Chords for Barry Gibb & Barbra Streisand - Intreview
Tempo:
134.2 bpm
Chords used:
Eb
Bb
Cm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[Bb]
[Eb]
[Cm] Again, yeah, more.
[Eb] It was such a lovely experience 25 years ago that actually we've talked over the years
to try to, how can we work together again?
It was a wonderful thing for me, working with an artist like Barbara is once in a lifetime,
you know, and I thought it was once in a lifetime.
And so yes, of course, of course, very sentimental.
[N] Every little moment, I remember things that Barbara don't remember.
But that's what happened.
Well, one teabag for three cups of tea, little things like that, you know.
No, two bags of tea.
I use, you know, my roots are from Brooklyn.
We came from a poor family.
You took one teabag, you don't throw it out.
That's like a waste.
You use a teabag twice.
Yeah, so little things like that you remember, you know, magic.
I think we have a sense of each other.
I think we've known each other over the years.
I think we've sort of got a good feel for how each other thinks.
Sometimes it's frictional.
You just have to allow all those emotions to come to the front.
And sometimes it's warm and we immediately agree and sometimes we don't agree.
And I think-
Whoever has the most passion wins out.
Yeah, I think that's absolutely true.
Well done.
You know?
When you write for yourself, you're the only instrument, so you have certain limitations
in your mind and your heart.
If you're writing for someone else and that person has the range that Barbara has, it
stretches you out.
It makes you write other things that you might not really be able to sing yourself.
But you have a big range.
Well, yeah, but it's not your range.
It's different altogether.
I can go from one real voice to falsetto and stuff like that, but that's different.
This is like writing for another instrument, has that?
And a wonderful one.
Certain things he does on the demos that are so wonderful rhythmically, I can't do sometimes.
Don't worry about it.
But then he encourages me to make the song my own.
Yeah.
Barbara takes a song and does it her way and there's no real way to put that into words.
It's not that I even want to.
Sometimes I'm really just trying to imitate Barry.
And I can't.
And I can't stop doing that.
Because I like what he does, but I can't quite do it.
I just don't feel it that way.
So it comes out unnaturally.
Instinctive.
Yeah, better be truer to me.
Truer to what you do.
That sensibility affects all of us.
It's like the top ten.
You have top tens of the world's greatest something or other.
There's the world's ten greatest female artists and there's Barbra Streisand.
But that's the truth.
Sweet.
[Eb]
[Cm] Again, yeah, more.
[Eb] It was such a lovely experience 25 years ago that actually we've talked over the years
to try to, how can we work together again?
It was a wonderful thing for me, working with an artist like Barbara is once in a lifetime,
you know, and I thought it was once in a lifetime.
And so yes, of course, of course, very sentimental.
[N] Every little moment, I remember things that Barbara don't remember.
But that's what happened.
Well, one teabag for three cups of tea, little things like that, you know.
No, two bags of tea.
I use, you know, my roots are from Brooklyn.
We came from a poor family.
You took one teabag, you don't throw it out.
That's like a waste.
You use a teabag twice.
Yeah, so little things like that you remember, you know, magic.
I think we have a sense of each other.
I think we've known each other over the years.
I think we've sort of got a good feel for how each other thinks.
Sometimes it's frictional.
You just have to allow all those emotions to come to the front.
And sometimes it's warm and we immediately agree and sometimes we don't agree.
And I think-
Whoever has the most passion wins out.
Yeah, I think that's absolutely true.
Well done.
You know?
When you write for yourself, you're the only instrument, so you have certain limitations
in your mind and your heart.
If you're writing for someone else and that person has the range that Barbara has, it
stretches you out.
It makes you write other things that you might not really be able to sing yourself.
But you have a big range.
Well, yeah, but it's not your range.
It's different altogether.
I can go from one real voice to falsetto and stuff like that, but that's different.
This is like writing for another instrument, has that?
And a wonderful one.
Certain things he does on the demos that are so wonderful rhythmically, I can't do sometimes.
Don't worry about it.
But then he encourages me to make the song my own.
Yeah.
Barbara takes a song and does it her way and there's no real way to put that into words.
It's not that I even want to.
Sometimes I'm really just trying to imitate Barry.
And I can't.
And I can't stop doing that.
Because I like what he does, but I can't quite do it.
I just don't feel it that way.
So it comes out unnaturally.
Instinctive.
Yeah, better be truer to me.
Truer to what you do.
That sensibility affects all of us.
It's like the top ten.
You have top tens of the world's greatest something or other.
There's the world's ten greatest female artists and there's Barbra Streisand.
But that's the truth.
Sweet.
Key:
Eb
Bb
Cm
Eb
Bb
Cm
Eb
Bb
_ _ _ _ _ _ _ [Bb] _
_ [Eb] _ _ _ _ _ _ _
_ _ _ [Cm] Again, yeah, more. _
_ _ [Eb] It was such a lovely experience 25 years ago that actually we've talked over the years
to try to, how can we work together again? _ _
_ It was a wonderful thing for me, working with an artist like Barbara is once in a lifetime,
you know, and I thought it was once in a lifetime.
_ _ _ And so yes, of course, of course, very sentimental.
[N] Every little moment, I remember things that Barbara don't remember.
But that's what happened.
Well, _ one teabag for three cups of tea, little things like that, you know.
No, two bags of tea.
I use, you know, my roots are from Brooklyn.
We came from a poor family.
You took one teabag, you don't throw it out.
That's like a waste.
You use a teabag twice.
Yeah, so little things like that you remember, you know, magic. _ _ _ _ _ _ _
_ _ _ I think we have a sense of each other.
I think we've known each other over the years. _
I think we've sort of got a good feel for how each other thinks.
Sometimes it's frictional.
You just have to allow all those emotions to come to the front.
And sometimes it's warm and we immediately agree and sometimes we don't agree.
_ And I think-
Whoever has the most passion wins out.
Yeah, I think that's absolutely true.
Well done.
You know?
_ _ _ When you write for yourself, you're the only instrument, so you have certain limitations
in your mind and your heart.
If you're writing for someone else and that person has the range that Barbara has, it
stretches you out.
It makes you write other things that you might not really be able to sing yourself. _
But you have a big range. _ _
Well, yeah, but it's not your range.
It's different altogether.
I can go from one real voice to falsetto and stuff like that, but that's different.
This is like writing for another instrument, has that?
And a wonderful one.
Certain things he does on the demos that are so wonderful rhythmically, I can't do sometimes.
Don't worry about it.
But then he encourages me to make the song my own.
Yeah. _
Barbara takes a song and does it her way and there's no real way to put that into words.
It's not that I even want to.
Sometimes I'm really just trying to imitate Barry.
And I can't.
And I can't stop doing that.
_ Because I like what he does, but I can't quite do it.
I just don't feel it that way.
So it comes out _ _ unnaturally.
_ Instinctive.
Yeah, better be truer to me.
Truer to what you do. _ _ _ _
That sensibility affects all of us. _
It's like the top ten.
You have top tens of the world's greatest something or other.
_ There's the world's ten greatest female _ artists and there's Barbra Streisand.
But _ that's the truth.
Sweet. _ _
_ [Eb] _ _ _ _ _ _ _
_ _ _ [Cm] Again, yeah, more. _
_ _ [Eb] It was such a lovely experience 25 years ago that actually we've talked over the years
to try to, how can we work together again? _ _
_ It was a wonderful thing for me, working with an artist like Barbara is once in a lifetime,
you know, and I thought it was once in a lifetime.
_ _ _ And so yes, of course, of course, very sentimental.
[N] Every little moment, I remember things that Barbara don't remember.
But that's what happened.
Well, _ one teabag for three cups of tea, little things like that, you know.
No, two bags of tea.
I use, you know, my roots are from Brooklyn.
We came from a poor family.
You took one teabag, you don't throw it out.
That's like a waste.
You use a teabag twice.
Yeah, so little things like that you remember, you know, magic. _ _ _ _ _ _ _
_ _ _ I think we have a sense of each other.
I think we've known each other over the years. _
I think we've sort of got a good feel for how each other thinks.
Sometimes it's frictional.
You just have to allow all those emotions to come to the front.
And sometimes it's warm and we immediately agree and sometimes we don't agree.
_ And I think-
Whoever has the most passion wins out.
Yeah, I think that's absolutely true.
Well done.
You know?
_ _ _ When you write for yourself, you're the only instrument, so you have certain limitations
in your mind and your heart.
If you're writing for someone else and that person has the range that Barbara has, it
stretches you out.
It makes you write other things that you might not really be able to sing yourself. _
But you have a big range. _ _
Well, yeah, but it's not your range.
It's different altogether.
I can go from one real voice to falsetto and stuff like that, but that's different.
This is like writing for another instrument, has that?
And a wonderful one.
Certain things he does on the demos that are so wonderful rhythmically, I can't do sometimes.
Don't worry about it.
But then he encourages me to make the song my own.
Yeah. _
Barbara takes a song and does it her way and there's no real way to put that into words.
It's not that I even want to.
Sometimes I'm really just trying to imitate Barry.
And I can't.
And I can't stop doing that.
_ Because I like what he does, but I can't quite do it.
I just don't feel it that way.
So it comes out _ _ unnaturally.
_ Instinctive.
Yeah, better be truer to me.
Truer to what you do. _ _ _ _
That sensibility affects all of us. _
It's like the top ten.
You have top tens of the world's greatest something or other.
_ There's the world's ten greatest female _ artists and there's Barbra Streisand.
But _ that's the truth.
Sweet. _ _