Chords for (1992-1997) The Rolling Stones Interview - Voodoo Lounge & Stripped

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_ _ [D] _ _ _ How [A] close in the 80s did we come to losing you as a band?
_ [E] _ _ _
[Bb] Was there a time when it wasn't there period?
_ [Gb] No, I mean there was a time when we didn't particularly want to do it, [F] and I'd say it was probably [Eb] correct at the time if you didn't want to do something you don't do.
_ _ Were [Ab] you surprised when it all came together as well as it did?
_ [Gb] No, I knew it would [N] just be_
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_ _ [D] _ _ Considering the road that you have travelled, and you have been one lucky bloke, _ [F] _
you've been in the middle of some amazing music. _ _ _ _
This whole thing just _ culminates beautifully, with the Stones, the gig, the history, all that stuff.
It's a wonderful institution that [Gb] keeps rolling, that's what I [Gb] like about it. _ _
[G] You could tell if someone in the band didn't really want to do it anymore, that would be horrible.
That would be terrible.
Yeah, and _ luckily _ everyone is still driven with the same drive that [A] was there [C] since they started, I [G] think.
Even though I wasn't there at the beginning, I mean, _ [A] they just love to play.
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_ _ [E] _ _ _ I get the sense of it, in the last three or four years, the [G] musical influences a lot of angst, a lot of [C] anger.
_ _ [E] And then you come back [G] in with Voodoo Lounge, an album that is not about those things, and I find it amazingly refreshing.
I don't really [F] understand, I don't really listen to the record, I haven't sat down and [C] listened to it and said,
well this is what the overriding emotional [Eb] pattern of it is.
[G] That's probably not anger, I don't know what it is, [N] probably a lot of different things.
You ever wonder why some reviewers completely get it and some don't?
It depends which mood you're in when you listen to it.
Yeah, that's true.
You know, it's very unsubjective listening to music or watching a movie.
You have to be very careful.
If you're looking at something about [Gb] work and you're doing it late at night when you're tired, you tend to be much more negative about it.
Because if you look at it fresh, you're more open-minded.
So, you know, if you're reviewing a record and you're kind of at the end of the day,
but your old lady is giving you a hard time or something,
_ _ it's very, very subjective listening to it.
And that's the way [D] it should be.
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[D] _ _ _ [Am] You just do what you do, [D] I mean, what else is there?
I mean, I'm not trying to impress people.
Everybody blessed me very [N] early on in my life with, _ _ hey, we like what you do.
And that's basically what I, you know, it's not that I'm trying to just please people out there.
I don't really, I never had sort of what were they like, what's the flavor of the month sort of thing. _
_ _ _ But I've always taken that first thing to heart, which is, hey, we like what you do.
And so I'll just keep on doing it, you know, and see if I can get it [Eb] better. _ _ _ _ _ _ _
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[D] _ _ _ [B] _ _ _ [A] _ _
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_ _ _ _ Yeah, it was [Dm] fun to do and it's a different [A] kind of album.
It's not, as I say, it's not just an usual live album _ _ [E] because we've done so much of that.
[B] So this time I thought we'd do a slightly different approach.
And we [A] started off by thinking, well, if we do some [G] clubs, we can record the clubs.
And if we do some [B] acoustic set, which [E] we'd have been doing already in America.
And if we do record all the rehearsals, like we did in Tokyo and Lisbon.
Each night we took a studio on a day off, which turned out to be a day on.
We did 18 songs each session, like [C] just boom, boom, like that. _ _ _
_ _ _ _ Pressure was off.
Guys figured they're not making a record.
It's more like rehearsing.
Suddenly you've got another charm about it and a more relaxed feel.
And _ you can add some things to those songs that you couldn't, that you didn't do when you first cut them.
And it's very difficult to do on stage just because of the sheer size of it.
And so it's a kind of nice middle way between, you know, it's part of, I mean,
for me it's a far better record than if I had to be here talking to you about Voodoo Lounge Live.
You know what I mean?
Like, oh, again.
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_ _ [C] _ _ _ [F] _ _ [G] _
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_ _ _ _ But you see your bandmates say, if Charlie goes, we're packing it in.
If he's not going to play with us, there's no need to go back out and do this.
Well, that's a whole other thing.
[Eb] _
That's not what I mean.
_ Well, and I don't believe that, but I mean, _ _ well, people will play anyway, whether they play.
I don't think anything could stop Keith playing.
He's going to die playing.
He will.
I know.
I mean, we're going to be playing for a year now.
And at the end of it, I'm going to say thank you very much.
He won't.
He'll be looking around for the next gig.
I know he does it every time.
You know, he hates stopping.
There's an old line, [F] you must have heard this, that, you know, one [C] day the end of the world is going to come
and the only living thing that will remain is, yeah.
Me and the cockroach. _
[F] _ Well, look out, cockroach.
Because I'll eat it.
[D] You know, Charlie says, even after the Stones are done, Keith will be so wound up, he'll just continue playing
and he'll look around and he'll be_
Yeah, that's right.
And I'll be sitting somewhere writing some music and he'll still be playing at the last gig.
Are we still playing Jumping Jack?
Do you ever ask yourself how long you're going to do this?
_ Do you ever think to yourself, is there an end to this?
Your desire to go and play and write songs and be a Rolling Stone.
No, there'll be an end to this and be drop dead on stage.
_ _ Rock till you [B] drop. _ _ _
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