able to find it and has become
Phoenix out of the ashes.
And so [Gbm] that was what the song needed to hold.
[E] ♪ Heroines, [G] they are not poor, they are made [D] of [E] teenage forms.
♪ Her ashes rise, [G] expose [C] their hands.
♪ They have a [E] Satan's spell.
[G] Were there moments when people were trying to guide you
to not be genuine to yourself, to become a bigger pop star,
to be something different than who you felt authentically you were?
Little Earthquakes was rejected when I turned it in.
That [Ebm] album changed my life, [B] man.
They wanted to take all the [Dbm] pianos off
and replace it with guitars.
What?
Oh [E] yes.
And this was recommended by someone,
it's not important to mention names,
but I respected his work.
He was a great arranger [Cm] and he couldn't hear it
[E] because he was part of the record industry, chasing it,
[Abm] trying to look for something that had already happened.
Tracy Chambin had already happened.
I was across town [B] making Why Can't Tori Read
and Too Tight a Bustier.
And I had my hair up to here with hairspray.
[G] And because I had lost my way, I had lost the muses.
I stopped listening because I started listening
to the Boys Club that was [N] running the industry at the time.
I looked at Doug Morris, who I love,
and I said, you are not touching these pianos.
Sell me.
You sell me to Gary Gersh.
And he looked at me and goes, I said, why not?
You guys have been selling us for thousands of years.
Sell me to Gary, because you'll get your money back,
because he knows what to do.
Wow.
Tori, I'm not selling you.
If Gary wants you, I want you.
That's a really good Doug Morris comment.
[F]
So how did you get your way?
He said, I'm keeping you.
Who do you want to produce it?
And I said, okay, so you're bringing in another man again.
Is that what you're doing?
And he looked at me, he goes, what, you're gonna produce?
I said, and why not?
Another man again?
Another mannequin.
That's what I heard too.
[N] You know what, I was gonna hold on to that
because I was like, let me just access that
when I need it, when I'm writing another song,
but you just ruined it, so.
No, no.
I'm not selling you for it.
Another mannequin.
I won't come after you.
I literally had to, see, that's why they sent us
all the way across the table from each other,
because they knew what would happen
if I would be sitting over there.
A mannequin.
They sent a mannequin, a mannequin.
And to be fair, do you know,
when I went off with Eric Ross to make more songs,
fair enough, I discovered more songs
that became precious things, that became on the record,
and Doug got it.
Then he got it.
And to be fair to Doug, he said to me,
Tori, once I got it, I got it.
You gotta give it up to me.
I said, that's fair enough.
Fair enough.
[Cm] [Eb] [Bbm] [Am]
Key:
E
G
F
B
Cm
E
G
F
[F] _ _ _ [E] When you were doing Audrey and Daisy,
when you were doing the music for Audrey and Daisy,
you gave this quote that was so interesting.
It said, you disappeared, your day-to-day responsibilities
had to go away while you wrote the songs.
That's so cool.
Well, this is a documentary and it's a tough watch.
It's really tough.
Audrey isn't with us anymore.
She killed herself and Daisy is with us.
She tried to commit suicide a few times
and they were both sexually assaulted high schoolers,
assaulting high schoolers.
The responsibility was how do you _ hold the energy
of Audrey's light flickering out, _ _ extinguished too soon,
and yet acknowledge that Daisy,
although the light was flickering,
she was able to find it and has become
Phoenix out of the ashes.
And so [Gbm] that was what the song needed to hold.
[E] _ _ ♪ _ Heroines, [G] they are not poor, they are made [D] of [E] teenage forms.
♪ Her ashes rise, _ [G] expose [C] their hands.
♪ They have a _ [E] _ _ _ _ Satan's spell.
_ [G] Were _ _ _ _ there moments when people were trying to guide you
to not be genuine to yourself, to become a bigger pop star,
to be something different than who you felt authentically you were?
Little Earthquakes was rejected when I turned it in.
That [Ebm] album changed my life, [B] man.
They wanted to take all the [Dbm] pianos off
and replace it with guitars.
What?
Oh [E] yes.
And this was recommended by someone,
it's not important to mention names,
but I respected his work.
He was a great arranger [Cm] and he couldn't hear it
[E] because he was part of the record industry, chasing it,
[Abm] trying to look for something that had already happened.
Tracy Chambin had already happened.
I was across town [B] making Why Can't Tori Read
and Too Tight a Bustier.
And I had my hair up to here with hairspray.
[G] And because I had lost my way, I had lost the muses.
I stopped listening because I started listening
to _ _ the Boys Club that was [N] running the industry at the time.
I looked at Doug Morris, who I love,
and I said, you are not touching these pianos.
Sell me.
You sell me to Gary Gersh.
And he looked at me and goes, I said, why not?
You guys have been selling us for thousands of years.
Sell me to Gary, because you'll get your money back,
because he knows what to do.
Wow.
_ Tori, I'm not selling you.
If Gary wants you, I want you.
That's a really good Doug Morris comment.
_ [F] _ _ _
_ _ _ _ _ So how did you get your way?
He said, I'm keeping you.
Who do you want to produce it?
And I said, okay, so you're bringing in another man again.
Is that what you're doing?
And he looked at me, he goes, what, you're gonna produce?
I said, and why not?
Another man again?
Another mannequin.
That's what I heard too.
[N] You know what, I was gonna hold on to that
because I was like, let me just access that
when I need it, when I'm writing another song,
but you just ruined it, so.
No, no.
I'm not selling you for it.
Another mannequin.
I won't come after you.
I literally had to, see, that's why they sent us
all the way across the table from each other,
because they knew what would happen
if I would be sitting over there.
A mannequin.
They sent a mannequin, a mannequin.
And to be fair, do you know,
when I went off with Eric Ross to make more songs,
fair enough, I discovered more songs
that became precious things, that became on the record,
and Doug got it.
Then he got it.
And to be fair to Doug, he said to me,
Tori, once I got it, I got it.
You gotta give it up to me.
I said, that's fair enough.
Fair enough.
_ _ [Cm] _ _ _ _ [Eb] _ _ _ [Bbm] _ [Am] _ _ _
when you were doing the music for Audrey and Daisy,
you gave this quote that was so interesting.
It said, you disappeared, your day-to-day responsibilities
had to go away while you wrote the songs.
That's so cool.
Well, this is a documentary and it's a tough watch.
It's really tough.
Audrey isn't with us anymore.
She killed herself and Daisy is with us.
She tried to commit suicide a few times
and they were both sexually assaulted high schoolers,
assaulting high schoolers.
The responsibility was how do you _ hold the energy
of Audrey's light flickering out, _ _ extinguished too soon,
and yet acknowledge that Daisy,
although the light was flickering,
she was able to find it and has become
Phoenix out of the ashes.
And so [Gbm] that was what the song needed to hold.
[E] _ _ ♪ _ Heroines, [G] they are not poor, they are made [D] of [E] teenage forms.
♪ Her ashes rise, _ [G] expose [C] their hands.
♪ They have a _ [E] _ _ _ _ Satan's spell.
_ [G] Were _ _ _ _ there moments when people were trying to guide you
to not be genuine to yourself, to become a bigger pop star,
to be something different than who you felt authentically you were?
Little Earthquakes was rejected when I turned it in.
That [Ebm] album changed my life, [B] man.
They wanted to take all the [Dbm] pianos off
and replace it with guitars.
What?
Oh [E] yes.
And this was recommended by someone,
it's not important to mention names,
but I respected his work.
He was a great arranger [Cm] and he couldn't hear it
[E] because he was part of the record industry, chasing it,
[Abm] trying to look for something that had already happened.
Tracy Chambin had already happened.
I was across town [B] making Why Can't Tori Read
and Too Tight a Bustier.
And I had my hair up to here with hairspray.
[G] And because I had lost my way, I had lost the muses.
I stopped listening because I started listening
to _ _ the Boys Club that was [N] running the industry at the time.
I looked at Doug Morris, who I love,
and I said, you are not touching these pianos.
Sell me.
You sell me to Gary Gersh.
And he looked at me and goes, I said, why not?
You guys have been selling us for thousands of years.
Sell me to Gary, because you'll get your money back,
because he knows what to do.
Wow.
_ Tori, I'm not selling you.
If Gary wants you, I want you.
That's a really good Doug Morris comment.
_ [F] _ _ _
_ _ _ _ _ So how did you get your way?
He said, I'm keeping you.
Who do you want to produce it?
And I said, okay, so you're bringing in another man again.
Is that what you're doing?
And he looked at me, he goes, what, you're gonna produce?
I said, and why not?
Another man again?
Another mannequin.
That's what I heard too.
[N] You know what, I was gonna hold on to that
because I was like, let me just access that
when I need it, when I'm writing another song,
but you just ruined it, so.
No, no.
I'm not selling you for it.
Another mannequin.
I won't come after you.
I literally had to, see, that's why they sent us
all the way across the table from each other,
because they knew what would happen
if I would be sitting over there.
A mannequin.
They sent a mannequin, a mannequin.
And to be fair, do you know,
when I went off with Eric Ross to make more songs,
fair enough, I discovered more songs
that became precious things, that became on the record,
and Doug got it.
Then he got it.
And to be fair to Doug, he said to me,
Tori, once I got it, I got it.
You gotta give it up to me.
I said, that's fair enough.
Fair enough.
_ _ [Cm] _ _ _ _ [Eb] _ _ _ [Bbm] _ [Am] _ _ _