Chords for A Short Story about Cocteau Twins
Tempo:
96.65 bpm
Chords used:
D
A
B
F
G
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[D]
[G] I wouldn't say it was by design or whatever, but we seem to have come up with [D] this style
of music that [E] gave people [D] a lot of room to think.
It was [E] quite interactive.
You put something into [Dm] music, i.e. put your attention [D] into it, and you would get something out.
Well, I have to say I'm a huge fan of [B] the Cocteau Twins, and I think it's because of
two things.
First of all, Robin Guthrie's guitar sound, which until I'd heard that, I don't think
I'd heard anything like it before, that sort of shimmering guitar [D] sound that is just [Am] obviously
so unique to the Cocteau Twins.
[B] And then, obviously, Elizabeth's voice, which is pretty unique as well.
Of course, Liz, I [A] think most of the time, one of my [Bb] favorite singers of all time.
And there's something just so otherworldly about her.
You can't quite put your finger on, and I don't think she can quite put her finger on,
and that's what makes it really brilliant.
Yeah, I think because she doesn't actually realize how brilliant she really is.
I never [Gm] saw myself as wanting to be a musician, but when I first heard their music, it just
really did something to me in a vibrant, like a [F] gut thing more than a head thing.
And I just
It was almost like falling [Bb] in love.
You know, when you meet someone, you get like a rush, and you sort of
You really feel this kind of like engagement with something.
[D] That's what it was like, really.
[A] Just incredibly beautiful, and it didn't sound like anything I think I'd ever really heard before.
And I think it took a few lessons to really kind of figure out what [D] was going on, you
know, and get your head around the fact that they [B] were vocals, but that there weren't actually
any words you could [A] really recognize.
You know, you might recognize the oboe, but yeah, so I guess I was pretty blown away.
The first time I ever heard the [D] Cocteau Twins, I think there was a club in Chicago called
[A] Medusa's, which was sort of an all-age club, which was really [B] influential [A] to a lot of Chicago
music in the 90s because [E] ministry would play there, and that's where I first heard In New
[D] Order and stuff like that.
And I remember just thinking like, that's so strange, you know?
Like it didn't sound like any music that I'd ever heard.
I mean, I [B] really fell in love with the whole
The sound, you know, which kind of like went on.
I didn't
I mean, it was [Gb] as much [D] Lizzy's voice as Robin's production.
The two were just [A] kind of like seamless.
And I was always [D] really intrigued just the fact that they made it sound so effortless.
That's what [A] attracted me the most.
It was kind of
The [B] first time I'd heard this, you know, I mean, it's described in various ways, and
it's a theory, like all the other adjectives, but it was really [D] sensuous.
It kind of drew you in and was effortless, and you just found yourself just immersed
in this sound.
And I [B] played the Cocteau's like relentlessly.
I mean, you know, when you get to a period and you just play the same albums over and
over again, I mean, I could probably [D] play most of Treasure, and I've never sat down
and learned it, but I just
I know it so well.
In fact, it was [B] the album I played as I was getting ready for my wedding.
I played it to myself as I was [D] getting dressed for my wedding day.
Because it's also the one
[A] It's the most romantic [C] sound I'd ever heard.
My band had a sort of [G] curious beginning, really, because we were very sort of young.
Myself and Will Heggie, the first bass player, we'd sort of known [D] each other since we were
at school and knew Liz.
So when we made [A] Garlands, I mean, I was like 19 and Liz was 17, so we were kind of young.
We were kind of really [Gb] super naive, you know.
We decided [F] we'd make a demo tape [C] and release a record.
And we had to play the songs [Ab] twice, in fact, because we couldn't copy the cassette.
[A] And naively jumped on an overnight [G] bus to London and took one to 4ED, handed it in,
and took one to the BBC and handed it in to John Peel's office and then just went back
to Scotland and waited for the response, which we knew would come, because we thought we [D] were great.
And we had just chosen that label and been one of the lucky [F] ones.
And it was years, absolutely years, before I realised that that's not how it works.
It was really kind of blind, youthful, naive stupidity and total self-relief that what
we were doing was just great and different and exciting [C] and vibrant.
Well, of course, Robin Guthrie was in town in London to see the birthday party play.
They'd just come down as fans to see the birthday party played.
And they had a cassette, which they [Fm] stuffed into my [G] hands, or Robin stuffed into my hands,
literally just sort of passing him.
[D] And that's the first time I ever heard the cocktail tunes.
And the [A] extraordinary thing was that you could barely hear Liz on there.
I mean, yes, there's this thin reverb voice behind [D] all these guitars and sort of natural
tape compression of a thing live to tape [Dm] was going on.
But you couldn't hear it.
But I [D] really liked it.
I really liked it.
And I invited them to come down to London to record a couple of songs.
I'd never met them until they came.
They stayed in the flat.
[F] We went to the studio.
They set [Gb] up and they started playing and they started [F] singing.
And it was quite a surprise.
I [D] mean, you know, talk [N] about icing on the cake.
I was interested in them for the energy and the melodic aspects of [D] the music.
But I had no idea that this voice was even there.
[Bb] So, yeah, I'd say icing on the cake.
[C]
[G] I wouldn't say it was by design or whatever, but we seem to have come up with [D] this style
of music that [E] gave people [D] a lot of room to think.
It was [E] quite interactive.
You put something into [Dm] music, i.e. put your attention [D] into it, and you would get something out.
Well, I have to say I'm a huge fan of [B] the Cocteau Twins, and I think it's because of
two things.
First of all, Robin Guthrie's guitar sound, which until I'd heard that, I don't think
I'd heard anything like it before, that sort of shimmering guitar [D] sound that is just [Am] obviously
so unique to the Cocteau Twins.
[B] And then, obviously, Elizabeth's voice, which is pretty unique as well.
Of course, Liz, I [A] think most of the time, one of my [Bb] favorite singers of all time.
And there's something just so otherworldly about her.
You can't quite put your finger on, and I don't think she can quite put her finger on,
and that's what makes it really brilliant.
Yeah, I think because she doesn't actually realize how brilliant she really is.
I never [Gm] saw myself as wanting to be a musician, but when I first heard their music, it just
really did something to me in a vibrant, like a [F] gut thing more than a head thing.
And I just
It was almost like falling [Bb] in love.
You know, when you meet someone, you get like a rush, and you sort of
You really feel this kind of like engagement with something.
[D] That's what it was like, really.
[A] Just incredibly beautiful, and it didn't sound like anything I think I'd ever really heard before.
And I think it took a few lessons to really kind of figure out what [D] was going on, you
know, and get your head around the fact that they [B] were vocals, but that there weren't actually
any words you could [A] really recognize.
You know, you might recognize the oboe, but yeah, so I guess I was pretty blown away.
The first time I ever heard the [D] Cocteau Twins, I think there was a club in Chicago called
[A] Medusa's, which was sort of an all-age club, which was really [B] influential [A] to a lot of Chicago
music in the 90s because [E] ministry would play there, and that's where I first heard In New
[D] Order and stuff like that.
And I remember just thinking like, that's so strange, you know?
Like it didn't sound like any music that I'd ever heard.
I mean, I [B] really fell in love with the whole
The sound, you know, which kind of like went on.
I didn't
I mean, it was [Gb] as much [D] Lizzy's voice as Robin's production.
The two were just [A] kind of like seamless.
And I was always [D] really intrigued just the fact that they made it sound so effortless.
That's what [A] attracted me the most.
It was kind of
The [B] first time I'd heard this, you know, I mean, it's described in various ways, and
it's a theory, like all the other adjectives, but it was really [D] sensuous.
It kind of drew you in and was effortless, and you just found yourself just immersed
in this sound.
And I [B] played the Cocteau's like relentlessly.
I mean, you know, when you get to a period and you just play the same albums over and
over again, I mean, I could probably [D] play most of Treasure, and I've never sat down
and learned it, but I just
I know it so well.
In fact, it was [B] the album I played as I was getting ready for my wedding.
I played it to myself as I was [D] getting dressed for my wedding day.
Because it's also the one
[A] It's the most romantic [C] sound I'd ever heard.
My band had a sort of [G] curious beginning, really, because we were very sort of young.
Myself and Will Heggie, the first bass player, we'd sort of known [D] each other since we were
at school and knew Liz.
So when we made [A] Garlands, I mean, I was like 19 and Liz was 17, so we were kind of young.
We were kind of really [Gb] super naive, you know.
We decided [F] we'd make a demo tape [C] and release a record.
And we had to play the songs [Ab] twice, in fact, because we couldn't copy the cassette.
[A] And naively jumped on an overnight [G] bus to London and took one to 4ED, handed it in,
and took one to the BBC and handed it in to John Peel's office and then just went back
to Scotland and waited for the response, which we knew would come, because we thought we [D] were great.
And we had just chosen that label and been one of the lucky [F] ones.
And it was years, absolutely years, before I realised that that's not how it works.
It was really kind of blind, youthful, naive stupidity and total self-relief that what
we were doing was just great and different and exciting [C] and vibrant.
Well, of course, Robin Guthrie was in town in London to see the birthday party play.
They'd just come down as fans to see the birthday party played.
And they had a cassette, which they [Fm] stuffed into my [G] hands, or Robin stuffed into my hands,
literally just sort of passing him.
[D] And that's the first time I ever heard the cocktail tunes.
And the [A] extraordinary thing was that you could barely hear Liz on there.
I mean, yes, there's this thin reverb voice behind [D] all these guitars and sort of natural
tape compression of a thing live to tape [Dm] was going on.
But you couldn't hear it.
But I [D] really liked it.
I really liked it.
And I invited them to come down to London to record a couple of songs.
I'd never met them until they came.
They stayed in the flat.
[F] We went to the studio.
They set [Gb] up and they started playing and they started [F] singing.
And it was quite a surprise.
I [D] mean, you know, talk [N] about icing on the cake.
I was interested in them for the energy and the melodic aspects of [D] the music.
But I had no idea that this voice was even there.
[Bb] So, yeah, I'd say icing on the cake.
[C]
Key:
D
A
B
F
G
D
A
B
_ _ _ _ _ _ _ [D] _
_ [G] _ _ I wouldn't say _ _ _ _ _ it was by design or whatever, but we seem to have come up with [D] this style
of music that _ [E] gave people [D] a lot of room to think.
It was [E] quite interactive.
You put something into [Dm] music, i.e. put your attention [D] into it, and you would get something out.
Well, I have to say I'm a huge fan of [B] the Cocteau Twins, and I think it's because of
two things.
First of all, Robin Guthrie's guitar sound, which until I'd heard that, I don't think
I'd heard anything like it before, that sort of shimmering guitar [D] sound that is just [Am] obviously
so unique to the Cocteau Twins.
[B] And then, obviously, Elizabeth's voice, which is pretty unique as well.
Of course, Liz, I [A] think most of the time, one of my [Bb] favorite singers of all time.
And there's something just so otherworldly about her.
You can't quite put your finger on, and I don't think she can quite put her finger on,
and that's what makes it really brilliant.
Yeah, I think because she doesn't actually realize how brilliant she really is.
I never [Gm] saw myself as wanting to be a musician, but when I first heard their music, it just
really did something to me in a vibrant, like a [F] gut thing more than a head thing.
And I just_
It was almost like falling [Bb] in love.
You know, when you meet someone, you get like a rush, and you sort of_
You really feel this kind of like engagement with something.
[D] That's what it was like, really.
[A] Just incredibly beautiful, and it didn't sound like anything I think I'd ever really heard before. _ _ _ _
_ And I think it took a few lessons to really kind of figure out what [D] was going on, you
know, and get your head around the fact that they [B] were vocals, but that there weren't actually
any words you could [A] really recognize.
You know, you might recognize the oboe, but yeah, so I guess I was pretty blown away.
The first time I ever heard the [D] Cocteau Twins, I think there was a club in Chicago called
[A] Medusa's, which was sort of an all-age club, which was really [B] influential [A] to a lot of Chicago
music in the 90s because [E] ministry would play there, and that's where I first heard In New
[D] Order and stuff like that.
And I remember just thinking like, that's so strange, you know?
Like it didn't sound like any music that I'd ever heard.
I mean, I [B] really fell in love with the whole_
The sound, you know, which kind of like went on.
I didn't_
I mean, it was [Gb] as much [D] Lizzy's voice as Robin's production.
The two were just [A] kind of like seamless.
And I was always [D] really intrigued just the fact that they made it sound so effortless.
That's what [A] attracted me the most.
It was kind of_
The [B] first time I'd heard this, you know, I mean, it's described in various ways, and
it's a theory, like all the other adjectives, but it was really [D] sensuous.
It kind of drew you in and was effortless, and you just found yourself just immersed
in this sound.
And I [B] played the Cocteau's like relentlessly.
I mean, you know, when you get to a period and you just play the same albums over and
over again, I mean, I could probably [D] play most of Treasure, and I've never sat down
and learned it, but I just_
I know it so well.
In fact, it was [B] the album I played as I was getting ready for my wedding.
I played it to myself as I was [D] getting dressed for my wedding day.
Because it's also the one_
[A] It's the most romantic [C] sound I'd ever heard.
My band had a sort of [G] curious beginning, really, because we were very sort of young.
Myself and Will Heggie, the first bass player, we'd sort of known [D] each other since we were
at school and knew Liz.
So when we made [A] Garlands, I mean, I was like 19 and Liz was 17, so we were kind of young.
We were kind of really [Gb] super naive, you know.
We decided [F] we'd make _ a demo tape [C] and release a record.
And we had to play the songs [Ab] twice, in fact, because we couldn't copy the cassette.
_ [A] And naively jumped on an overnight [G] bus to London and took one to 4ED, handed it in,
and took one to the BBC and handed it in to John Peel's office and then just went back
to Scotland and waited for the response, which we knew would come, _ because we thought we [D] were great.
And we had just chosen that label and been one of the lucky [F] ones.
And it was years, absolutely years, before I realised that that's not how it works.
It was really kind of blind, youthful, naive stupidity and total self-relief that what
we were doing was just great and different and exciting [C] and vibrant.
Well, of course, Robin Guthrie was in town in London to see the birthday party play.
They'd just come down as fans to see the birthday party played.
And they had a cassette, which they [Fm] stuffed into my [G] hands, or Robin stuffed into my hands,
literally just sort of passing him.
[D] And that's the first time I ever heard the cocktail tunes.
And the [A] extraordinary thing was that you could barely hear Liz on there.
I mean, yes, there's this thin _ _ reverb voice behind [D] all these guitars and sort of natural
tape compression of a thing live to tape [Dm] was going on.
But you couldn't hear it.
But I [D] really liked it.
I really liked it.
And I invited them to come down to London to record a couple of songs.
I'd never met them until they came.
They stayed in the flat.
[F] We went to the studio.
They set [Gb] up and they started playing and they started [F] singing.
And it was quite a surprise.
I [D] mean, you know, talk [N] about icing on the cake.
I was interested in them for the energy and the melodic aspects of [D] the music.
But I had no idea that this voice _ was even there.
[Bb] So, yeah, I'd say icing on the cake.
_ _ [C] _ _
_ [G] _ _ I wouldn't say _ _ _ _ _ it was by design or whatever, but we seem to have come up with [D] this style
of music that _ [E] gave people [D] a lot of room to think.
It was [E] quite interactive.
You put something into [Dm] music, i.e. put your attention [D] into it, and you would get something out.
Well, I have to say I'm a huge fan of [B] the Cocteau Twins, and I think it's because of
two things.
First of all, Robin Guthrie's guitar sound, which until I'd heard that, I don't think
I'd heard anything like it before, that sort of shimmering guitar [D] sound that is just [Am] obviously
so unique to the Cocteau Twins.
[B] And then, obviously, Elizabeth's voice, which is pretty unique as well.
Of course, Liz, I [A] think most of the time, one of my [Bb] favorite singers of all time.
And there's something just so otherworldly about her.
You can't quite put your finger on, and I don't think she can quite put her finger on,
and that's what makes it really brilliant.
Yeah, I think because she doesn't actually realize how brilliant she really is.
I never [Gm] saw myself as wanting to be a musician, but when I first heard their music, it just
really did something to me in a vibrant, like a [F] gut thing more than a head thing.
And I just_
It was almost like falling [Bb] in love.
You know, when you meet someone, you get like a rush, and you sort of_
You really feel this kind of like engagement with something.
[D] That's what it was like, really.
[A] Just incredibly beautiful, and it didn't sound like anything I think I'd ever really heard before. _ _ _ _
_ And I think it took a few lessons to really kind of figure out what [D] was going on, you
know, and get your head around the fact that they [B] were vocals, but that there weren't actually
any words you could [A] really recognize.
You know, you might recognize the oboe, but yeah, so I guess I was pretty blown away.
The first time I ever heard the [D] Cocteau Twins, I think there was a club in Chicago called
[A] Medusa's, which was sort of an all-age club, which was really [B] influential [A] to a lot of Chicago
music in the 90s because [E] ministry would play there, and that's where I first heard In New
[D] Order and stuff like that.
And I remember just thinking like, that's so strange, you know?
Like it didn't sound like any music that I'd ever heard.
I mean, I [B] really fell in love with the whole_
The sound, you know, which kind of like went on.
I didn't_
I mean, it was [Gb] as much [D] Lizzy's voice as Robin's production.
The two were just [A] kind of like seamless.
And I was always [D] really intrigued just the fact that they made it sound so effortless.
That's what [A] attracted me the most.
It was kind of_
The [B] first time I'd heard this, you know, I mean, it's described in various ways, and
it's a theory, like all the other adjectives, but it was really [D] sensuous.
It kind of drew you in and was effortless, and you just found yourself just immersed
in this sound.
And I [B] played the Cocteau's like relentlessly.
I mean, you know, when you get to a period and you just play the same albums over and
over again, I mean, I could probably [D] play most of Treasure, and I've never sat down
and learned it, but I just_
I know it so well.
In fact, it was [B] the album I played as I was getting ready for my wedding.
I played it to myself as I was [D] getting dressed for my wedding day.
Because it's also the one_
[A] It's the most romantic [C] sound I'd ever heard.
My band had a sort of [G] curious beginning, really, because we were very sort of young.
Myself and Will Heggie, the first bass player, we'd sort of known [D] each other since we were
at school and knew Liz.
So when we made [A] Garlands, I mean, I was like 19 and Liz was 17, so we were kind of young.
We were kind of really [Gb] super naive, you know.
We decided [F] we'd make _ a demo tape [C] and release a record.
And we had to play the songs [Ab] twice, in fact, because we couldn't copy the cassette.
_ [A] And naively jumped on an overnight [G] bus to London and took one to 4ED, handed it in,
and took one to the BBC and handed it in to John Peel's office and then just went back
to Scotland and waited for the response, which we knew would come, _ because we thought we [D] were great.
And we had just chosen that label and been one of the lucky [F] ones.
And it was years, absolutely years, before I realised that that's not how it works.
It was really kind of blind, youthful, naive stupidity and total self-relief that what
we were doing was just great and different and exciting [C] and vibrant.
Well, of course, Robin Guthrie was in town in London to see the birthday party play.
They'd just come down as fans to see the birthday party played.
And they had a cassette, which they [Fm] stuffed into my [G] hands, or Robin stuffed into my hands,
literally just sort of passing him.
[D] And that's the first time I ever heard the cocktail tunes.
And the [A] extraordinary thing was that you could barely hear Liz on there.
I mean, yes, there's this thin _ _ reverb voice behind [D] all these guitars and sort of natural
tape compression of a thing live to tape [Dm] was going on.
But you couldn't hear it.
But I [D] really liked it.
I really liked it.
And I invited them to come down to London to record a couple of songs.
I'd never met them until they came.
They stayed in the flat.
[F] We went to the studio.
They set [Gb] up and they started playing and they started [F] singing.
And it was quite a surprise.
I [D] mean, you know, talk [N] about icing on the cake.
I was interested in them for the energy and the melodic aspects of [D] the music.
But I had no idea that this voice _ was even there.
[Bb] So, yeah, I'd say icing on the cake.
_ _ [C] _ _