Chords for Yes 1991 Documentary. P.1. Shock To The System

I remember one time, I was in the office of the Yes Group, and there was this big discussion about [F#] getting a producer.
And John Colonna was there, remember?
And, uh, Roy Thomas Baker!
Let's get Roy Thomas Baker!
I said, oh great.
So I said, well what's he done lately?
Being a little bit vague, I didn't really know.
The Cars!
John Colonna said.
And what else has he done?
[G] Foreigner!
Oh, well let's listen to [D] their albums.
And we put their albums on, and both drum sounds exactly the same.
I said, Alan, that's the kind of drum sound you're going to [Em] get.
And I heard this, and it was like this [D#] huge drum sound, and a tiny little [G] keyboard.
I remember John used to sit in that room in Paris, and we'd be playing away down in this [F#] pit down in the studio.
And John was up there painting pictures, and [F#] sometimes we'd be rehearsing a song,
and John was singing a total other song in the [G] microphone to himself, like writing the next song.
Writing another song, yeah.
It was a slow [F#] experience.
Yeah.
_ _ Picasso, oh Picasso lies still, portraits a man of the past.
You missed it.
A future secured by the stroke of a brush, curled around the wonky walk, but he trusts it so well.
Can you use that plate? _
[A#] _ _ _ _ _ _ [G] _ _
_ _ You can overcome the waywardness of business and get on with good music.
[F#] That really is what will [N] make it a significant move forward, a band known as Yes.
Once you've been in Yes, [C#] even though you leave, there's a [G] strange thing, a certain part of you never ever leaves,
because it is such a tight [E] organisation that sticks by [F#] itself and its members, and looks after its [G#] own.
And it is the musicians who are there at the time, who for want of a better word, have the honour of continuing [C#] making the Yes music.
_ _ [F] _ I was a little quick.
The mid [G]-70s, 76, [F#] 77, they used to call us [E] boring old farts.
_ Now we are.
To [Em] _ _ _ _ [D] _ _ [E] _ _
_ _ _ _ _ _ [A] _ _
_ _ [Em] _ [D] the system, [Em] _ _
_ _ _ _ [D] _ [E] _ _ _
[C#] _ [Em] _ _ _ _ _ [A] _ _
_ _ to the [D] freedom, _ [Em] _ _
[Bm] _ [Em] _ _ _ _ _ [E] _ _
[E] _ _ _ _ [Em] _ _ _ _
_ _ _ _ [A] _ _ _ _
_ _ [B] _ _ [A] _ _ _ [B] _
_ _ [D] _ _ _ _ [Em] _ _
_ [A] _ _ _ [Em] _ to the [D]
politician, you [Bm] know they just got [Em] burned by the fire. _ _
_ _ _ _ [D] _ [A] _ _ _
[E] _ To [D] the freedom whiskers, [Bm] _
[Em] kick them all in, throw them away. _ _ _ _
_ _ [E] _ _ _ _ _ _
_ _ _ _ [A] _ _ _
[A] Jimmy knows, _ [B] Jimmy [C#m] knows. _ _ _
_ _ _ [A] It became blatantly obvious to me when we all [C#m] started playing together, [A] what a wealth of material [B] that there is floating around.
A wonderful wealth [F#] of talent.
Nobody has anything they feel [C#m] they have to prove anymore, so the [C#] music [C#m] really overrides everything.
And I think that will continue to [B] be.
Making an idea work that [A] was dreamed up, that [C#m] wasn't sort of tested to start with,
so we're sort of finding [G#] our feet now together, [Em] working out how we make the transition from an idea into reality.
_ _ [E] _ _
[D] _ _ _ _ [E] _ _ _ [A] _
_ _ [G] _ _ _ _ [Em] _ _
[Bm] _ _ [Em] _ _ _ _ _ _
_ _ [A] _ _ [B] _ _ [A] _ _
[B] _ _ [C#m] _ _ [A] _ _ [B] _ _
_ _ [F#m] _ _ [A] _ _ [C#m] _ _
[A] _ _ [C#m] _ _ [A] _ _ [B] _ _
_ _ [F#] _ _ [A] _ _ [C#m] _ _
Yes, I would think is one of the few bands [C#] that I can imagine playing in, that would have [C#m] any interest for me at all.
You [B] know, but I'm allowing myself very happily to [A] fall back towards a fairly creative musical environment.
[G#m] It sort of intrigued us and we [D#] started to sort of knit it all into the [B] picture.
You know, [G#m] we came up with a nice [F#m] combination _ of the talents, once [B] again.
Yes is a [C#m] band that does not [B] like to look at the horizon, they [A] like to try and see over it [F#] into the future.
[A] _ _ [B] _ _ [A] _ _ [B] _ _
[A] _ _ [B] _ _ [A] _ _ [B] _ _
[A] _ _ [B] _ _ [A] _ _ [B] _ _
[A] _ _ [B] _ _ [A] _ _ [B] _ _
[A] _ _ [B] _ _ [A] _ _ [B] _ _
[A] _ _ [B] _ _ [C#m] _ _ [B] _ _
[E] _ _ [B] _ _ [E] _ _ [B] _ _
[A] _ _ [B] _ _ [A] _ _ [B] _ _
[A] _ _ [B] _ _ _ _ _ _
[E] _ _ _ _ _ _ [B] _ _
[E] _ _ _ _ _ [B] _ _ [E] _
_ _ _ [A] _ _ _ _ _
[E] _ _ _ _ _ _ _ _
_ [N] _ _ _ _ _ I have a [G#] strange suspicion that there could be a Yes in existence, way after [F#] I'm dead and buried.
And that might sound grossy.
In the same way that there will be a New York [F] Philharmonic or whatever, or a Boston [G#] Symphony Orchestra.
I really feel there's going to be a Yes way into the 21st century, [N] and way after we're gone,
we might be just playing with the history books. _
_ _ _ _ _ _ _ _