Chords for Daniel Lanois/Peter Gabriel - Come Talk To Me (early version)

[N] The life of it's own.
Find _ [G] the power of suggestion from sounds with _ melody, _ _ a story.
[D]
Then you can have something real strong.
I mean, give a way for me to focus on singing.
Peter Gabriel was [G] about to do a soundtrack for a film called Birdy.
He was [F#] interested in someone [G] who could manipulate sound
[F#]
and take some of his existing multi-tracks and transform them.
That's how the [D] relationship with Peter started.
_ And then another phone call from him and we went on to do yet another record _
which [F] has a song on it called Come [F#m] Talk to Me. _
It's a very simple song about one of his girls, one of his daughters,
[G] but it has quite a huge production around it.
_ So a little message to one [D] person
_ could also be interpreted [G] as a more [A] universal message.
Oh please _ talk [D] to me
_ _ [A] Come on talk [D] to me
_ You're not [A] like the _ [D] misery _
_ _ That [A] you don't need to be
[F#m] I _ _ _ did [A] not come to [D] steal
_ _ [A] You showed up so _ [D] unreal
_ _ And [A] you show me how [D] you feel now
_ [A] Come on come _ talk to [F#m] me
_ Come talk [D] to me
Talk _ _ _ _ _ to [A] me _ _ _
_ _ _ _ _ [D] During a project [A] there will be a peak moment. _
There'll be several peak moments, but you'll have [G] your grand [D] peak.
_ That's where you want to finish the record.
[F#m] That's where you want the conclusion to be.
If it [G] goes beyond that, [A] you may _ lose the strength
and [G] acquire more [A] ornament.
_ _ That's a serious mistake.
_ If you end up [F#m] with _ _ _ [G] something that's not as good as what it can be,
_ [Gm] but very polished, [D] _ _
that's quite _ a sin artistically.
The ability to know where that [Am] peak is, that's very important.
[A] _ _ _ _ Imagine it more
[D] _
Breaking out [A] into silence
All the pain can be both nice and safe _
And _ the heart it will not deny _
[D] You and I both on the same damn side
Oh the very best of luck _ _ _ _
[A] Oh please talk [D] to me
_ _ Won't you [A] please come talk to [D] me
_ _ Just [A] like you used to
_ [D] _ _
_ _ _ [A] Oh Mr. _
Love
_ _ _ _ _ [D] I did not come to steal _
_ _ [A] You sold, you sold me
_ [D] _ Can _ _ you [A] show me how _ [D] _ _ _
_ _ _ [A] _ you told [F#m] me
_ Come talk [D] to me
_ _ _ _ _ Come talk to [A] me
_ Record _ production is [Am] about results.
It's about capturing [A] _ _ _ performances, _
_ _ maximizing the potential of a song.
_ Somebody could walk in with a song on an acoustic guitar,
and maybe that's how it sounds best,
[F#m] and that's how it should be recorded.
[G] And for them to bring in the [F#m] orchestra and the timpanis,
[G] they might be making a mistake and spending [A] a lot of money.
[G] So you have to [A] be smart enough to say,
well, it sounds terrific [E] like this,
and we'll just do a little of that to [G] it, and that'll be that.
On the other [A] hand, such a song may not be [D] right on acoustic guitar.
It [A] may be better _ with the pounding rhythm
and a lot of turbulence underneath and so on.
So it's a matter of having some kind of idea
about the potential of something.
_ _ [D] _ _
_ _ [A] This all is so [D] unreal
_ _ _ Can you [A] show me how [D] you feel now
Come [E] on, come _ talk [F#m] to me
_ Come talk to me _ _ _ _ _
Come _ talk to _ me _
_ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _